#randy rhoads drawing

[queenbea-1610]

6th December marked Randy’s 67th birthday.

Happy belated birthday to him! 🎸⚫️⚪️⚫️

[escapingpurgatory]

Gonna draw Randy Rhoads tomorrow. This is my reference image. REST IN PEACE RANDY 🤘

[disco-cola]

I made a post about randy rhoads on tiktok two days ago bc I feel so many people know he died in a plane crash but not the heartbreaking circumstances behind it (same with cliff and the card drawing game) and a lot of people are commenting how they have seen him live or remember where they were when they heard the news on the radio or saying they didnt even know about this I’m honestly so glad the video is being seen and people are still so interested in him bc that story is so heartbreaking it’s actually insane he was such a goodhearted cute little bean

[jkrump]

RandyRhoads #JohnAtashian #VMI #Worldwide #heavymetal #QuietRiot #OzzyOsbourne #guitarist #BlizzardofOzz #RockandRollHallofFame #classicalguitar #CrazyTrain #MrCrowley #EddieVanHalen #Music #MusicNews

[spacerockband]

some guitar studies

[overthemovntains]

I made this one some months ago, guess i’m gonna post it now 🦇

————

if you want to suggest what i should draw next feel free to do it :)

-

ig/ loseyourillvsion https://www.instagram.com/loseyourillvsion

[larissaligus]

Recently he talked about guitarists and their abilities in a conversation. Frusciante stated that most people assume that a good guitarist must draw attention. Still, he disagreed and said that great guitarists make the band sound good instead of being flashy and seeking attention. The rocker mentioned an exception to this matter, Eddie Van Halen. The Van Halen guitarist draws attention, but he also successfully fulfills the duty of making the rest of the instruments sound good.

Here is what Frusciante said about Eddie Van Halen:

“Too often, people assume that a guitar player’s worth comes from their ability to draw attention to themselves. And there are a lot of great guitar players who are great at drawing attention to themselves.

But to me, the essential thing that those people have, those other people who don't draw attention to themselves like Bernard Sumner in Joy Division, or Syd Barrett, or Johnny Thunders or Matthew Ashman from Bow Wow Wow or John McGeoch in Siouxsie and the Banshees, to me, what they have in common with Eddie Van Halen and Randy Rhoads and Jimi Hendrix is that they knew how to be a member of a band and make everybody else sound better. They knew how to be team players.Yeah, Eddie Van Halen happened to have a flashy style, but he was a great rhythm guitar player, and he made those drums sound great. He made that bass sound great. He made the singer sound great. To me, it really doesn’t matter how much technique you have; the real skill in being a guitar player is in making the rest of the band sound good.“

Eddie Van Halen is arguably one of the greatest guitar players in the world, and with Van Halen, he reached global success. Hence, his death in 2020 was very saddening for his band, family, and fans. After his death, the band broke up, and all the members ventured off to play for their solo careers or with various acts.

[doomedandstoned]

Cassius King Drums Up Hard Driving New LP, ‘Field Trip’

~By Tom Hanno~

In the doom/stoner metal circles, the name Dan Lorenzo has become synonymous with his Vessel of Light project, but there is more to this prolific guitarist than just that band. From his days in Hades to Non- Fiction to Vessel of Light, Dan has laid his trademark work to many albums, and now he presents us with an album of original music from his latest project, CASSIUS KING. 'Field Trip' (2021) will be out next week and is, in my opinion, a must-have album.

For a bit of historical context, I want to add that Dan has been using the Cassius King name for years, from his debut solo album to his endless cover song CDs with various lead vocalists; but it wasn't until 2021 when Lorenzo decided to make an all-original album with vocalist Jason McMaster (Watchtower, Dangerous Toys, Broken Teeth, Howling Sycamore, Ignitor). This decision stemmed from the Covid-19 pandemic keeping Vessel of Light from touring in support of their Last Ride album, with Dan also feeling that fans weren’t ready for a fifth VoL album without touring the last one.

Ironically enough, the song “Join the Exodus”, which we’ll talk about later in this review, was originally written during the recording/writing sessions for the second Vessel of Light album, Woodshed. Dan tells me that, “I actually recorded the music to the song Join the exodus for the Vessel of Light album Woodshed. I wrote so many songs that Nathan forgot about it. So then Ron ended up playing on it, and it just sat there for two years until Jason sang on it. It’s probably one of my favorite songs on the album.”

Despite the connection to Vessel of Light, I don't recommend jumping in thinking you're getting music that is just like them; there's obviously going to be a comparison because of Dan, but it's not an overly large one. Cassius King is less doom, even though there’s a definite Black Sabbath sound, and Jason McMaster has more in common with singers like Bobby "Blitz" Ellsworth and Dio, than he does with Nathan Opposition; who, as you know, provides his own awesome vocal style to the Vessel of Light albums.

Jason McMaster explains further, by saying that "It was the kind of material I had been wanting to do for a long time. It feels a bit like Ozzy and Dio playing poker over some leftover Sabbath material. The melodies came to me quickly, as well as some of the lyrics. Things I already had fit the visions I had upon first listen and it all flowed immediately. I would not call it a full "doom" application of terms, but its heavy, it reminds me of what I love about Sabbath and Dio songs."

Now that we have an idea on what we’re getting into, let’s begin talking about the best tracks on the album. We'll start with the aforementioned song, “Join the Exodus.” This is the one track where I will draw that direct line to Vessel of Light, and I had thought so even before Dan shared its origins with me.

Beginning with a heavy intro, with the guitars playing a stripped down version of the main verse riff, and Jason singing:

TEARS ON THE TRACKS IN A RACE, EMOTION GLEAM AROUND THE BEND I TASTE THE RAIN DROPS AS THEY TRICKLE DOWN MY FACE AGAIN REMINDS ME OF THE SAND FALLING FROM THE HOURGLASS TIME DISAPPEARS WITHOUT A TRACE.

Jason’s vocals are performed with such conviction, such power, that you can get the idea that he’s really really feeling what he’s saying, which helps make the song seem more honest than it would if he was just “phoning it in.” This goes without even mentioning the Dio influences in the lyrics themselves, and in certain areas of his performance here.

Musically speaking, this track is heavy, with a strong groove, which really makes sense because of the era of its beginnings. Woodshed had that heavy groove throughout the album. As always, Dan has a phenomenal guitar sound, and even if you didn’t know it was him on this, you’d still know that it was him within moments after hitting play.

Towards the end of the album, we find a song that is titled, "Six," which had a working title that Dan told me came from the way the intro guitar part had sounded to him.

"And I didn’t tell anybody else this," he confided, "but the working title for the song 'Six' was 'Randy,' because I thought that opening riff sounded more like Randy Rhoads than me! Not sure if you agree, but just a little bit of knowledge on the track."

I can definitely hear that Randy sound in the intro riff, but, in my opinion, it doesn't really sound like that iconic guitarist as we get much further into the track. In all honesty, I hear more of a Kiss meets Black Sabbath vibe once the riff opens up for the verse.

Jason really brings in that Dio vibe with his vocal performance, and it shows exactly why Dan partnered up with him for this album. Between Jason, Jimmy Schulman, and Ron Lipnicki, Dan put together an immensely talented band for this album, and they all absolutely crushed it on this track.

One of my favorite tracks is titled, "Apocalyptic Nations," which just so happens to be my favorite song on the record. This tune opens up with some tribal influenced drumming, and is a perfect way to bring in the album. I think of Judas Priest's Painkiller when an album opens this way. Lyrically, this song could be about many things, but I catch a Stephen King influence in there, with his book The Stand.

TRASH MY NAME ACROSS YOUR SEAS YOU CONTROL MY DESTINY BRINGING FATES UNKNOWN TO ME LEGENDARY, WHEN PEOPLE USED TO DREAM ANCIENT STORIES OF THE TRAVELIN' MAN YOU WILL BELIEVE

If you've ever read The Stand, you'll know that the villain, Randall Flagg, is known as "The Walking Dude" and that he is hell bent on destroying civilization through terror, violence, and death. The lyrics really could be about this "Man in Black," as he's also called, but it could just as easily be about a government that is just as hell bent on the same things as Randall.

As per his usual modus operandi, Dan pours his all into the riffs contained within "Apocalyptic Nations." They create the power needed to propel Jason’s vocals into the stratosphere, while also leaving the perfect amount of room for the other instruments to shine through.

The last track that I'd like to bring up is "Below the Stone," and is one of my two top picks from this album; with the other being "Apocalyptic." The riffs have a sweet little groove to them, and are, once again, the perfect vehicle for the vocal work. I'm unsure of what the lyrical content is about, but the execution, and the arrangement, makes this song shine, really standing out from the others. This chorus section really exemplifies what I mean:

OH, OH, OH, WE PRAY FOR THE LIGHT WE MAGNIFY ALL HOPE AND THE SEARCH WILL BEGIN BELOW THE STONES THE SECRETS LIVE AND BREATH OH, OH, OH, WE PRAY FOR THE LIGHT

Field Trip will be out in digital format July 23rd, with compact disc and vinyl due out this October. The CD will include two bonus tracks, a cover of Led Zeppelin's "Out on the Tiles" (Dan actually plays the bass and guitar on this cover). and Cheap Trick's "Big Eyes." The other ten tracks are all original tunes. I have an earlier Cassius King CD that Dan sent me, which is full of cover songs, and hearing them attack these originals is really great for me.

To sum it up in one short sentence: you need this album. Pre-orders will be announced soon via Nomad Eel Records, so get ready for that and I'll see you in the next review really soon. Enjoy!

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[queenbea-1610]

Happy 66th birthday to Randy Rhoads! ⚫️⚪️⚫️⚪️

[jonnolovesfob]

All the questions please?

hell yea my friend! this is gonna be one hell of a post.

Nikki Sixx - Favorite Bassist and Why?

i have multiple favorite bassists! my first favorite was pete wentz of fall out boy because he’s who inspired me to play bass! nikki sixx and duff mckagan because i love their style and sound and how much they put out there for their bands!

Rick Allen - Most Inspirational Band Member and Why?

honestly, it’s mick mars for me. he’s dealt with having to pay child support, sleeping where he could, bouncing from band to band, dealing with depression, and his ankylosing spondylitis. that man went through hell and back and still put on a show for the loyal fans of their bands!

Steven Adler - Favorite Drummer and Why?

i have a lot of favorite drummers tbh, but here’s a few! andy hurley and rian dawson from fall out boy and all time low because i just love how they play and their style! tommy lee of mötley crüe and james cassels of asking alexandria because they were both allegedly in marching band and i’m in marching band!

Axl Rose - Favorite Music Genre?

uh 00s pop punk, 00s punk, 00s metal, 70s-90s glam scene, 70s-90s hard rock and heavy metal, uh theres more-

Stephen Pearcy - Would You Ever Want To Be In A Band?

hell yeah! my bass teacher was supposed to filter me into one under his program with lessons and stuff but i was never in it. NEXT YEAR THO!

Izzy Stradlin - Who Would You Want To Be In A Band and Why?

i’d be the bassist and/or lyricist because that would honestly be fun to just mess around on stage like mr. sixx and my bandmates get mad at me

Tommy Lee - Drums or Guitar and Why?

both? they both have unique styles and ways to play them and i honestly think they’re both neat!

Johnny Rod - Would You Ever Do Anything To Get Where You Want To Go?

already working on that my friend! i’m working to be a band director/music educator as my endgame! i’m taking music theory lessons this week, i play a bunch of instruments—flute and electric bass as my main! i’m going to start learning oboe soon too!!

Steven Tyler - Favorite Album of All Time and Why?

oh boy. oh boy oh boy oh boy. i don’t even know! dr. feelgood by mötley crüe and led zeppelin III got me into classic rock and they mean something to me! but i find myself drawing back to hysteria by def leppard, too fast for love by mötley crüe, and love gun by kiss! they’ve all got that vibe that i like!

Eddie Van Halen - Favorite Guitar Solo?

probably the mick mars ten seconds to love live guitar solo. just OH MY GOD. it’s so good. it’s just so good live because he did a lot more improv. i’m just a mick mars fanatic arent i-

Slash - Have You Met Your Favorite Band Members?

NO- i have interacted with some of them on instagram though!!!

Robbin Crosby - Would You Do Drugs If You We’re In A Band?

ok, if i was thriving in the 70s or 80s, probably yes because that was a different time thing and they were huge in that scene. but otherwise, no cause i don’t wanna die-

Duff McKagan - Do You Have a Crazy Story You Tell When People Ask About Your Music Taste?

actually, i do honestly. it’s the story of how i got into mötley crüe!! i rlly don’t wanna tell it here, ask me in the inbox if you’re curious!!

Joe Elliot - Favorite Band and Why?

STOP. i cant lmao. but like i find myself drawing back to mötley crüe and fall out boy the most because they got me through a ton of crap!!

Eddie Van Halen - Do You Have A Crush On A Band Member? If So, Who?

let’s see, early 80s DLR, late 80s tommy lee, early zeppelin robert plant, early gnr izzy stradlin, late 80s duff mckagan, and the list goes on.

Kevin DuBrow - Do You Prefer More Guttural or More Soft Vocals In Songs?

i like both! it depends on the band and song because bands have different styles and stuff!!

Mick Sweda - A Song That Motivates You Every Time You Listen To It.

excitable by def leppard, pretty much any mötley crüe song, i stole your love by kiss, tnt by ac/dc and etc!

Jeff LaBar - Do You Have Any Embarrassing Nicknames For Band Members?

surprisingly not! i call nikki sixx mr. sixx but that’s pretty much it and it’s not embarrassing!! i mean angus young is shorty but shh

Randy Rhoads - Are You Going To Any Upcoming Concerts?

YES!!!! i’m going to see chicago as my first concert in july!! and then i have the hella mega tour in august for my second concert! and then i’m seeing the stadium tour next year!!

Mick Mars - If You Could Choose Any Band/Band Member To Make A Biopic Of, Who Would You Choose and Why?

mick mars because that man has been through hell and people need to see how he went from small to stardom and all that he suffered with! but if you’re looking for a band, i would say chicago because they’re one of the most influential jazz-rock fusion bands!!

[feverinfeveroutfic]

chapter eighteen: narcissus staring at his reflection

Another few weeks and another few weeks worth of having her ears blown out by the sheer amount of shows that took place before her, and Sam truly felt herself to be part of the music world as well as the art world. Every night, all the way until the final date in San Antonio, about a week before they had to prepare for the flight up to Oulu, in Finland, Charlie asked her to make a little sketch for him before he went up to the stage as sort of a good luck charm. He lent her a little blank notepad which he had found from the glove box in Anthrax's van, and he always made it specific, as well: they had to be in a sketchy style with strictly a black ink pen.

“Why exactly that?” she asked him one evening while the Cherry Suicides were setting up for their opening gig, and he gestured for her to move in closer to him.

“A little bird told me that Louie got one before I did,” he replied in a low voice.

“Zelda!” she hissed.

“Nah, not Zelda,” he assured her. “I did see it in the front window of Testament's van, though.”

“Oh, I see. Propped it up within their sight so everyone could see it.”

“Exactly! I'll get you more paper, too.”

“Yeah, I'm kind of starting to run low on this notebook paper, if I'm honest.”

But nevertheless, she sprung right to it: a little scratchy drawing of Charlie upon the lined paper, complete with the black curls all around his head. Sometimes, she drew a little drum kit before him to make it look as though it was in fact Charlie there: this was one of those times. Within a few minutes flat, she finished it and signed her initials at the bottom of the page, and then she handed it to him for good luck.

“You ought to compile all of those together in a collection of sorts,” she suggested.

“Like a little book!” He then snapped his fingers; from underneath his bangs, Sam made out the twinkle in his dark eyes. “There's an idea for you.”

“An art book?”

“Yeah! Something to do some day when you're out of school and you've made it big at some point.” He flicked his bangs back and he flashed her a little wink.

“Not soon? While you guys are over in Scandinavia with the girls and with Metal Church?”

“Nah, it'll take too much of your time, if I'm honest. Even I can tell you that. By the way—you heard this from me—” He glanced around him before he returned to her. “—we're gonna be with Ozzy, too.”

“No way!” Her face lit up at the sound of that.

“Yes way! But—” He leaned in closer to her again and he lowered his voice a bit. “—please don't tell Zelda, though. Scott and I want it to be a surprise for her. We got her and Minerva both into Ozzy and Randy Rhoads shortly after the announcement was made that we would be going to Finland. As far as the two of them know, it's just gonna be us with them and Metal Church.”

“Okay—” Sam was cut off by Frank and Dan skirting past her with their guitars in hand. She then glanced down at the notepad in her hands: two pages left, and of course not nearly enough to tithe her over until they left for England at the end of August.

“Also, Zelda wants to talk to you,” Charlie picked up again, that time with a slight clearing of his throat.

“About what?” she asked him.

He shook his head. “Dunno,” he confessed. “She just told me earlier over breakfast that she wanted to talk to you about something.”

“Well, where is she?” Sam wondered about that especially since she had bunked with the Cherry Suicides every night on this stint of the tour. She could have easily spoken to her about it at some point during one of those nights.

“She and Morgan are both signing autographs right now, believe it or not. I guess those girls are getting quite the fan base now. You know it's only a matter of time before they go Testament's route and start their own fan club. Morgan and I were talking about that just this morning over breakfast and I was like 'yes! You totally should at some point. Eric'll probably help you out with that, too, because he's the driving force behind that.'”

“What they get for thrashing all around,” Sam chuckled.

“Right! In fact, I've been seeing a lot more women in our crowds now because of them. Definitely more of the punky type of women given their music—lots of dyed mohawks and black leather and studs, but women nonetheless. From a mile away, I can tell they're all women. Not only do I have to owe it to the four of them, but I want to hand it to you and—” He cleared his throat. “—Marla and Belinda especially. Our first real big female fans.” Without a moment's hesitation, he put his arms around her and Sam returned the favor.

She then tucked the notepad into her pocket and before she could step away, Charlie spoke again.

“Did—Marla move into her new place by chance? I know it's been a while. I'm just—you know, just kinda curious.”

“I think she did?” Sam recalled: every night seemed to melt into itself, despite the new surroundings each and every time. “I'll have to ask her when I see her tonight, because I'm not too sure if I'm honest. I called her from the room last night and she told me that she's waiting for a direct deposit from me. And I promised her I'll get it once you guys run off to Finland, 'cause that's when I get the money from Jon.”

“I see. You know, I, um—” He cleared his throat again. “I still think about her from time to time.”

Sam squinted her eyes at him, and she flashed back on the night in which Marla came with her and Joey to her parents' house.

“She told me—you guys broke up because you have feelings about someone else.”

“And I do,” he answered, frank.

“Do you mind me asking?” She lowered her voice enough to where only he could hear her over the commotion around them. He nibbled on his bottom lip and he gazed off to the side.

“I won't tell anyone,” she vowed. “I promise. I'm not like Belinda—I'll keep a secret.”

He chuckled at that, but then his expression turned serious once again.

“Rosita,” he replied through gritted teeth.

“Really?”

“Yeah.” He nodded at her. “She's just—she's a babe. She rocks, too. Just the way she plays bass, man, it just—it kind of reminds me of the way Frankie plays bass and the way Cliff used to play bass, too.”

Her heart skpped a few beats at the sound of Cliff's name.

“Real friendly and just—” He shook his head again. “I've tried to ask her out but I just never got the courage to do so yet.”

“You ought to,” Sam told him. “Cliff did and we just clicked from that point on. For all you know, she might be the one for you.”

Charlie sighed through his nose and he nibbled on his bottom lip again.

“It's a long flight up to Helsinki from here,” he said. “That's a long time to think of the right words. I just don't really like being put on the spot like that. When I asked Marla out, she and I were all alone. It's just—finding that solitary moment, you know?”

“Yeah. 'Cause we're surrounded by people constantly.”

“Right. Exactly, yeah! I can always pull her aside—like when people are getting off of the plane. I'll ask her right there.”

“You should.”

“I don't wanna make any promises, though, 'cause something always come up. Things always come up, especially while on tour.”

“Right...”

“But I'll give it a shot, though,” he told her. “That's the only promise I can genuinely make is that.” He sighed through his nose and he glanced down to his hands. “And thank you for this, by the way.” He flashed the little sketch to her.

“Just—an artist to another artist.”

“Exactly!” Charlie peered over his shoulder to the other side of the room to the front doors and he knitted his eyebrows together. “Time is it?”

“I think it's almost noon?”

“I think Zelda might be on break. Why don't you go talk to her?”

Sam then nodded her head and once she tucked the notepad into her purse, she ambled over to the stairs at the edge of the stage; she padded across the narrow strip of carpet before the stage and then she made her way up one of the two aisles that split the rows of seats into neat thirds. She reached the double doors at the top there and she pushed open the one on the right: indeed, right in the front lobby of the theater was Zelda and Morgan seated at a low white table with felt tip pens in hand. The former had combed her back into a slick pompadour upon her head while the latter had on a bright red cowgirl hat and red lace gloves on her hands, complete with a red and black lace brassiere under a red lace bolero.

Zelda then turned her head and her face lit up at the sight of Sam.

“Hey, there she is!” she declared. “We were just discussing special outfits for tonight's show, given we're in Texas and whatnot.”

“Kinda makes me wish I had my black hat with me,” Sam confessed with a pat of her own head.

“We could be dead cowgirls,” Morgan said with a smirk on her face. “With nooses around our necks and splatters all over our hats.”

“Dead punk cowgirls,” Zelda corrected her with a nod. She then returned to Sam. “So what's up?”

“You wanted to talk to me about something?”

She hesitated and then she gasped and raised an eyebrow.

“Oh, that!” Her expression then turned serious. “Been meaning to tell you this for a couple of days now, and it just keeps slipping from memory. Just because I have other, important things to worry about and remember.”

Sam lingered next to her, and the edge of the table.

“Another reason to be nicer to Alex the next time you see him,” Zelda started again as she held the pen in between two fingers.

“What's that?” Sam asked her, and she hesitated once more.

“Do you ever notice how bullies tend to travel in packs,” she pointed out, and Sam stopped right in her tracks.

“What do you mean?”

“They travel in packs and the ones getting picked on are usually solitary.” She turned to Morgan. “Wouldn't you agree, Mo? That bullies travel in packs and their prey often stands alone?”

“Oh, yeah. And it's always a sign of vulnerability, too. They won't admit it, though. But why do you think—cowgirls—punks—metalheads—all travel in packs? Same mindset. Bullies have a similar mindset, but they refuse to admit it.”

Sam frowned at that as Zelda returned her attention to her.

“They travel in packs because they know they're weak on their own. So—my suggestion, Sam.” Zelda twirled the pen in between her fingers. “The next time you see him, like when we're out in California when we get home from Finland—talk to him. And really talk to him, too. That boy deserves it. He just looks—lonely to me. I don't really know his full story, other than what Louie, Zetro, and Greg have all told me about him, but I feel like he's an easy target. So—the little blow up you guys had makes me wonder if he sees you in a shitty light, and I know you're not like that at all. But he needs to know that. He needs to know that you're of good stature. I know it's gonna be hard, given he's so hard himself but—he's still just a young buck, though. We've met a few teenagers signing autographs in here—and it's just so cool to see. These young girls—a lot of boys, too—”

“The girls come for the music, the boys come for something else,” Morgan joked.

“Right!” Zelda burst out laughing, and then she straightened herself out. “But—we've been seeing these kids coming through here in Texas—and there were those kids in Portland, too. And I think it was that bunch—in Tacoma and also in Portland, that got me thinking about Alex again, because he's still just a kid and we haven't seen him in a few weeks 'cause they're with Overkill right now. And I just think—he's legally an adult, but he's still just a boy, though. So—try to talk to him if you can. Let him know that he belongs with the whole gang and everything.”

“It's a little bit hard for us,” Morgan filled in, “because we're punks. We're a punk band. A punk band opening for a metal band, so it just feels a little weird with us and whatnot.”

“But we think that,” Zelda continued, “—since you and him actually have a little bit of history with Cliff especially—you could do it better with him than any of us can.”

“Why us, though? Don't you think one of the guys from Testament could try and talk with him?”

“Because they're dudes,” Zelda replied with a flutter of her eyelashes, “they're not good with feelings like us. I actually tried doing that with Louie once and he was struggling with it, I could tell. One of the things that drove me nuts about him was how it almost felt like I couldn't talk to him about anything on an emotional level.”

Sam thought about that night in Boston, where Louie confessed that Zelda was his affair, and she tightened her lips at the very thought of that. Yet another secret to keep under wraps.

“Anyways—if you could do that, he could probably be a little more—present, I'd say? I was actually talking to Louie just last night and I guess they've been struggling lately.”

“Why's that?” Sam asked her.

“I guess they've been kicking serious ass with the music lately but—they're sorta lacking with the presence. Alex moves around a little bit but he's like stilted, though.”

“They're getting accused of being too much like Metallica, too,” Morgan added.

“Yeah, that's another thing! Chuck apparently sounds way too much like James which is horse shit to me. There's a little parallel there given they're all from the San Francisco Bay Area, but I don't really see it to be honest.”

A knock on the glass door to up the lobby from them caught their attention. Sam recognized that head of fiery red hair in the midday sun outside as she peered in through the smoked glass pane. Fiery dyed red hair coupled with large brown sunglasses, a white camisole over a matching long skirt, and a big shabby hand bag.

“Hey, it's Marla!” Sam called out; she padded over to the doors but before she reached Marla there, she returned to Zelda and wagged a finger at her.

“I'll remember that,” she vowed, and Zelda nodded her head at her. Sam then opened the door and she was greeted by a blast of hot humid air in stark contrast to the air conditioner around her.

“Hey, you!” Marla greeted her and she stepped inside the lobby and shut the door behind her.

“I was wondering when you'd get here,” Sam replied and they embraced one another.

“So Bel and Aurora helped me move my things into the new place in Hell's Kitchen,” Marla started again as she took off her sunglasses, “I just need the other side of the first month's rent and the deposit, too.”

“Well, this is the last date of the tour before they—” Sam gestured back to Zelda and Morgan at the table. “—head up to Helsinki next week. That's when I get paid.”

“Okay, good!” Marla then reached into her hand bag for something and she took out her big Polaroid camera.

“Hey, I remember that.”

“Oh, yeah, we got together at L'Amour—many moons ago, and you made that drawing of me and Charlie. And you used that Polaroid, too. I decided, eh, why not have it again?”

She turned back to Sam again.

“You wanna get something to drink? I'm like dying of thirst right now.”

“I'd love to.”

“You ladies wanna join us?” Marla called to Zelda and Morgan.

“We're shooting the rock star bullshit and signing autographs,” Zelda replied. “We should be seeing more people coming through here in about ten minutes.”

“Yeah, I saw a bunch of people standing out in the shade around the corner here. I thought maybe they showed up early for will call.”

“Nah, it's for them,” Sam told her. “They're actually starting to make serious headway in the music world now.”

“Right on! Anyways, there's a juice bar right up the street here. We can sit in the shade, too, and I just heard that we're not too far from the River Walk and the Alamo, either.”

“So you can literally call me Sam Houston now!”

Zelda and Morgan laughed out loud at that.

“Right!” Marla chuckled. “But anyways, it's actually not bad out—it's just the sun is hotter than holy fuck is all.”

“Sounds like a plan.” Sam returned to Zelda and Morgan. “I'll see you girls later—”

The two of them stepped outside to the sun as it hung high in the clear blue sky over their heads. Indeed, it wasn't that hot out, but the contrast of the air conditioner and the sunlight on their heads and the sidewalk around them made Sam wish for one of those large oak trees to cover their heads all the way up the block to the corner.

“So we've got a nice view of the water,” Marla told her.

“And it's close to school, too, I remember you telling me that.”

“Yeah, it is! No more taking the stinkin' subways so much. And by the way, Bel told me to tell you that, yes—we will help you. We kinda have to help you.”

“I moved cross country,” Sam recalled, “with the help of my parents, and almost by sheer luck, I met Frankie and Joey, but yeah—I could definitely use a little help.”

They reached the juice bar in question and Sam took to the table right before the front door, right underneath an oak tree and a pair of short stubby palmetto trees, and she set her purse down before her. Marla offered to buy up for her given she hadn't a lot of money on her at the moment.

“I'm just gonna use the bathroom real quick, though,” she told her as she set her purse down on the table before her. Sam nodded her head as she watched Marla head inside of there: that cherry red hair as bright as the very sun itself. Sam gave her hair a toss back and a light breeze came up from behind her. Still not enough to beat the intense summer sun, and she reached into her purse for a ponytail holder.

Out of the corner of her eye, she noticed something by the corner to her left. As she tied up her hair, she looked over and spotted Joey at the corner of the building. He was looking at something, but she couldn't tell as to what he looked at there.

She set her hands down on her lap and she watched him. He stood before the glass and he leaned back a bit. He was looking at his own reflection.

She had an idea.

That in and of itself could act as her newest painting, and she would put more thought into it this time around. She knew he would move at some point. He turned his back to her right then. She had nothing with her but the little notepad and the ink pen in her purse.

But then again, Marla's camera stood right there on the table next to her. Without a second thought, she picked up the camera and she pointed it in Joey's direction. All the times she thought of making a stained glass window about his likeness.

Slim and delicate, almost elegant in fact. The black curls sprawled down his back towards his thin waist. The white shirt he wore only accentuated the thinness of his body and the richness of his curls.

She took out the camera and she took the cover off of the lens. She peered in through the aperture and there he was, right within her line of sight.

“C'mon, Joey, turn to the side again,” she muttered to herself; she rested her finger on the bottom on top. For a second, she felt like a genuine photographer. “The other side. C'mon, Marla's gonna be back soon.”

Like magic, he turned to the right side. She pressed the button and the flash dissipated with the midday sun so he couldn't see it. The camera spat out the Polaroid and she took it before anyone could see it for themselves. She waved it about so the ink would settle in on the paper.

His slim body was as flat as a washboard, and his curls sprawled down towards his waist like tentacles. He had slightly bent his legs at the knees all the while, but she knew she had the perfect subject to work with no one was looking. The decision now was between acrylic paints on canvas once again, or to go forth with the stained glass idea. If she carried out the latter, she would have to take a better shot of him, or he would have to sit still for her again, and she had no idea as to when he would do that again for her.

But she chuckled to herself as she looked on at the photograph in hand. She glanced up and she recognized Marla's head of cherry red hair on the other side of the glass, thus she quickly slipped the camera back into Marla's hand bag and she stashed the Polaroid into her own. Joey then strode away from the glass reflection and towards the front door of the juice bar for himself.

Some day, she would carry out that stained glass idea with him. It was a matter of when and how. Add to this, as she peered into her purse once again, she spotted that little plastic bag at the bottom there. A little more inspiration was all she needed, courtesy of Joey himself. But she had no lighter to do that just yet.

She took another glimpse up to the front door of the bar, and Joey had made his way inside; Marla then doubled back outside, right past him and towards the table once again. She squinted her eyes against the hot summer sun.

“So they've got all manner of smoothies and good stuff for us.”

“I'll take blueberry if they have it,” Sam told her.

“The special for today is blueberry pomegranate.”

“I'll have that then!”

Marla opened her bag for her wallet and frowned at what she saw before her.

“What happened here?” she wondered aloud.

“What do you mean?”

She picked up her camera and she delved about the bottom of the hand bag for something.

“The cover came off of the lens.” And Sam shook her head at that given she merely tossed the lid in there. Marla stuck the cover back on and then she returned for her wallet.

“It is getting kind of long in tooth, though. I've had it a long time... anyways, I'll be right back. And Joey's in there, by the way!”

“Oh, boy!” Sam felt her face grow warm at the sound of that, and Marla returned to the front door once again. The sight of Marla putting the cover back onto the lens made her think of Zelda's words to her. She could keep a secret, and yet she needed to heed by that promise as well. She reached into her purse again, and that time for the notepad and the pen.

The last night of the North American stint for the time being and she could fill in the next two pages there with some other things. She lifted the penultimate page and then she set the pad down on the table before her.

“'Talk to Alex,'” she muttered to herself as she wrote the words down on that final page of the notepad. Now she had something else to live to, especially since Marla knew nothing about what had happened that morning in her own city.

[guitarheadsnet]

Happy Birthday to Randy Rhoads! Randy was my personal guitar hero when I was learning to play, so it was only fitting that he became our first engraved design so many years ago. Fun fact: it took over 40 hours to hand draw & digitally design our RR Neck Plate! #guitarheads #randyrhoads #guitar #polkadot #sandoval #jackson #jacksonguitars #neckplate #trussrodcover #custom #engraved #rr #metal #ozzy #ozzyosbourne #quietriot #guitars #guitarist #rip #guitarhero #guitarlegend #guitarlife #guitarnerd #guitarporn #guitargear #guitarupgrade https://www.instagram.com/p/B5vKXiNnWRZ/?igshid=m6nab9u7j9yg

[parakeettle]

Oh my god! Your art is AMAZING! I love it. Have you ever thought of drawing Tom Keifer, Kevin DuBrow, or Randy Rhoads? I think they'd look amazing in your drawing style :)

Thanks for suggesting! But since Randy's my favourite I will draw him ;))

((Might find sometimes to draw the others though!))

[littlefatrat]

I know you don't take requests and I have no money for a commission but I love your art and I'm curious if you'd ever draw Randy Rhoads. I know you drew Ozzy (Which was amazing by the way) and I'm just curious if you'd apply your amazingly beautiful skills to a drawing of Randy Rhoads.

Oooh yeah, I love Randy ♡♡♡

[thetapelessworld]

Audified is proud to announce availability of MultiDrive Pedal Pro

Audified is proud to announce availability of MultiDrive Pedal Pro

Audified is proud to announce availability of MultiDrive Pedal Pro — pushing further forward with its virtual stomp box breakthroughs by bringing the legacy of erstwhile brand DSound’s first guitar software (released as Stomp’n FX Vol. 1 and Stomp’n FX Vol. 2 way back in 2000) and later featured, for example, in Audiffex’s inTone2 (multifaceted multichannel effects processor, software mixing console, virtual instruments host, and flexible multitrack zonal player) back to the future as 12 legendary effect pedal plug-ins, professionally primed to provide the perfect bundled blend of overdrive, distortion, fuzz, and boost for today’s DAW-driven studio setups — as of November 27…

You can never have enough effect pedals. Just ask any guitarist worth their sonic salt! Since there are literally thousands of stomp boxes on the market, maybe this is hardly surprising — all the more so since they each offer something different in terms of sound, purpose, or quality. Quantifying this time-honoured trend in today’s DAW-driven workflow with its all-new MultiDrive Pedal Pro plug-in bundle sits naturally with the future-facing nature of Audified. As such, it is professionally primed to provide the perfect bundled blend of overdrive (for power), distortion (for complexity), fuzz (for fuzziness), and boost (for allowing every detail to shine through). The talented team of Audified engineers expertly draw upon the company’s rich history of creating quality guitar software to simulate 12 legendary effect pedals that every musician should have in their studio setup. Since this effectively represents the company’s third generation of stomp box models — made with totally new modelling technology — they simply sound perfect!

Put it this way: with MultiDrive Pedal Pro, Audified removed every last screw from every effect pedal modelled, meticulously measuring all components within, so users cannot tell the difference between the real-world stomp boxes and the following software simulations so readily accessible in the resultant bundle. 808-Scream is based on the TS-808 Tube Screamer, a guitar overdrive pedal made famous by Ibanez. It was originally released in the late Seventies, and its characteristic mid-boosted tone soon proved popular with blues and rock guitarists. It has since been used by countless guitarists to create their signature sound, remaining one of the most successful, widely copied, and ‘modded’ overdrive pedals in the history of the electric guitar! 9-Scream is based on another overdrive guitar pedal from Ibanez — the TS-9 Tube Screamer. Indeed, Ibanez produced the so-called ‘9-series’ between 1982 and 1985, with the TS-9 Tube Screamer being almost identical, internally, to the TS-808 Tube Screamer, but boasting a different output, resulting in a brighter, less smooth sound.

B-Drive is based on the BOSS BD-2 Blues Driver, delivering the creamy, yet crunchy sound associated with great blues guitar. This popular pedal provides instant access to the kind of warm overdrive and emotive distortion usually reserved for 30-year-old tube amps.

O-Drive is based on the now-legendary BOSS OD-1 OverDrive. Seventies-vintage artists mostly made use of a fuzz distortion sound, so the overdrive produced by the OD-1 OverDrive was not exactly typical for the time. It was, however, soon accepted as a new standard of guitar sound. Speaking of sound, the OD-1 OverDrive features an asymmetric circuit where the positive and negative halves of the waveform are not distorted equally.

S-Drive is based on the BOSS SD-1 Super OverDrive. This sonic stalwart has been around for a very long time and has gone almost unchanged from its inception back in 1981. Again, an asymmetric overdrive circuit is at its core. This responds very well to the force of a player’s picking, producing a dynamic and smooth overdrive effect well suited to any type of rock music. Many guitarists also use the SD-1 Super OverDrive as a booster pedal for valve amplifiers.

One-Distortion is based on the BOSS DS-1 Distortion, a true icon in the wonderful world of guitar effects. Introduced in 1978, BOSS’ first distortion pedal defined a bold new sound, delivering hard-edged attack and smooth sustain that has been a staple of players for generations. Get this, though: the DS-1 Distortion is the top-selling BOSS compact pedal of all time, and its original, unchanged design continues to inspire the creation of great music worldwide.

BAT-Distortion is based on Pro Co Sound’s RAT Distortion. ‘The Rat’ became very popular in the early Eighties, thanks, in part, to being used by several famous artists. As a primary distortion device, it excels at arena rock rhythm tones and soaring leads, but its true beauty lies in its versatility.

XXL-Distortion is based on the Distortion+ pedal originally designed in the Seventies by MXR Innovations. Its name implies distortion, and indeed it does distortion (parallel clipping) well, but boasts a rather mild sound. It is perhaps best known for its crunchy heavy metal sound that was featured by Randy Rhoads in his work with Ozzy Osbourne. The Distortion+ delivers everything from cool overdriven blues tones to huge Eighties hard rock distortion.

M-Distortion is based on the MT-2 Metal Zone, one of BOSS’ most popular pedals. Duly delivering a wide range of distortion sounds with three-band EQ and strong sustain, it is capable of some of the most over-the-top, insane distortion tones in the world — with huge mids and lows, alongside an ultra-saturated sound!

F-Fuzz is based on Jim Dunlop’s Fuzz Face, an effect pedal mainly used by electric guitarists and also some bass players. Designed to produce a distorted sound from an electric guitar, a sound often referred to as ‘fuzz’ — which was sometimes achieved by accident earlier through broken electrical components or damaged speakers, this particular Fuzz Face distortion is constructed to vintage specs, featuring the original Germanium PNP transistor design for a rich, creamy fuzz sound.

M-Fuzz is based on the Big Muff Pi (π). Produced in New York City by Electro-Harmonix, along with Russian sister company Sovtek, this fuzz box is primarily for use with electric guitar, but also used by bassists due to its squeaky frequency response. Hendrix and Santana were among the first to get a piece of the Pi, so-to-speak, and the Big Muff — as it has become simply known — has been defining the sound of rock guitar for over 40 years!

T-Booster is based on the Brian May Treble Booster, an effect unit used by guitarists to boost volume and especially the high end of their tonal spectrum, which was particularly popular during the Sixties. Beloved by guitarists such as Ritchie Blackmore, Marc Bolan, Rory Gallagher, Tony Iommi, and, of course, Brian May, treble boosters were used to overdrive amplifiers in order to create a more distorted yet focused sound.

So that’s Audified’s all-new MultiDrive Pedal Pro... providing a perfect bundled blend of true tone pedal plug-ins, professionally primed for today’s DAW-driven workflow — fresh from the company with over 20 years’ worth of exemplary effects development to its notable name. No need to buy dozens of stomp boxes separately or download imperfect simulations; simply download MultiDrive Pedal Pro for perfect simulations of 12 legendary effect pedals at a pocket-friendly price! MultiDrive Pedal Pro is available to purchase for $69.00 USD from Audified’s online shop here: https://shop.audified.com/products/multidrive-pedal-pro (Note MultiDrive Pedal Pro requires iLok License Manager 3.1.6 or newer as it is protected by PACE Anti-Piracy Inc.’s software machine licensor USB smart key device, details of which are highlighted here: https://shop.audified.com/pages/how-to-activate-ilok-license) MultiDrive Pedal Pro can be directly downloaded as a bundle of multi-format (AAX, AU, VST2, VST3), 32- and 64-bit native plug-ins for MacOS (10.9 and above) and Windows (7, 8, and 10) — alongside a fully-functional, 30-day trial version — from Audified here: https://services.audified.com/download For more in-depth info, please visit the dedicated MultiDrive Pedal Pro webpage here: https://shop.audified.com/products/multidrive-pedal-pro Watch Audified’s official MultiDrive Pedal Pro video here: https://youtu.be/sWdoJgIxMsc

MultiDrive Pedal LE, a limited-edition version of MultiDrive Pedal Pro featuring O-Drive only, is available to purchase for only $5.00 USD from Audified’s online shop here: https://shop.audified.com/products/multidrive-pedal-le

MultiDrive Pedal LE can be directly downloaded as a 32- and 64-bit native plug-in for MacOS (10.9 and above) and Windows (7, 8, and 10) — alongside a fully-functional, 30-day trial version — from Audified here: https://services.audified.com/download

For more in-depth info, please visit the dedicated MultiDrive Pedal LE webpage here: https://shop.audified.com/products/multidrive-pedal-le

[sakerecordsllc]

Beautiful drawing. #Repost @frank_aquilina_tattooist FOREVER YOUNG . The amazing Randy Rhoads . He wasn’t with us for very long but what an impression he made , and what a legacy he left behind . #randyrhoads #crazytrain #ashleytalentinternational #ozzyosbourne #heavymetal #hardrock #quietriot #diaryofamadman #flyingv #flyingvguitar #polkadotflyingv #rip #restinpeace #copicmarkers #copic #derwentpencils #derwent #outofworktattooartist #freelanceartist #hitmeup #thanksforlooking https://www.instagram.com/p/B-xoylgH5v-/?igshid=apgve3wwjkty