HUNTER STEVE, HYMNS FOR GUITAR Original Recordings. Lou Reed, Alice Cooper, Peter Gabriel, ecc. SHEET MUSIC BOOK WITH CD AND GUITAR TABLATURE .
ARTIST APPROVED !
LIBRO DI MUSICA PER CHITARRA ACUSTICA, CON CD .
SPARTITI PER CHITARRA :
ACCORDI, PENTAGRAMMA, TABLATURA.
Includes CD of Steve Hunter's Original Recordings
Series: Guitar
Publisher: Cherry Lane Music
Softcover with CD - TAB
Artist: Steve Hunter
ARTIST APPROVED
Steve Hunter ha suonato in 4 album di Alice Cooper, nel primo album da solo di Peter Gabriel (dove c'è la canzone: Solsbury Hill), nel disco Berlin di Lou Reed, gli Aerosmith. Ha fatto concerti con Julian Lennon, Bette Midler, co-autore con David Lee Roth. Nel 2008 registra HYMNS FOR GUITAR, il suo primo album da solo, una raccolta tutta acustica di Ballate e vecchie calme melodie d'America. Assolutamente niente di elettrico o che ha a che vedere con l'alienazione di New York come cantata Lou Reed.
Discography:
Steve Hunter Solo Recordings:
"Hymns for Guitar"
"Swept Away"
"The Deacon"
Alice Cooper
"Billion Dollar Babies"
"Welcome to My Nightmare"
"Alice Goes to Hell"
"Lace and Whiskey"
"The Alice Cooper Show"
Peter Gabriel
Peter Gabriel's 1st solo album featuring "Solsbury Hill"
Aerosmith
"Get Your Wings"
Julian Lennon
"Help Yourself "
Dr. John
"Hollywood Be Thy Name"
David Lee Roth
"Your Filthy Little Mouth"
(Co-wrote "A Little Luck")
"A L'il Ain't Enough"
Lou Reed
"Rock and Roll Animal"
"Lou Reed Live LP"
Composed intro to "Sweet Jane"
"Berlin"
Bette Midler
"The Rose" Soundtrack
Detroit featuring Mitch Ryder
"Detroit"
Stevie Ray Vaughan
Tribute Compilation album
Tracy Chapman
"Telling Stories"
Legendary guitarist Steve "The Deacon" Hunter is known for his collaborations with Lou Reed, Alice Cooper, Peter Gabriel and others, as well as his extraordinary solo projects, such as this 2008 CD. Here are all 11 tunes in note-for-note transcriptions with tab approved by Hunter himself! Includes a bio and his extensive intro, plus a CD of his original recordings! Songs:
On the making of the CD...
I have always been fascinated by the recording process and have always tried to have something around to record and experiment with. Everything from just a two-track recorder to an eight-track, even an eight-track cassette recorder. So I was thrilled when programs like Pro Tools came along. There are now many terrific digital computer-based recording software applications out there. Pro Tools just happened to be my choice. I needed a sort of "trial" song to use as a learning tool for Pro Tools, so I worked up the arrangement for "Softly and Tenderly." That was not the first thing I recorded on Pro Tools, but it was the first actual project. It was a blast. I decided early on that I wanted to treat Pro Tools as if it were a tape recorder, even though it does some amazingly sophisticated things (which I do use from time to time). But what I mean by that is that I try to do "takes," as if recording to tape. In other words, I try to record through the entire song if possible, depending on the arrangement. Or, at the very least, I try to record, say, a verse completely through. With Pro Tools it's so tempting to just record a good verse and a good chorus and then copy and paste. But for me, many things are lost when you do that-one being spontaneity, of course, but dynamics as well, among other things. That's how all the pieces were done on the CD. Any solo guitar piece was recorded from start to finish-no fixes. The more complex arrangements were recorded just as I would have done in a studio with tape, which would have been sections at a time. For me that kept the creative flow going throughout the entire song instead of just in bits. Even though the verses of anyone song might have the same chord patterns, there are subtle differences that, I think, please the ear. At least, they do forme. At the time I recorded this CD, I was living in a very noisy apartment in Hollywood. As you can imagine, that made recording on mic virtually impossible. As luck would have it, I had been sent a prototype acoustic guitar preamp by a company called PreS onus. It would later become their AcoustiQ acoustic guitar preamp. It was a tube preamp and sounded fabulous, though sometimes a little noisy. (I'm not sure the production version of that preamp sounded as good as the prototype. Sadly, the one I had finally died.) That preamp was the primary piece of gear used to record almost all of the acoustic guitars on Hymns for Guitar. And the primary guitar was my older (1993) Taylor 420. I fell in love with the sound of the guitar from the very beginning. I still have it and have had some work done on it, which has made it sound and play even more heavenly. I also used a Baby Taylor, which has been strung in Nashville tuning, which, by way of explanation, is basically the higher octave strings of a 12-string set for the bottom four strings and normal strings for the top two. The Baby Taylor sounds so sweet tuned that way that I leave it like that now. I also used a very special guitar to me. It's a 1964 Oscar Teller nylon-string. The age isn't necessarily what makes this guitar so special. Peter Gabriel and Bob Ezrin gave it to me at the end of the sessions for Peter's first solo Lp, which included "Solsbury Hill." Robert Fripp played that guitar on the song "Humdrum" on that record. And I subsequently played it on two of Alice Cooper's biggest hit records, "I Never Cry" and "You and Me." I've owned that guitar since about 1977 and it's now like an old friend. All those years of the wood drying has caused some problems, but it has also made it sound rich and sweet. I think I do things a little differently when it comes to arranging and creating parts for overdub. There are two basic things I do; one involves actually working out a particular part and the other is basically improvising part. I have developed those two methods over the years through the sessions and live work I've done with other artists. Both methods work for me and I use both all the time. When it comes to improvising a part, I may just change tunings and play along with the track to see what develops. If something starts to happen, I'll simply hit record. Other times I like to work out specific parts need to happen a certain way to emphasize a rhythm or lay a nice foundation. "Shall We Gather at the River" is a good example of a constructed part. The arpeggio that form the basic foundation for the song were worked out specifically to do what they do. As far as song selection, I wanted to do some of my favorites as well as any that might inspire an arrangement. I was looking for beautiful melodies and I prefer the older hymns-the older the better. And very obscure composers, which, again, I preferred, wrote many of them. "The Old Rugged Cross" was my father's favorite hymn. Bob Ezrin suggested "Angel Band" and "Will My Mother Know Me There," both of which I hadn't heard before but loved the moment I heard them ...
Table of contents:
Angel Band
In The Garden
Jesus Loves Me
Just A Closer Walk With Thee
Precious Memories
Shall We Gather At The River?
Softly And Tenderly
Sweet Hour Of Prayer
The Old Rugged Cross
What A Friend We Have In Jesus
Will My Mother Know Me There
80 pages
Italiano
English
