Slash & Hendrix

Ex-Guns N' Roses guitarist Slash has let slip that there will be a Guitar Hero title centered on 1969 Woodstock headliner and Greatest Guitarist of All Time Jimi Hendrix.

Slash, speaking on tribute games Guitar Hero: Metallica and Aerosmith, said to Rolling Stone: "Those are two ones that I think gives it some credibility. And they're doing a Hendrix one, which is great."

As one of the original Guitar Heroes, Slash speaks with authority and enthusiasm on how the real-world music industry interacts with the plastic-guitar-jamming franchise. "You have to understand how the game works and what band really fits in to that," explained Slash. "AC/DC is probably the top one. They don't need the boost, but that would be the top one," he added.

Official confirmation of the game, or information on platforms or a release date, has yet to come from Guitar Hero series publisher Activision.

If you want to know about jimmy's soloing style just click word that underlined.

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basic chord

Although practicing the previous chromatic scale will certainly provide you with great benefits (like limbering up your fingers), it is admittedly not a whole lot of fun. Most people love to play "chords" on the guitar. Playing a chord involves using your pick to strike at least two notes (often more) on the guitar simultaneously. The following are three of the most common, and easy to play chords on the guitar.
Playing a G major chord
This diagram illustrates the first chord we are going to play, a G major chord (often simply called a "G chord"). Take your second finger, and put it on the third fret of the sixth string. Next, take your first finger, and put it on the second fret of the fifth string. Lastly, put your third finger on the third fret of the first string. Make sure all of your fingers are curled, and are not touching any strings they're not supposed to. Now, using your pick, strike all six strings in one fluid motion. Notes should ring all together, not one at a time (this could take some practice). Voila! Your first chord.Now, check to see how you did. While still holding down the chord with your fretting hand, play each string (starting with the sixth) one at a time, listening to be sure each note rings out clearly. If not, study your hand to determine why it doesn't. Are you pressing hard enough? Is one of your other fingers touching that string, which is preventing it from sounding properly?

Playing a C major chord
The second chord we'll learn, the C major chord (often called a "C chord"), is no more difficult than the first G major chord.Place your third finger on the third fret of the fifth string. Now, put your second finger on the second fret of the fourth string. Finally, put your first finger on the first fret of the second string.Here's where you have to be slightly careful. When playing a C major chord, you do NOT want to strum the sixth string. Watch your pick to make sure you only strum the bottom five strings when you are first learning the C major chord. Test this chord as you did with the G major chord, to make sure all notes are ringing clearly.

Playing a D major chord
Some beginners have slightly more difficulty playing a D major chord (often called a "D chord"), since your fingers have to cram into a fairly small area. Shouldn't be too much of a problem, however, if you can comfortably play the other two chords.Place your first finger on the second fret of the third string. Then, put your third finger on the third fret of the second string. Lastly, place your second finger on the second fret of the first string. Strum only the bottom 4 strings when playing a D major chord.
Spend some time familiarizing yourself with these three chords... you will use them for the rest of your guitar-playing career. Make sure you can play each of the chords without looking at the diagrams. Know what the name of each chord is, where each finger goes, and which strings you strum or do not strum.

how to holding a pick

Hopefully, you've found, bought or borrowed a guitar pick. If not, you'll need to buy yourself some. Don't be stingy, go and pick up at least 10 of them - guitar picks are easy to lose (they often don't cost more than 30 or 40 cents each). You can experiment with different shapes and brands, but I highly recommend medium gauge picks to start; ones that aren't too flimsy, or too hard.The following documentation explains how to hold, and use a pick. When reading, keep in mind that your "picking hand" is the hand which is nearest to the bridge of the guitar, when sitting in the correct position.

1. Open your picking hand, and turn the palm to face you.
2. Close your hand to make a very loose fist. Your thumb should remain beside your index finger.
3. Rotate your hand until you are looking at it's profile, with your thumb's knuckle facing you.
4. With your other hand, slide your guitar pick between your thumb and index finger. The pick should be approximately located behind the knuckle of the thumb.
5. Be sure the pointed end of the pick is pointing directly away from your fist, and is protruding by about a half an inch. Hold the pick firmly.
6. Position your picking hand over the soundhole of your acoustic guitar, or over the body of your electric guitar. Your picking hand, with thumb knuckle still facing you, should hover over the strings.
7. Do not rest your picking hand on the strings or body of the guitar.
8. Using your wrist for motion (rather than your entire arm), strike the sixth (lowest) string of your guitar in a downward motion. If the string rattles excessively, try striking the string a bit softer, or with less of the pick surface.
9. Now, pick the sixth string in an upwards motion.
10. Repeat the process several times. Try and minimize motion in your picking hand: one short picking stroke downwards, then one short picking stroke upwards. This process is referred to as "alternate picking"
11. Try the same exercise on the fifth, fourth, third, second, and first strings.

Tips:

• Holding the pick in this manner will invariably feel awkward at first. You will initially have to pay special attention to your picking hand whenever you play guitar.



• Try and create fluidity in your alternate picking. Your downstrokes should sound virtually identical to your upstrokes.
  
  

Yngwie Malmsteen Launch New Album!

Finally, album that’ve waited for neoclassic fans will released. Legendary Swedish guitarist Yngwie Malmsteen will release his latest studio album, "Perpetual Flame", on October 14, 2008. The CD will be the first-ever Yngwie effort to be released via Rising Force Records (distributed via Koch) and it will mark the debut of Malmsteen's new singer, ex-Judas Priest/Iced Earth frontman Tim "Ripper" Owens.
Featuring twelve tracks of "pure six-string metallic bliss" (which stretches to almost 70 minutes total), the album was produced and engineered by Yngwie himself, and mixed by Roy Z (who has previously worked with Judas Priest and Bruce Dickinson, among others). Joining Yngwie and Ripper on the album are keyboardist Derek Sherinian and drummer Patrick Johansson (Yngwie contributed bass, additional keyboards, and vocals, as well), but on tour, Michael Troy will supply keyboards, and Bjorn Englen will be laying down the bass. A supporting tour of the U.S. and Canada is slated to run through all of October.
In addition to the arrival of "Perpetual Flame" in October, another career highlight is slated for that same month — Yngwie will be inducted into Hollywood's RockWalk on Monday, October 13 in Los Angeles. A new Fender/Yngwie Malmsteen custom shop guitar will also be unveiled on November 28 (with a limited run of 100 instruments) and there will be a slew of CD reissues of Yngwie classics to soon be announced.

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Zakk Wylde ZV Buzzsaw

From his early work with Ozzy Osbourne, to his seminal playing with Black Label Society, to his distinctive solo outings, Zakk Wylde has distinguished himself as one of the most fiery and furious lead players in all of rock. Now the Gibson Custom Shop has released a new Inspired By model that’s as scorching and vicious as its namesake’s chops: the new Zakk Wylde ZV Buzzsaw, available now in a limited run of only 50 guitars.
Zakk Wylde ZV Buzz SawBlending classic Gibson touches with all the tools required to crank out the fiercest forms of contemporary rock, this could be the ultimate weapon for axemeisters looking to hack out anything from metal to grunge to the most eviscerating shred styles. Appearing like some rebel offspring of two of the most radical body shapes in rock history — the Gibson SG and the Gibson Flying V — the Zakk Wylde ZV Buzzsaw carries everything a player needs to get the job done: dual EMG 81 & 85 active humbucking pickups in the bridge and neck positions yield a sizzling output with unprecedented fidelity, dual Volume controls and a master Tone provide easy balancing of your individual voice, and a Nashville Tune-o-matic bridge and V tailpiece with through-body stringing give enhanced sustain and resonance, along with easy intonation. These no-hold-barred appointments are partnered by a heavy, aggressive look, too. The solid-mahogany body is finished in ebony with an orange “buzzsaw” graphic, while the glued-in three-piece maple neck carries a 22-fret ebony fingerboard with Custom-grade pearl block inlays and Les Paul Custom-styled headstock veneer.
“Everything on this guitar is exactly as Zakk wanted it,” said Michael McGuire, Operations Manager of Gibson Custom, “including the pickup selector switch on the upper-rear point of the body.”
A detail that might look a little odd at first glance, the selector switch is positioned for easy access in playing position — just one of the many little touches demanded by Wylde.
“This guitar is something a little different for Gibson,” McGuire added, “But it’s a lot of fun!”
Each of the 50 limited edition examples of the Inspired By Zakk Wylde ZV Buzzsaw will come with an exclusive Gibson Custom hardshell case, custom care kit, and a Certificate of Authenticity signed by Zakk himself.

www.guitarworld.com

Fender Stratocaster

The Fender Stratocaster, often referred to as the Strat, is a model of electric guitar designed by Leo Fender, George Fullerton and Freddie Tavares in 1954, and manufactured continuously to the present. It is a double-cutaway guitar, with an extended top horn for balance while standing. The Stratocaster has been used by many leading guitarists, and thus can be heard on many historic recordings. Along with the Gibson Les Paul, Gibson SG, and the Fender Telecaster, it is one of the most common and enduring models of electric guitar in the world. The design of the Stratocaster has transcended the field of music to rank among the classic industrial designs of all time; examples have been exhibited at major museums around the world.[7]

In its original form, the Stratocaster was offered only in a 2-color sunburst finish, together with a solid one-piece maple neck with 21 frets, black dot inlays and Kluson machine heads. The single-ply, 8-screw hole white pickguard was a unique concept that allowed all of the guitar's electronic components - except the recessed jack plate - to be mounted on one easy-to-remove surface. Subsequent Stratocaster designs (by both Fender and other imitating companies) have ostensibly improved upon the original in usability and sound, but vintage Fender models are still often worth large amounts of money and some prefer the timbre of older models.

The Stratocaster has been widely copied; as a result, the term "Strat," although a trademark of Fender Musical Instrument Corporation, is often used generically when referring to any guitar that has the same general features as the original, regardless of manufacturer.

The Stratocaster's radically sleek, contoured body shape (officially referred to by Fender as the "Comfort Contour Body") was a marked difference to the flat, slab-like design of the Telecaster. The body features a unique curve on the upper back and a gradual curve at the front bottom, where the player's right arm rests. The one-piece maple neck's uniquely-shaped wide "dogleg"-style headstock again contrasted to the very narrow Telecaster's, which was designed shortly after World War II when wood supplies were less plentiful. The strings are anchored on a through-body pivot bridge attached with springs to a 'claw' in the bridge cavity on the back of the guitar. Original Stratocasters were shipped with five springs anchoring the bridge flat against the body. Players were able to remove the backplate covering the bridge, remove two of the springs and tighten the claw screws to allow the bridge to 'float,' with the pull of the strings in one direction countering the pull of the springs in the opposite direction. Once in the floating position, players can move the tremolo arm mounted on the bridge up or down to increase or decrease the pitch of the notes being played. Many players such as Eric Clapton, who dislike the instability of tuning of floating bridge Stratocasters, usually block the tremolo bridge by inserting a small wedge of wood in the front of the inertia block (the gap nearest the neck) and placing excessive spring tension on it to pull the fulcrum tight against this block.

The Stratocaster features three single coil pickups, with the output selected by a 3-way switch (the 5-way pickup selector, a standard feature since 1977)[8], allowed further tonal combinations and provided better switching stability; the "quacky" tone of the middle and bridge pickups, popularized by players such as Mark Knopfler, Bob Dylan, Eric Clapton and Robert Cray, can be obtained by using the pickup selector into positions 2 and 4). The neck and middle pickups are each wired to a tone adjustment knob, while the bridge pickup, which is slanted towards the high strings for a more trebly sound, has no tone control. On many modern Stratocasters, the first tone affects the neck pickup; the second tone affects the middle and bridge pickups; on some Artist Series models (Eric Clapton and Buddy Guy signature guitars), the first tone is a presence circuit which cuts (or boosts) treble and bass frequencies, affecting all the pickups; the second tone is an active midrange booster which boosts the midrange frequencies up to 25dB (or 12dB), giving a richer, fatter sound, almost identical to that of a full-sized humbucking pickup. The Elite Stratocaster of 1983 had similar features, except for the addition of three push-push buttons for pickup selection and a side-mounted jack socket. All three pickups' volume level is controlled by a single volume knob. The placement of the knobs allowed for relatively easy manipulation of the sound with the right hand while playing. The Stratocaster is noted for its bright, clean and 'twangy' sounds. Its sound quality is mainly determined by the dryness of its wood. Its wood is very dry and was dried in heated storage for three to six months before final precision cutting. The neck pickup has a mellower, fuller and louder sound compared to the brighter and sharper tone of the bridge pickup. The middle pickup provides a sound somewhere between the two. Typically, the neck pickup is used for rhythm playing, while the bridge pickup is used for lead work.

Legend From East

The Tielman brothers is a band which came from Indonesia. They had an unique live perform that never shown by any other band. THE TIELMAN BROTHERS’s name has token from them family name. This band is a pioneer of rock and roll genre. The story of THE TIELMAN BROTHERS begin in Surabaya, where the 4 little brothers Tielman and little sister Jane started performing together in 1945 folk songs and traditional dances. Father Herman a captain and later quartermaster in the KNIL (Royal Dutch Indonesian Army) and he had stayed in a Japanese concentration camp. He owned a house in Surabaya and started to play music together with his friends. Herman Tielman was a gifted all round musician and he was the one that supplied Reggy, Ponthon, Andy, Loulou and Jane with their rich musical luggage. From the started Ponthon wanted to play the big double bass. Reggy wanted to play banjo and little Loulou was fond of the drums. Andy learned to play lead guitar. During their first performance during a house party they surprised their fathers friends with difficult numbers like Tiger Rag and 12th Street Rag.
Gigs followed at several private parties in Soerbaya. It went fast and within half a year they went on tour as THE TIMOR RHYTHN BROTHERS -Timor is the island, where the Tielman family inherited from - along the camps of the Dutch soldiers. There after they received offers from the NIWIM (National Effort Welfare Indonesia) and together with famous Dutch artists like De Wama’s, the Ramblers and the Skymasters they toured along the major cities of Indonesia. Their shows consisted of music and dances from all over the Indonesian islands including corresponding costumes and ritual attributes like war spears and swords. During these shows father Herman Tielman joined in on guitar mother Flora took care for the general presentation.

The Timor Rhythm Brothers (early 50's)
On the 29th December 1949 the official independence proclamation of Indonesia took place. The Tielman family now performed for the Indonesians. They even performed in the palace of president Soekarno in Djakarta. When they grew older they started to cover the top hits in perfect close harmony. In 1951 they were introduced to Guitar Boogie of Arthur Smith. Andy later told in an interview: ‘this was the first song which my brothers and I converted into rock ‘n roll by adding drums to it’. Later they started playing number of Les Paul, Elvis Presley, Little Richard, Bill Haley, Fats Domino, Chuck Berry and Gene Vincent. Andy also played together with Dolf de Vries in the band THE STARLIGHTS in Djakarta. Also on Sumatra he played without his brothers in the Hawaiian band of Freddy Wehner.

THE TIMOR RHYTHM BROTHERS –THE FOUR TIELMAN BROTHER-THE 4 T’s (Breda 1957-1959)
At a certain moment they were offered an extensive tour throughout Indonesia, but only on condition that they should change their Dutch nationality into Indonesian. In the opinion of Herman Tielman his children would have a better future in the Netherlands and in 1957 the family repatriated to Holland by boat. Ponthon was already repatriated one year earlier and lived with his wife in Bussum.
After arrival in Holland they were settled in Breda in boarding house Smulders at the Baronielaan. They possessed only of a small suitcase with thin tropical cloths and they were confrontated with the cold Dutch winter. Luckily the DMZ (Military Affairs Service) supplied them with warm clothings. Edu Schalk - later singer with the Poetiray Brothers from Oosterhout- was their first Indonesian friend in Breda. The brothers went to the music shop Spronk in Breda and after they had convinced the owner of their great talents with their version of Bye Bye Love by The Everly Brothers, they were allowed to buy the most expensive guitars from the shop at instalment purchase. That became the legendary big white Miller guitars and a sunburst Wilson guitar. These were products of the Egmond company from Eindhoven (type ES 57). Later they also bought Egmond combo amplifiers to replace the old radio’s they were using. Their first appearances took place in Hotel De Schuur at the Catharinalaan in Breda. In the beginning they performed as the TIMOR RHYTM BROTHERS but soon they called themselves THE FOUR TIELMAN BROTHERS or THE 4 T’s. They soon went famous in Breda and started gigging other places in the province Brabant like Kamp Lunetten in Vught and dancing De Cosmopoliet in ‘s Hertogenbosch.
The big aluminium balls of the Atomium in Brussels, Belgium still remember us of the world exebition Expo 58, which was held from the 17th April until the 19th October. At that time Hawaiian music was very popular in Europe and as a part of the Attraction Park a Hawaiian Village was created. With a decoration of palm trees, a blue sky and exotic plants and flowers Rudi Wairata (steel guitarist) and Mike Anoi (Guus 'broer' Arends) and their Hawaiian band played as main act. Several Dutch bands appeared and also THE FOUR TIELMAN BROTHERS were invited. They were allowed to fill a break of 20 minutes. They gave a spectacular rock ‘n roll show as never in Europe performed before. Andy played guitar with his foot, the guitars were played reverse in the neck, his guitar was played with the drumsticks of Loulou, the double bass was handled in a sheer acrobatic way and guitars were tossed between the brothers. The 20 minutes became almost 6 months.
The Belgian René ‘Nappie’ Vlasselaar became their manager and arranged a recording session for his label Fernap. Together with his brother Ferry he owned the jukebox company Fernap (Ferry and Nappy). Rock Little Baby Of Mine was an up tempo rock song written by Andy Tielman as well as the flip side the ballad You’re Still The One. The inspiration for both songs came from his idol Elvis Presley, but the specific Tielman style was already present despite the primitive recording techniques. During that period Andy got married in Brussels to Jeanine M. When after one night all their guitars and amplifiers were destroyed by a fire at the Expo his father in law Roger M. bought them enormously expensive Gibson guitars and amplifiers brought in straight away from the U.S.A. Hans Joachim Kulenkamp and Peter Frankenfeld, famous German TV showmasters, discovered the Tielman Brothers at the Expo and invited them at the end of 1958 to Germany for a guest appearance in their TV show and a musical show act in the movie Paprika
The very first performances of THE TIELMAN BROTHERS in Germany took place at at "Plankenkaffee Kosschenhaschen" in Mannheim from 3 up to 16 January 1959. One night their show was filmed by Hessischer Rundfunk (HR) and was live on German TV January 27, 1959. This footage was transmitted again in Germany in the SWF-Abendschau. The Tielman Brothers were also invited on the 29th January 1959 at Hotel Deutsches Theater in München during a movies ball at the occasion of the premiere of the movie Paprika. There they met actress Romy Schneider and were rewarded with movie medal. In 1959 the played mainly as an act in between in circuses and year fairs. Their Belgian manager had placed them that in that scene. With Circus ‘Fisher’ they travelled throughout Germany and they also did a guest appearance at the famous ‘Oktoberfest’ in München. Cor Aaftink at that time label manager (Imperial) of record company Bovema had the courage to offer the for Dutch standards very wild rock ‘n roll group a recording contract. Their debut single became one of the highlights in the Dutch pop history. The catchy rhythm in Record Hop and Swing It up, the unique vocal achievements of Andy and the instrumental backing with Ponthon still on double bass sounded very international.

THE TIELMAN BROTHERS (1960-1963) Imperial recordings + Ariola (3 singles + 1 EP)
In January 1960 the Netherlands and especially The Hague made their first aquaintance with THE TIELMAN BROTHERS. On the 3rd January 1960 they played in the Koepelzaal of the Haagse Dierentuin(The Hague Zoo). A show of which the happy few who attended it still talk about it with enormous respect. On the 23rd January 1960 they appeared on television. A typical Dutch winter evening to gather around he the stove and on the only TV channel available there was a broadcast of the AVRO (a Dutch Broadcasting Company). In the Weekendshow (broadcoasted from 't Spant in Bussum) four slim brothers appeared, who called themselves The Tielman Brothers. They started their spectacular performance with Black Eyes and continued their appearance with Rollin’Rock and every possible show element was brought into the floodlight. For instance a log drum solo from Loulou in which he took a drumming stroll around his drum kit, Ponthon crawling on the floor but still playing his white double bass, Andy playing guitar with his teeth and foot and reverse in his neck standing on the double bass and Loulou pounding musically on the strings of Andy’s guitar. Of course some elements were copied from Spike Jones and Bill Haley.
Such a sensational and wild rock ‘n roll show never ever occurred on Dutch television and in my personal opinion it was in no way surpassed any more. The rock ‘n roll of the Indonesian guys was so heart-warming in our cold and orthodox country, but the TV reviewers and music experts thought differently. A load of negative critics was printed in the news papers. These historic moments are luckily preserved and 45 seconds of it were used by Hans Heynen in his film documentary Rockin’Ramona. We see in this movie how the long and slender fingers of Andy run along his Gibson Les Paul guitar in Black Eyes. Rarity Records released later in 1991 this TV show in cooperation with Tojo even integrally and the sound track on CD. Also in January 1960 they recorded 4 songs in the Bovema Studio Heemstede. My Maria( through the years the most requested number), You’re Still The One( re-release of their first recording in 1958 sounded perfectly now), Black Eyes( their first instrumental which would become one of the highlights in the history of so called Indo Rock) and Rock Little Baby (also a re-release of their first record from 1958, but it sounded much better now).
After that they left for Germany. They started their well paid month contracts in the Ringstube in Mannheim. The family Fluhrman owned this dancing and the Ringstube was always called the Spudnik by the bands and visitors because of its decoration with rockets and futuristic space ships. The TIELMAN BROTHERS would return there often. Then they went to Studio 15 in Dusseldorf and the nice dancing Westhof in Heidelberg (also a legendary location because of the American GI’s who stayed there). Another famous dancing was the Jolly Bar in Hanau (this was also an American army camp). The returned once again to the Bovema to do some recordings for their first 10 inch LP and they asked for assistance of guitarist/singer Franky Luyten (no family despite the fact some people say that he was cousin or a married in family member). It concerned the following songs: O Sole Mio (a beautiful cover of the Elvis Presley hit- It’s Now Or Never), 18th Century Rock (the first Dutch rock band, who rearranged a classical music piece featuring twin lead guitars- their version of W.A. Mozart's Piano Sonata in C Major, K.545, main theme, got a load of negative criticisms. However the main theme was already addapted in 1939 by Raymond Scott and released as In An 18th Century Drawing Room and f.e. also covered by Guy Lombardo (1939), Glenn Miller (1944) and Hank Snow (1955), A.A.A. (an interesting instrumental based on Big Guitar by Owen Bradley), Pretend (perfect cover of the Carl Mann hit), April in Paris (a beautiful instrumental, but the actle title was I love Paris), Oh Rosalie (a hit for Conway Twitty), I Can’t Forget You (another typical and sensible vocal song by Andy Tielman in an unique way that only he could do) and Night Train (a sublime interpretation of this jazz standard written by Jimmy Forrest). 6 of these 8 recordings appeared earlier as singles. 18th Century Rock/Pretend even in the U.S.A. on Capital Records.O Sole Mio came in 1964 also on their 12 inch LP with on the sleeve the clear statement: We don’t have Indonesia anymore ………….. but we still have The Tielman Brothers. The instrumental Night Train remained very rare because this number only figured on their 10 inch LP ‘Tielman On Stage’ released in 1961.
Franky Luyten went along to Germany and he would be part of THE TIELMAN BROTHERS until the middle of 1964. In the spring of 1961 Andy Tielman bought his first (white) Fender Jazzmaster. Andy knew this guitar from the LP sleeves of The Ventures. This guitar appeared to be quite suitable for stage bouncing (much lighter then Gibson Les Pauls) and other guitar acrobatics and stage acts. This was quite important and in the end they band bought a complete Fender equipment outfit at Radio Barth in Stuttgart. During that period THE TIELMAN BROTHERS had their own mansion in Heidelberg.
In 1963 Jane Tielman went more and more on tour with the band. The same year that obtained also a recording contract in Germany for the Ariola label On the A side of their 1st single came Tahiti Jungle (an arrangement of Hawaiian War Chant of The Ventures) and on the B side the German song Fern Am Amazonas (Ariola had herewith the success of The Blue Diamonds in mind). The same recipe was followed for their 2nd German single: Java Guitars ( Andy's own interpretation Guitar Boogie, enormously popular and still copied today) with Weine Nicht Kleine Tamara (cover of the German singer Rudi Schurike from 1951) - in 1964 covered instrumentally in a very nice way by Jan de Hont and his ‘Maskers’ (a famous Dutch guitar group). Their 3rd single in 1962 was completely instrumental with an arrangement of a German folksong: Little Hänschen Twist and a magisterial treatment of Twistin’The Carioca (Les Paul instrumental originating from the film musical ‘Flying Down To Rio’ with Fred Astaire and Ginger Rogers from 1933).

THE TIELMAN BROTHERS (1963-1964)
In 1963 Andy and Reggy Tielman were involved with a severe car accident and came under a freight truck. Reggy recovered after 2 weeks, but Andy was for 4 days in coma and his arm was broken at 8 spots. His arm was put in plaster and his recovery lasted many months. As replacement Alfons Faverey joined THE TIELMAN BROTHERS. His band THE STRANGERS had split and he would remain with the band after the return of Andy. The guitar playing was less good and Andy concentrated even more on his vocals. Nevertheless Andy created a real innovation in the guitar world. He put 4 extra banjo strings on his Jazzmaster and with this 10 string guitar he could achieve very special effects and a big sound. The rumour goes that an employee of Fender came to the Sputnik to watch Andy’s unique guitar. Framus and Vox made prototypes of a 9 string guitar, probable influenced by Andy and almost all Indo- Rock bands in Germany followed Andy’s conversion of their lead guitars, Fender Jazzmasters of course. Together with Alfons they did a tour in Israel. Unfortunately no records were made during they stay of Alfons in the band. During 1964 Franky Luyten and Alfons Faverey were drafted for the Dutch military service. Because of disagreements Ponthon left THE TIELMAN BROTHERS played for some time with hs own band TIELMAN ROYAL and after that he went back to Indonesia where he stayed until his decease in April 2000.

THE TIELMAN BROTHERS( 1964-1969)
Together with Hans Bax and Robby Latupeirisa coming from the broken up legendary Indo-Rock group THE JAVALINS started touring again in Germany again under the name THE TIELMAN BROTHERS, despite the fact that Andy himself had problems with this name. He would have preferred to continue as THE TIELMAN BAND. In this formation they recorded end of 1964 a live LP as well as a number of singes of which Hello Caterina was one of the better own compositions. This LP contained mainly covers because the repertoire had to be adapted more and more to due the pending trend of that period.
In 1965 they were invited to perform in the best known dancing of the Netherlands the posh Palais de Danse in Scheveningen( the seaside village of The Hague). Although they hadn’t played in Holland for years their fans came from all over the country and had to cue for the entrance well in advance, watching the sharp dressed band members arriving in their big limousines. They appeared with big success during July and August and their opening acts were the well known ZZ EN DE MASKERS and ANDY STARR & THE STRIPES. Jos Van Vliet, earlier president for THE CRAZY ROCKERS fan club and now Press Manager with Negram/Delta records invited them to the studio and the result was the beautiful album ‘East & West’, on which Andy excelled in 5 wonderful ballads like Unchained Melody, Maria and Danny Boy. Jane sang lead in Bring It On Home To Me. Reggy was the lead singer in a number of traditional Indonesian songs like Ole Sio and Kekasih Ku. The number Maria( West Side Story) was released as a single and reached with number 20 in the Dutch Top Forty its highest position in 1965. The self penned impressive instrumental Marabunta was also released in the U.S.A. on the Scepter label.
Andy was as far as we know the only famous lead guitarist who used the meanwhile very rare Vox Guitar Organ on stage in 1966. This instrument could reproduce organ- and guitar sounds. With its multiple controls and knobs it was not easy to play. More over this organ guitar could only be played with an electronic plectrum which was connected with the PC boards of the guitar. This organ guitar soon disappeared from the market, but once again Andy Tielman proofed to be a true innovator in guitar sound.
Until 1967 they recorded for the German Ariola label, but the typical Tielman style was most of the times far gone. In 1967 they had totally unexpected their biggest hit in their career. Little Bird was recorded in 1967 in the Netherlands and reached the number 7 in the Dutch Top Fourty. The record was released in the U.S.A. on the Ranwood label.
There after followed a period of constantly changing formations and they appeared as ANDY TIELMAN & THE TIELMAN BROTHERS. The typical Tielman sound even further disappeared and only in 1979 Andy would show something of his old glory. Especially the instrumental Sarinandé made quite an impact and it was very remarkable tot see at last a LP with 4 instrumental numbers, after all these were the real roots of the Tielman Brothers.

(http://indorock.pmouse.nl/tielmanbrothers1.htm)

Jimmy Hendrix Soloing Style

Jimmy Hendrix has known as one of Blues Guitarist Legend. His soloing style inspirating a lot of guitar player include me. The text below explain about Jimmy's soloing style. I took it from guitarworld.com hope you enjoyed!

Double Stops
Some of Hendrix’s most brilliant lead work lies in his double-stop-based R&B solos and fills, found in such songs as “The Wind Cries Mary” (Are You Experienced), “Castles Made of Sand” (Axis: Bold as Love), and “Little Wing” (also from Axis). Fig. 1 is an example of his chord-tone approach over a I–ii–vi (G–Am–Em) progression in the key of G.
Staying exclusively within the G major scale (G–A–B–C–D–E–F#), the example intersperses adjacent-string dyads with single-note lines. Notice the liberal use of grace-note hammer-ons and pull-offs, which tend to involve the 9th, 6th, and 4th of their corresponding chord.

The “Hendrix Minor Scale”
Hendrix often used the minor pentatonic (add2) scale (1–2–b3–4–5–b7). Fig. 2 employs the C# minor pentatonic (add2) scale (C#–D#–E–F#–G#–B) in an example that calls to mind the bendy, blues-soaked lines that pepper “All Along the Watchtower” (Electric Ladyland). Make sure you hit the exact pitches on the double bend/release move; look out for the 1 1/2-step bend that proceeds the full-step bends. Fig. 3 is inspired by a bluesy section of the “Purple Haze” solo (Are You Experienced), in which Hendrix employs the E minor pentatonic (add2) scale (E–F#–G–A–B–D). Catch those F#–D pull-offs with your 4th and 1st fingers.

Octaves and Finger Grease
Hendrix often achieved a massive sound by using octaves, as well as ringing open strings. Fig. 4 makes use of both techniques in an example inspired by “Third Stone from the Sun” (Are You Experienced). Be sure to mute the string that lies between the octaves with the underside of your fret hand’s 1st finger, at the same time letting the appropriate open string(s) ring.
Fig. 5, a nod to the solo from “May This Be Love” (Are You Experienced), demonstrates Hendrix’s legato single-string work. Although the line is faster than greased lightening, the savvy rhythmic phrasing allows for the melody to come shining through. Definitely use the suggested fret-hand fingerings.

The Solo
The solo [Fig. 6] is inspired by songs such as “Angel” (Electric Ladyland), “Little Wing” (Axis: Bold as Love), “Hey Joe,” and “The Wind Cries Mary” (the latter two from Are You Experienced). Its progression weaves through a series of major-chord changes (C, Bb, G, and F), interlaced with minor chords (Am) and chromatic passing chords (B). To approximate Hendrix’s bluesy R&B sound, use your neck pickup and dial in just a hint of crunch.
The solo opens with a staple of Hendrix’s style—a series of sliding 4ths. Notice how the 4ths segue to 3rds at the end of the first measure (Bb/F moves to Bb/G; C/A; and B/G). As these types of maneuvers are challenging to the fret hand, be sure to strictly follow the fingering suggestions. The double-stop action in measure 3 mixes memorable moments from “Little Wing” and “The Wind Cries Mary.” Beginning with a slurred cascade down the A minor pentatonic (add2) scale (A–B–C–D–E–G), the passage segues to a pair of inverted triads (3–5–1: D–F–Bb and D#–F#–B, respectively) to nail the chromatic changes (Bb–B). Don’t overlook the shift from shuffled to straight 16th notes—a subtle hallmark of Hendrix’s style.
Slipping back to shuffled 16ths, measure 4 exemplifies Hendrix’s countrified-conversion method: the juggling of harmonic 4ths and 3rds with hammer-ons and pull-offs. For example, a 4th (D/A) is transformed into a minor 3rd (D/B) and back again via a hammer-on, from A to B, and a pull-off from, B to A.
The pedal-point-triple-stop action at the top of measure 5 is based on C (C–E–G), Csus4 (C–F–G), and Bb (Bb–D–F) triads. Visualizing these voicings before you play them will help your fingers target the right notes. Don’t be afraid of the 16th-note triplets in measure 6. Carved from a finger-friendly, 12th-position G-major pentatonic (G–A–B–D–E) pattern, this passage is relatively easy to manage—until you get to the pedal-steel bend. There, keep your 3rd finger planted across the top two strings as you bend the G string to pitch with your 2nd finger. Alternatively, you could barre the top two strings with your 4th finger and bend the 3rd string with your 3rd finger, reinforced by your 1st and 2nd fingers.
Bluesy bends, based on the E minor pentatonic (E–G–A–B–D) and Bb major pentatonic (Bb–C–D–F–G) scales, take on the somewhat challenging Am–Bb–F changes in measure 7. Try to keep the G and B strings parallel as you execute the quarter-step, double-stop bend.
Hendrix was a true bluesman, as exhibited in the aggressive moments of measure 8. Here, G major pentatonics overlap with the G blues scale (G–Bb–C–Db–D–F) in a fiery burst of slides, bends, and hammer-ons. Following this outburst, the solo winds down on a direct quote from the main riff of “The Wind Cries Mary” and closes with a gospel-approved “Amen” phrase.