Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editors: Dan Destefano and Addison Sauvan
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
When CHIC guitar wizard Nile Rodgers tells Chris Shiflett that he was at Woodstock, Shiflett quips, “You didn’t take the brown acid, did you?” Rodgers grins and chuckles, “I took every color acid they had!”
This is the tongue-in-cheek tenor of the latest episode of Shred With Shifty, a fun, often hilarious conversational romp through Rodgers’ music career. It all started with classical music and woodwinds (specifically the flute and clarinet), but as Rodgers tells it, a major turning point was a chance encounter with a crew of Los Angeles hippies—affectionately called “freaks” in those days of the late ’60s—that led to a two-day LSD party soundtracked by The Doors’ first album.
After he picked up a guitar at 16, he turned to unique jazz pluckers like Django Reinhardt and Wes Montgomery. He followed in their footsteps and played semi-hollow guitars until he met his longtime musical partner and CHIC cofounder, bassist Bernard Edwards, who urged him to pick up a Stratocaster. So it was then that the Hitmaker was born one fateful day in a south Florida guitar shop.
And Rodgers doesn’t shy away from the whole truth about the song’s history. Diana Ross was the first superstar that Rodgers had recorded with, but as he remembers, that didn’t stop him from spinning a little white lie to make sure that “I’m Coming Out” was released.
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editors: Dan Destefano and Addison Sauvan
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
Rig Rundown: Nile Rodgers [Chic]
But before the two get into the solo breakdown, they cover some ground delving into topics like Lindsay's early bluegrass studies (and how her teacher Randy Bachman later introduced her to jazz and blues), her experience playing with producer Dann Huff, and why there aren't more female lead guitarists. (For that last one, she's not sure she has the answer, but is proud to be on the vanguard!)
"Hits Me" is in Bb, which could be a challenging key to play in, and even Chris admits he gets lost on the fretboard if his songs aren't in the far more common keys of E, A, or G. But, she didn't want to be pigeonholed as the "girl who uses a capo," throwing it out at a very young age, and plays the solo high up on the neck, mostly on the top strings, around the 16th fret. It's also full of "guitarmony"—which she loves doing on just one guitar, although the solo was tracked on two for the recording to throw a bone to the mixing engineer.
In the final minutes of the ep, Lindsay reveals one of her favorite warm up exercises, which she calls "chromatic spiders," which Shifty finds pretty wild (and they sound just as creepy as their name). Watch the full episode to get the whole story on Lindsay and the nuts and bolts of her guitar wizardry.
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editors: Dan Destefano and Addison Sauvan
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
The outro solo to "Only in Dreams," the final song on the album, is the subject of this ep. And after the guitarists spend a few minutes discussing Cuomo's inspirations, influences, and the production of both that album and the band's sleeper success, Pinkerton, Cuomo walks Shifty through the solo lick by lick. There's the sequence of octaves high up on the neck, colored by an unexpectedly placed major 7th chord ... and Cuomo's vibrato, which reminds Chris of Brian May. What shapes a guitarist's vibrato? “Must have something to do with your nerves between your brain and your fingers,” Cuomo says.
Before the recording of the album at Electric Lady Studios in NYC, Weezer's label insisted they work with a producer, which Cuomo rejected at first. Then he heard the Cars' "Just What I Needed" in the supermarket one day, and sought out the band's guitarist, Ric Ocasek. Ocasek was the one to push Cuomo to record an outro solo over the previously stripped-down, rhythm-section-based final three minutes of "Only in Dreams." After weeks of Ocasek's encouragement, Cuomo found himself alone in the studio one weekend and improvised his way through the solo. "This might be hard to believe, but when we started out, we were much more like a hippie band," Cuomo explains, describing his past devotion to Trey Anastasio. As it turns out, part of the "Only in Dreams" solo came out of Weezer's jamming portions of the song during their live shows.
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editors: Dan Destefano and Addison Sauvan
Special thanks to Chris Peterson, Gregory Nacron, and the entire Volume.com crew.
