\n\t\n\t\t<\/span>Photo\t<\/a>\n<\/p>\n\t \n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\tShare on Facebook<\/span>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\tShare on Twitter<\/span>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\tShare on Linked In<\/span>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\tShare by Email<\/span>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t<\/div>\n\t\t\t<\/div>\n\t<\/div>\n\n\n\n 1 week ago <\/p>\n\t\t\t<\/div>\n\t \n\t\n\t\t<\/span>Photo\t<\/a>\n<\/p>\n\t \n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\tShare on Facebook<\/span>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\tShare on Twitter<\/span>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\tShare on Linked In<\/span>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\tShare by Email<\/span>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t<\/div>\n\t\t\t<\/div>\n\t<\/div>\n\n\n\n 1 week ago <\/p>\n\t\t\t<\/div>\n\t \n\t\n\t\t<\/span>Photo\t<\/a>\n<\/p>\n\t \n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\tShare on Facebook<\/span>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\tShare on Twitter<\/span>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\tShare on Linked In<\/span>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\tShare by Email<\/span>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t<\/div>\n\t\t\t<\/div>\n\t<\/div>\n\n\n\n 2 weeks ago <\/p>\n\t\t\t<\/div>\n\t \n\t\n\t\t<\/span>Video\t<\/a>\n<\/p>\n\t \n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\tShare on Facebook<\/span>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\tShare on Twitter<\/span>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\tShare on Linked In<\/span>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\tShare by Email<\/span>\n\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t<\/div>\n\t\t\t<\/div>\n\t<\/div>\n\n\n\n 2 weeks ago <\/p>\n\t\t\t<\/div>\n\t![\"Bryan](\"https:\/\/scontent-ord5-3.xx.fbcdn.net\/v\/t1.6435-1\/192540904_340093320813405_3572449914931812043_n.jpg?stp=cp0_dst-jpg_s50x50_tt6&_nc_cat=100&ccb=1-7&_nc_sid=f907e8&_nc_ohc=wFOFsQwIR7UQ7kNvwHf1J7w&_nc_oc=AdotEhR-pCZRL5hdqf09DYy4zLUIdodGyCEHWzKLIf9GGKxSv42-1EEonLpekK5U8Kg&_nc_zt=24&_nc_ht=scontent-ord5-3.xx&edm=AKIiGfEEAAAA&_nc_gid=6Pn1GJq6zgV_2sTycZu_Ew&_nc_tpa=Q5bMBQHmqKwRqHJ7-aWgstH07os2t92v1bBYrhW8xJ8aVWyml3MH7zjsPZv2lQsypxvUfVFkZXBoxhDIdA&oh=00_Af8sFj-jjll_BNzhj3Jwm_YVNA5neleNe_0JaDJDnn8bZw&oe=6A63BFFD\" "\\"Bryan"){kind=small}
<\/a>\n\t<\/div>\n<\/div>\n\nWed July 15 The Baked Potato, Studio City CA
Thur July 16 The Baked Potato, Studio City CA
Fri July 17 Bornemann Theatre, San Marco CA
Sun July 19 Alvas Showroom San Pedro CA\t\t\t<\/span>\n\t... See More<\/span>See Less<\/span><\/a><\/span>\n\n<\/div>\n\n
<\/a>\n\t<\/div>\n<\/div>\n\nIf you\u2019ve been following me since at least 2020, surely you saw this low-riding pretty pitty mix (pitpourri? pitty plus?) grace your screen a few times, so I suppose I made a personal thing public. I couldn\u2019t help it - Ellie<\/a> was my first dog love and that only happens once. She was a Pacific NW girl who loved running in grass and water, and next thing she knew she was spending covid lockdown in the high desert of Southern California. It wasn\u2019t always an easy adjustment but she never complained because, as Ellie<\/a>\u2019s mom would say, she\u2019s hardcore. We would go to isolated mountaintops and rural areas during the heart of lockdown and throw the B A L L with her. She would get all dusty and love every second of it. She even survived a rattlesnake bite directly to her face in mid 2020, after which she pushed herself for ten minutes down a trail until we could get her into the car and drive at ungodly speeds to the closest emergency vet. The venom swelled her face like a balloon but she made it through, because she\u2019s hardcore.
Though we lived in a remote area at the time, we eventually found a beautiful grassy park with a forever mountaintop view in a nearby suburb, and Ellie<\/a> fell in love with it. She would howl with glee in the backseat as we made the turn onto the road to the P A R K, even though it was still a mile away. So much wagging.
And Ellie<\/a> also made sure to be very closeby whenever I was recording a session during lockdown, or practicing for the tours that came up as lockdown drew to a close. It wasn\u2019t complicated for her. She just loved her humans. As has been often noted, humans can only aspire.
Ellie<\/a> returned to her native home for her senior years, and got lots more time in the wet grass and rainy P A R K S of the Seattle area. Her sight and hearing diminished in the past 18 months, and some other health challenges arose. I asked Ellie<\/a>\u2019s Mom if I could come see her before I left for this year\u2019s long travels. She graciously agreed. The reunion was filled with licks and kisses and snax and wagging. Even if Ellie<\/a> was moving more slowly than the last time I\u2019d seen her, her smile was still the same.
It\u2019s hard for me to imagine what I never would have known were it not for the love of this beautiful spirit.
Ellie<\/a>, I hope you have the sweetest, longest nap, and your little snores fill the world beyond the Rainbow Bridge with the most serene distant rolling wave.\t\t\t<\/span>\n\t... See More<\/span>See Less<\/span><\/a><\/span>\n\n<\/div>\n\n
<\/a>\n\t<\/div>\n<\/div>\n\nRegister for all the fun at Guitar Workshop Plus dot com, and enjoy this shameless promo video I shot from the last few days of The Aristocrats tour.\t\t\t<\/span>\n\t... See More<\/span>See Less<\/span><\/a><\/span>\n\n<\/div>\n\n
<\/a>\n\t<\/div>\n<\/div>\n\n
<\/strong><\/h2>\n
28 PAGES CONTAINING:<\/strong><\/span><\/h2>\n* Song avatar images for all 18 tracks (artwork by Daniel Wagner for Nightowl Studios)<\/strong><\/span><\/h2>\n* Full song performance credits<\/strong><\/span><\/h2>\n* Song lyrics for “Everything And Nothing”, “Army Of The Black Rectangles” and “Angles & Exits”<\/strong><\/span><\/h2>\n* Imagery and portraitry by Michael Mesker (for Electric Red) and Manuela Haeussler<\/strong><\/span><\/h2>\n
T H A N K Y O U<\/em><\/strong><\/h2>\nfor purchasing “Scenes From The Flood” on vinyl (or second edition 2CD)!<\/strong><\/h2>\n <\/p>\n
<\/p>\n
(scroll down for DEMOS)<\/strong><\/h2>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text admin_label=”SFTF DEMOS” _builder_version=”4.6.3″ custom_margin=”0px||||false|false” custom_padding=”0px||||false|false” z_index_tablet=”500″]<\/p>\n
* * * * * * * * * * * *<\/h2>\n
<\/p>\n
SELECT DEMOS from SCENES FROM THE FLOOD
<\/strong><\/h2>\n <\/p>\n
“Volunteer State (Demo)<\/a><\/span>“
<\/strong><\/h2>\n\u00a0<\/h2>\nThe first full song I wrote for this album was a straight-up optimistic instrumental-guitar-driven road trip song. Eventually I sent this to Joe Satriani and tried to explain what i wanted to do with it. He listened politely and did a bunch of things I never would have thought of, improving the song well beyond anything you’ll hear here. He even changed the melody – listen closely. (There’s also a very mediocre BB demo guitar solo on this. Imagine Joe Satriani hearing it!)<\/h2>\n
<\/p>\n
<\/p>\n
“Always Worth It (Demo)<\/span><\/a>“
<\/strong><\/h2>\n\u00a0<\/h2>\nThis classic prog piece needed had a lot of different starring “characters” and drastic scene changes, and I did my best on the demo to make that as obvious as possible. Griff Peters took my simple melody and turned it into a guitar orchestra in the end, and Rick Musallam provided a proper opening clean lead and plenty of funky single-note comping. This one has a demo guitar solo I kind of like, just because it’s so bent. Fortunately Teddy Kumpel knew what I meant by “bent” and, well, bent it further.<\/h2>\n
<\/p>\n
<\/p>\n
“Lookout Mountain (Demo)<\/span><\/a>“
<\/strong><\/h2>\n\u00a0<\/h2>\nMany aspects of the Tibetan Singing Bowls from the demo made it on the final, but certainly not any of the baritone guitar I fumbled through here. I really had no idea what would happen when I picked up a bari and tuned it to open Bdom7, but somehow after a day of futzing around, this came out. Compare this to what Mike Dawes eventually did with it – he really took some raw clay here molded it into something far, far better.<\/h2>\n
<\/p>\n
<\/p>\n
“The Flood (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nHow do you demo a piece with a five-part structure that is designed to be a two-person piano\/baritone guitar collaborative improvisation against an electronica background? It’s ok, I didn’t know either, and I’m the writer. I imagined What Would Janet Feder Do? and just tried to provide a template for what eventually happened in the studio. Janet not only invented her parts, but offered a couple of key production elements that improved crucial moments of the final piece. We actually ended up cutting it a bit slower than this, which I think was a good idea.<\/h2>\n
<\/p>\n
<\/p>\n
“World Class (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nThis took me a month to demo out! But there’s something about this demo that really charms me to this day; the original intent is really strong here. We can laugh again here about John Petrucci having to listen to my demo guitar solo (what he did on the final is astounding), and Rishabh Singh having to interpret a sitar part that was written on a keyboard. Ray Hearne took these meticulously programmed drums (set to level “impossible”) and made them something really special in real life. The strings, the guitars, the sitar…I spared no OCD expense in trying to make the demo something that made sense, because it’s my belief that with a piece this big, if you don’t understand every aspect of it, nobody else will.<\/h2>\n\u00a0<\/h2>\n\u00a0<\/h2>\n“Sweet Water\/Let Go Of Everything (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nI went into this knowing that it would be Guthrie Govan driving the entire album home on this song, and once again, it took me a month to really get the demo right. I didn’t bother with acoustic guitars; the acoustics on the demo are keyboards. But the thing is, with a song like this, I had such a strong idea of what it was supposed to be, I really had to be careful and not fall into the demo-itis trap. It wasn’t easy! You can hear the guitar is super David Gilmour-y on the demo – we did a take like that and eventually threw the whole thing in the trash because it wasn’t Guthrie enough. And the end product is way better for it. As for “Let Go Of Everything”, a close listen will pick up a few subtle post-demo changes we made to try and bring the album to a suitable conclusion. (And yes, that guitar solo is me, and for once, I don’t mind it.)<\/h2>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_divider color=”#cecece” _builder_version=”3.19.17″][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”1_3″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text admin_label=”FB Widget” _builder_version=”3.27.4″ z_index_tablet=”500″]<\/p>\n
\n\t\n\t
* Full song performance credits<\/strong><\/span><\/h2>\n* Song lyrics for “Everything And Nothing”, “Army Of The Black Rectangles” and “Angles & Exits”<\/strong><\/span><\/h2>\n* Imagery and portraitry by Michael Mesker (for Electric Red) and Manuela Haeussler<\/strong><\/span><\/h2>\n
T H A N K Y O U<\/em><\/strong><\/h2>\nfor purchasing “Scenes From The Flood” on vinyl (or second edition 2CD)!<\/strong><\/h2>\n <\/p>\n
<\/p>\n
(scroll down for DEMOS)<\/strong><\/h2>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text admin_label=”SFTF DEMOS” _builder_version=”4.6.3″ custom_margin=”0px||||false|false” custom_padding=”0px||||false|false” z_index_tablet=”500″]<\/p>\n
* * * * * * * * * * * *<\/h2>\n
<\/p>\n
SELECT DEMOS from SCENES FROM THE FLOOD
<\/strong><\/h2>\n <\/p>\n
“Volunteer State (Demo)<\/a><\/span>“
<\/strong><\/h2>\n\u00a0<\/h2>\nThe first full song I wrote for this album was a straight-up optimistic instrumental-guitar-driven road trip song. Eventually I sent this to Joe Satriani and tried to explain what i wanted to do with it. He listened politely and did a bunch of things I never would have thought of, improving the song well beyond anything you’ll hear here. He even changed the melody – listen closely. (There’s also a very mediocre BB demo guitar solo on this. Imagine Joe Satriani hearing it!)<\/h2>\n
<\/p>\n
<\/p>\n
“Always Worth It (Demo)<\/span><\/a>“
<\/strong><\/h2>\n\u00a0<\/h2>\nThis classic prog piece needed had a lot of different starring “characters” and drastic scene changes, and I did my best on the demo to make that as obvious as possible. Griff Peters took my simple melody and turned it into a guitar orchestra in the end, and Rick Musallam provided a proper opening clean lead and plenty of funky single-note comping. This one has a demo guitar solo I kind of like, just because it’s so bent. Fortunately Teddy Kumpel knew what I meant by “bent” and, well, bent it further.<\/h2>\n
<\/p>\n
<\/p>\n
“Lookout Mountain (Demo)<\/span><\/a>“
<\/strong><\/h2>\n\u00a0<\/h2>\nMany aspects of the Tibetan Singing Bowls from the demo made it on the final, but certainly not any of the baritone guitar I fumbled through here. I really had no idea what would happen when I picked up a bari and tuned it to open Bdom7, but somehow after a day of futzing around, this came out. Compare this to what Mike Dawes eventually did with it – he really took some raw clay here molded it into something far, far better.<\/h2>\n
<\/p>\n
<\/p>\n
“The Flood (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nHow do you demo a piece with a five-part structure that is designed to be a two-person piano\/baritone guitar collaborative improvisation against an electronica background? It’s ok, I didn’t know either, and I’m the writer. I imagined What Would Janet Feder Do? and just tried to provide a template for what eventually happened in the studio. Janet not only invented her parts, but offered a couple of key production elements that improved crucial moments of the final piece. We actually ended up cutting it a bit slower than this, which I think was a good idea.<\/h2>\n
<\/p>\n
<\/p>\n
“World Class (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nThis took me a month to demo out! But there’s something about this demo that really charms me to this day; the original intent is really strong here. We can laugh again here about John Petrucci having to listen to my demo guitar solo (what he did on the final is astounding), and Rishabh Singh having to interpret a sitar part that was written on a keyboard. Ray Hearne took these meticulously programmed drums (set to level “impossible”) and made them something really special in real life. The strings, the guitars, the sitar…I spared no OCD expense in trying to make the demo something that made sense, because it’s my belief that with a piece this big, if you don’t understand every aspect of it, nobody else will.<\/h2>\n\u00a0<\/h2>\n\u00a0<\/h2>\n“Sweet Water\/Let Go Of Everything (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nI went into this knowing that it would be Guthrie Govan driving the entire album home on this song, and once again, it took me a month to really get the demo right. I didn’t bother with acoustic guitars; the acoustics on the demo are keyboards. But the thing is, with a song like this, I had such a strong idea of what it was supposed to be, I really had to be careful and not fall into the demo-itis trap. It wasn’t easy! You can hear the guitar is super David Gilmour-y on the demo – we did a take like that and eventually threw the whole thing in the trash because it wasn’t Guthrie enough. And the end product is way better for it. As for “Let Go Of Everything”, a close listen will pick up a few subtle post-demo changes we made to try and bring the album to a suitable conclusion. (And yes, that guitar solo is me, and for once, I don’t mind it.)<\/h2>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_divider color=”#cecece” _builder_version=”3.19.17″][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”1_3″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text admin_label=”FB Widget” _builder_version=”3.27.4″ z_index_tablet=”500″]<\/p>\n
\n\t\n\t
* Imagery and portraitry by Michael Mesker (for Electric Red) and Manuela Haeussler<\/strong><\/span><\/h2>\n
T H A N K Y O U<\/em><\/strong><\/h2>\nfor purchasing “Scenes From The Flood” on vinyl (or second edition 2CD)!<\/strong><\/h2>\n <\/p>\n
<\/p>\n
(scroll down for DEMOS)<\/strong><\/h2>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text admin_label=”SFTF DEMOS” _builder_version=”4.6.3″ custom_margin=”0px||||false|false” custom_padding=”0px||||false|false” z_index_tablet=”500″]<\/p>\n
* * * * * * * * * * * *<\/h2>\n
<\/p>\n
SELECT DEMOS from SCENES FROM THE FLOOD
<\/strong><\/h2>\n <\/p>\n
“Volunteer State (Demo)<\/a><\/span>“
<\/strong><\/h2>\n\u00a0<\/h2>\nThe first full song I wrote for this album was a straight-up optimistic instrumental-guitar-driven road trip song. Eventually I sent this to Joe Satriani and tried to explain what i wanted to do with it. He listened politely and did a bunch of things I never would have thought of, improving the song well beyond anything you’ll hear here. He even changed the melody – listen closely. (There’s also a very mediocre BB demo guitar solo on this. Imagine Joe Satriani hearing it!)<\/h2>\n
<\/p>\n
<\/p>\n
“Always Worth It (Demo)<\/span><\/a>“
<\/strong><\/h2>\n\u00a0<\/h2>\nThis classic prog piece needed had a lot of different starring “characters” and drastic scene changes, and I did my best on the demo to make that as obvious as possible. Griff Peters took my simple melody and turned it into a guitar orchestra in the end, and Rick Musallam provided a proper opening clean lead and plenty of funky single-note comping. This one has a demo guitar solo I kind of like, just because it’s so bent. Fortunately Teddy Kumpel knew what I meant by “bent” and, well, bent it further.<\/h2>\n
<\/p>\n
<\/p>\n
“Lookout Mountain (Demo)<\/span><\/a>“
<\/strong><\/h2>\n\u00a0<\/h2>\nMany aspects of the Tibetan Singing Bowls from the demo made it on the final, but certainly not any of the baritone guitar I fumbled through here. I really had no idea what would happen when I picked up a bari and tuned it to open Bdom7, but somehow after a day of futzing around, this came out. Compare this to what Mike Dawes eventually did with it – he really took some raw clay here molded it into something far, far better.<\/h2>\n
<\/p>\n
<\/p>\n
“The Flood (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nHow do you demo a piece with a five-part structure that is designed to be a two-person piano\/baritone guitar collaborative improvisation against an electronica background? It’s ok, I didn’t know either, and I’m the writer. I imagined What Would Janet Feder Do? and just tried to provide a template for what eventually happened in the studio. Janet not only invented her parts, but offered a couple of key production elements that improved crucial moments of the final piece. We actually ended up cutting it a bit slower than this, which I think was a good idea.<\/h2>\n
<\/p>\n
<\/p>\n
“World Class (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nThis took me a month to demo out! But there’s something about this demo that really charms me to this day; the original intent is really strong here. We can laugh again here about John Petrucci having to listen to my demo guitar solo (what he did on the final is astounding), and Rishabh Singh having to interpret a sitar part that was written on a keyboard. Ray Hearne took these meticulously programmed drums (set to level “impossible”) and made them something really special in real life. The strings, the guitars, the sitar…I spared no OCD expense in trying to make the demo something that made sense, because it’s my belief that with a piece this big, if you don’t understand every aspect of it, nobody else will.<\/h2>\n\u00a0<\/h2>\n\u00a0<\/h2>\n“Sweet Water\/Let Go Of Everything (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nI went into this knowing that it would be Guthrie Govan driving the entire album home on this song, and once again, it took me a month to really get the demo right. I didn’t bother with acoustic guitars; the acoustics on the demo are keyboards. But the thing is, with a song like this, I had such a strong idea of what it was supposed to be, I really had to be careful and not fall into the demo-itis trap. It wasn’t easy! You can hear the guitar is super David Gilmour-y on the demo – we did a take like that and eventually threw the whole thing in the trash because it wasn’t Guthrie enough. And the end product is way better for it. As for “Let Go Of Everything”, a close listen will pick up a few subtle post-demo changes we made to try and bring the album to a suitable conclusion. (And yes, that guitar solo is me, and for once, I don’t mind it.)<\/h2>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_divider color=”#cecece” _builder_version=”3.19.17″][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”1_3″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text admin_label=”FB Widget” _builder_version=”3.27.4″ z_index_tablet=”500″]<\/p>\n
\n\t\n\t
T H A N K Y O U<\/em><\/strong><\/h2>\n
for purchasing “Scenes From The Flood” on vinyl (or second edition 2CD)!<\/strong><\/h2>\n <\/p>\n
<\/p>\n
(scroll down for DEMOS)<\/strong><\/h2>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text admin_label=”SFTF DEMOS” _builder_version=”4.6.3″ custom_margin=”0px||||false|false” custom_padding=”0px||||false|false” z_index_tablet=”500″]<\/p>\n
* * * * * * * * * * * *<\/h2>\n
<\/p>\n
SELECT DEMOS from SCENES FROM THE FLOOD
<\/strong><\/h2>\n <\/p>\n
“Volunteer State (Demo)<\/a><\/span>“
<\/strong><\/h2>\n\u00a0<\/h2>\nThe first full song I wrote for this album was a straight-up optimistic instrumental-guitar-driven road trip song. Eventually I sent this to Joe Satriani and tried to explain what i wanted to do with it. He listened politely and did a bunch of things I never would have thought of, improving the song well beyond anything you’ll hear here. He even changed the melody – listen closely. (There’s also a very mediocre BB demo guitar solo on this. Imagine Joe Satriani hearing it!)<\/h2>\n
<\/p>\n
<\/p>\n
“Always Worth It (Demo)<\/span><\/a>“
<\/strong><\/h2>\n\u00a0<\/h2>\nThis classic prog piece needed had a lot of different starring “characters” and drastic scene changes, and I did my best on the demo to make that as obvious as possible. Griff Peters took my simple melody and turned it into a guitar orchestra in the end, and Rick Musallam provided a proper opening clean lead and plenty of funky single-note comping. This one has a demo guitar solo I kind of like, just because it’s so bent. Fortunately Teddy Kumpel knew what I meant by “bent” and, well, bent it further.<\/h2>\n
<\/p>\n
<\/p>\n
“Lookout Mountain (Demo)<\/span><\/a>“
<\/strong><\/h2>\n\u00a0<\/h2>\nMany aspects of the Tibetan Singing Bowls from the demo made it on the final, but certainly not any of the baritone guitar I fumbled through here. I really had no idea what would happen when I picked up a bari and tuned it to open Bdom7, but somehow after a day of futzing around, this came out. Compare this to what Mike Dawes eventually did with it – he really took some raw clay here molded it into something far, far better.<\/h2>\n
<\/p>\n
<\/p>\n
“The Flood (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nHow do you demo a piece with a five-part structure that is designed to be a two-person piano\/baritone guitar collaborative improvisation against an electronica background? It’s ok, I didn’t know either, and I’m the writer. I imagined What Would Janet Feder Do? and just tried to provide a template for what eventually happened in the studio. Janet not only invented her parts, but offered a couple of key production elements that improved crucial moments of the final piece. We actually ended up cutting it a bit slower than this, which I think was a good idea.<\/h2>\n
<\/p>\n
<\/p>\n
“World Class (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nThis took me a month to demo out! But there’s something about this demo that really charms me to this day; the original intent is really strong here. We can laugh again here about John Petrucci having to listen to my demo guitar solo (what he did on the final is astounding), and Rishabh Singh having to interpret a sitar part that was written on a keyboard. Ray Hearne took these meticulously programmed drums (set to level “impossible”) and made them something really special in real life. The strings, the guitars, the sitar…I spared no OCD expense in trying to make the demo something that made sense, because it’s my belief that with a piece this big, if you don’t understand every aspect of it, nobody else will.<\/h2>\n\u00a0<\/h2>\n\u00a0<\/h2>\n“Sweet Water\/Let Go Of Everything (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nI went into this knowing that it would be Guthrie Govan driving the entire album home on this song, and once again, it took me a month to really get the demo right. I didn’t bother with acoustic guitars; the acoustics on the demo are keyboards. But the thing is, with a song like this, I had such a strong idea of what it was supposed to be, I really had to be careful and not fall into the demo-itis trap. It wasn’t easy! You can hear the guitar is super David Gilmour-y on the demo – we did a take like that and eventually threw the whole thing in the trash because it wasn’t Guthrie enough. And the end product is way better for it. As for “Let Go Of Everything”, a close listen will pick up a few subtle post-demo changes we made to try and bring the album to a suitable conclusion. (And yes, that guitar solo is me, and for once, I don’t mind it.)<\/h2>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_divider color=”#cecece” _builder_version=”3.19.17″][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”1_3″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text admin_label=”FB Widget” _builder_version=”3.27.4″ z_index_tablet=”500″]<\/p>\n
\n\t\n\t
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text admin_label=”SFTF DEMOS” _builder_version=”4.6.3″ custom_margin=”0px||||false|false” custom_padding=”0px||||false|false” z_index_tablet=”500″]<\/p>\n
* * * * * * * * * * * *<\/h2>\n
<\/p>\n
SELECT DEMOS from SCENES FROM THE FLOOD
<\/strong><\/h2>\n <\/p>\n
“Volunteer State (Demo)<\/a><\/span>“
<\/strong><\/h2>\n\u00a0<\/h2>\nThe first full song I wrote for this album was a straight-up optimistic instrumental-guitar-driven road trip song. Eventually I sent this to Joe Satriani and tried to explain what i wanted to do with it. He listened politely and did a bunch of things I never would have thought of, improving the song well beyond anything you’ll hear here. He even changed the melody – listen closely. (There’s also a very mediocre BB demo guitar solo on this. Imagine Joe Satriani hearing it!)<\/h2>\n
<\/p>\n
<\/p>\n
“Always Worth It (Demo)<\/span><\/a>“
<\/strong><\/h2>\n\u00a0<\/h2>\nThis classic prog piece needed had a lot of different starring “characters” and drastic scene changes, and I did my best on the demo to make that as obvious as possible. Griff Peters took my simple melody and turned it into a guitar orchestra in the end, and Rick Musallam provided a proper opening clean lead and plenty of funky single-note comping. This one has a demo guitar solo I kind of like, just because it’s so bent. Fortunately Teddy Kumpel knew what I meant by “bent” and, well, bent it further.<\/h2>\n
<\/p>\n
<\/p>\n
“Lookout Mountain (Demo)<\/span><\/a>“
<\/strong><\/h2>\n\u00a0<\/h2>\nMany aspects of the Tibetan Singing Bowls from the demo made it on the final, but certainly not any of the baritone guitar I fumbled through here. I really had no idea what would happen when I picked up a bari and tuned it to open Bdom7, but somehow after a day of futzing around, this came out. Compare this to what Mike Dawes eventually did with it – he really took some raw clay here molded it into something far, far better.<\/h2>\n
<\/p>\n
<\/p>\n
“The Flood (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nHow do you demo a piece with a five-part structure that is designed to be a two-person piano\/baritone guitar collaborative improvisation against an electronica background? It’s ok, I didn’t know either, and I’m the writer. I imagined What Would Janet Feder Do? and just tried to provide a template for what eventually happened in the studio. Janet not only invented her parts, but offered a couple of key production elements that improved crucial moments of the final piece. We actually ended up cutting it a bit slower than this, which I think was a good idea.<\/h2>\n
<\/p>\n
<\/p>\n
“World Class (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nThis took me a month to demo out! But there’s something about this demo that really charms me to this day; the original intent is really strong here. We can laugh again here about John Petrucci having to listen to my demo guitar solo (what he did on the final is astounding), and Rishabh Singh having to interpret a sitar part that was written on a keyboard. Ray Hearne took these meticulously programmed drums (set to level “impossible”) and made them something really special in real life. The strings, the guitars, the sitar…I spared no OCD expense in trying to make the demo something that made sense, because it’s my belief that with a piece this big, if you don’t understand every aspect of it, nobody else will.<\/h2>\n\u00a0<\/h2>\n\u00a0<\/h2>\n“Sweet Water\/Let Go Of Everything (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nI went into this knowing that it would be Guthrie Govan driving the entire album home on this song, and once again, it took me a month to really get the demo right. I didn’t bother with acoustic guitars; the acoustics on the demo are keyboards. But the thing is, with a song like this, I had such a strong idea of what it was supposed to be, I really had to be careful and not fall into the demo-itis trap. It wasn’t easy! You can hear the guitar is super David Gilmour-y on the demo – we did a take like that and eventually threw the whole thing in the trash because it wasn’t Guthrie enough. And the end product is way better for it. As for “Let Go Of Everything”, a close listen will pick up a few subtle post-demo changes we made to try and bring the album to a suitable conclusion. (And yes, that guitar solo is me, and for once, I don’t mind it.)<\/h2>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_divider color=”#cecece” _builder_version=”3.19.17″][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”1_3″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text admin_label=”FB Widget” _builder_version=”3.27.4″ z_index_tablet=”500″]<\/p>\n
\n\t\n\t
“Volunteer State (Demo)<\/a><\/span>“
<\/strong><\/h2>\n
\u00a0<\/h2>\nThe first full song I wrote for this album was a straight-up optimistic instrumental-guitar-driven road trip song. Eventually I sent this to Joe Satriani and tried to explain what i wanted to do with it. He listened politely and did a bunch of things I never would have thought of, improving the song well beyond anything you’ll hear here. He even changed the melody – listen closely. (There’s also a very mediocre BB demo guitar solo on this. Imagine Joe Satriani hearing it!)<\/h2>\n
<\/p>\n
<\/p>\n
“Always Worth It (Demo)<\/span><\/a>“
<\/strong><\/h2>\n\u00a0<\/h2>\nThis classic prog piece needed had a lot of different starring “characters” and drastic scene changes, and I did my best on the demo to make that as obvious as possible. Griff Peters took my simple melody and turned it into a guitar orchestra in the end, and Rick Musallam provided a proper opening clean lead and plenty of funky single-note comping. This one has a demo guitar solo I kind of like, just because it’s so bent. Fortunately Teddy Kumpel knew what I meant by “bent” and, well, bent it further.<\/h2>\n
<\/p>\n
<\/p>\n
“Lookout Mountain (Demo)<\/span><\/a>“
<\/strong><\/h2>\n\u00a0<\/h2>\nMany aspects of the Tibetan Singing Bowls from the demo made it on the final, but certainly not any of the baritone guitar I fumbled through here. I really had no idea what would happen when I picked up a bari and tuned it to open Bdom7, but somehow after a day of futzing around, this came out. Compare this to what Mike Dawes eventually did with it – he really took some raw clay here molded it into something far, far better.<\/h2>\n
<\/p>\n
<\/p>\n
“The Flood (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nHow do you demo a piece with a five-part structure that is designed to be a two-person piano\/baritone guitar collaborative improvisation against an electronica background? It’s ok, I didn’t know either, and I’m the writer. I imagined What Would Janet Feder Do? and just tried to provide a template for what eventually happened in the studio. Janet not only invented her parts, but offered a couple of key production elements that improved crucial moments of the final piece. We actually ended up cutting it a bit slower than this, which I think was a good idea.<\/h2>\n
<\/p>\n
<\/p>\n
“World Class (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nThis took me a month to demo out! But there’s something about this demo that really charms me to this day; the original intent is really strong here. We can laugh again here about John Petrucci having to listen to my demo guitar solo (what he did on the final is astounding), and Rishabh Singh having to interpret a sitar part that was written on a keyboard. Ray Hearne took these meticulously programmed drums (set to level “impossible”) and made them something really special in real life. The strings, the guitars, the sitar…I spared no OCD expense in trying to make the demo something that made sense, because it’s my belief that with a piece this big, if you don’t understand every aspect of it, nobody else will.<\/h2>\n\u00a0<\/h2>\n\u00a0<\/h2>\n“Sweet Water\/Let Go Of Everything (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nI went into this knowing that it would be Guthrie Govan driving the entire album home on this song, and once again, it took me a month to really get the demo right. I didn’t bother with acoustic guitars; the acoustics on the demo are keyboards. But the thing is, with a song like this, I had such a strong idea of what it was supposed to be, I really had to be careful and not fall into the demo-itis trap. It wasn’t easy! You can hear the guitar is super David Gilmour-y on the demo – we did a take like that and eventually threw the whole thing in the trash because it wasn’t Guthrie enough. And the end product is way better for it. As for “Let Go Of Everything”, a close listen will pick up a few subtle post-demo changes we made to try and bring the album to a suitable conclusion. (And yes, that guitar solo is me, and for once, I don’t mind it.)<\/h2>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_divider color=”#cecece” _builder_version=”3.19.17″][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”1_3″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text admin_label=”FB Widget” _builder_version=”3.27.4″ z_index_tablet=”500″]<\/p>\n
\n\t\n\t
This classic prog piece needed had a lot of different starring “characters” and drastic scene changes, and I did my best on the demo to make that as obvious as possible. Griff Peters took my simple melody and turned it into a guitar orchestra in the end, and Rick Musallam provided a proper opening clean lead and plenty of funky single-note comping. This one has a demo guitar solo I kind of like, just because it’s so bent. Fortunately Teddy Kumpel knew what I meant by “bent” and, well, bent it further.<\/h2>\n
<\/strong><\/h2>\n
\u00a0<\/h2>\nMany aspects of the Tibetan Singing Bowls from the demo made it on the final, but certainly not any of the baritone guitar I fumbled through here. I really had no idea what would happen when I picked up a bari and tuned it to open Bdom7, but somehow after a day of futzing around, this came out. Compare this to what Mike Dawes eventually did with it – he really took some raw clay here molded it into something far, far better.<\/h2>\n
<\/p>\n
<\/p>\n
“The Flood (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nHow do you demo a piece with a five-part structure that is designed to be a two-person piano\/baritone guitar collaborative improvisation against an electronica background? It’s ok, I didn’t know either, and I’m the writer. I imagined What Would Janet Feder Do? and just tried to provide a template for what eventually happened in the studio. Janet not only invented her parts, but offered a couple of key production elements that improved crucial moments of the final piece. We actually ended up cutting it a bit slower than this, which I think was a good idea.<\/h2>\n
<\/p>\n
<\/p>\n
“World Class (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nThis took me a month to demo out! But there’s something about this demo that really charms me to this day; the original intent is really strong here. We can laugh again here about John Petrucci having to listen to my demo guitar solo (what he did on the final is astounding), and Rishabh Singh having to interpret a sitar part that was written on a keyboard. Ray Hearne took these meticulously programmed drums (set to level “impossible”) and made them something really special in real life. The strings, the guitars, the sitar…I spared no OCD expense in trying to make the demo something that made sense, because it’s my belief that with a piece this big, if you don’t understand every aspect of it, nobody else will.<\/h2>\n\u00a0<\/h2>\n\u00a0<\/h2>\n“Sweet Water\/Let Go Of Everything (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nI went into this knowing that it would be Guthrie Govan driving the entire album home on this song, and once again, it took me a month to really get the demo right. I didn’t bother with acoustic guitars; the acoustics on the demo are keyboards. But the thing is, with a song like this, I had such a strong idea of what it was supposed to be, I really had to be careful and not fall into the demo-itis trap. It wasn’t easy! You can hear the guitar is super David Gilmour-y on the demo – we did a take like that and eventually threw the whole thing in the trash because it wasn’t Guthrie enough. And the end product is way better for it. As for “Let Go Of Everything”, a close listen will pick up a few subtle post-demo changes we made to try and bring the album to a suitable conclusion. (And yes, that guitar solo is me, and for once, I don’t mind it.)<\/h2>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_divider color=”#cecece” _builder_version=”3.19.17″][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”1_3″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text admin_label=”FB Widget” _builder_version=”3.27.4″ z_index_tablet=”500″]<\/p>\n
\n\t\n\t
How do you demo a piece with a five-part structure that is designed to be a two-person piano\/baritone guitar collaborative improvisation against an electronica background? It’s ok, I didn’t know either, and I’m the writer. I imagined What Would Janet Feder Do? and just tried to provide a template for what eventually happened in the studio. Janet not only invented her parts, but offered a couple of key production elements that improved crucial moments of the final piece. We actually ended up cutting it a bit slower than this, which I think was a good idea.<\/h2>\n
\u00a0<\/h2>\nThis took me a month to demo out! But there’s something about this demo that really charms me to this day; the original intent is really strong here. We can laugh again here about John Petrucci having to listen to my demo guitar solo (what he did on the final is astounding), and Rishabh Singh having to interpret a sitar part that was written on a keyboard. Ray Hearne took these meticulously programmed drums (set to level “impossible”) and made them something really special in real life. The strings, the guitars, the sitar…I spared no OCD expense in trying to make the demo something that made sense, because it’s my belief that with a piece this big, if you don’t understand every aspect of it, nobody else will.<\/h2>\n\u00a0<\/h2>\n\u00a0<\/h2>\n“Sweet Water\/Let Go Of Everything (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nI went into this knowing that it would be Guthrie Govan driving the entire album home on this song, and once again, it took me a month to really get the demo right. I didn’t bother with acoustic guitars; the acoustics on the demo are keyboards. But the thing is, with a song like this, I had such a strong idea of what it was supposed to be, I really had to be careful and not fall into the demo-itis trap. It wasn’t easy! You can hear the guitar is super David Gilmour-y on the demo – we did a take like that and eventually threw the whole thing in the trash because it wasn’t Guthrie enough. And the end product is way better for it. As for “Let Go Of Everything”, a close listen will pick up a few subtle post-demo changes we made to try and bring the album to a suitable conclusion. (And yes, that guitar solo is me, and for once, I don’t mind it.)<\/h2>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_divider color=”#cecece” _builder_version=”3.19.17″][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”3.25″ background_color=”rgba(0,0,0,0.34)”][et_pb_column type=”1_3″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text admin_label=”FB Widget” _builder_version=”3.27.4″ z_index_tablet=”500″]<\/p>\n
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\u00a0<\/h2>\n\u00a0<\/h2>\n“Sweet Water\/Let Go Of Everything (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nI went into this knowing that it would be Guthrie Govan driving the entire album home on this song, and once again, it took me a month to really get the demo right. I didn’t bother with acoustic guitars; the acoustics on the demo are keyboards. But the thing is, with a song like this, I had such a strong idea of what it was supposed to be, I really had to be careful and not fall into the demo-itis trap. It wasn’t easy! You can hear the guitar is super David Gilmour-y on the demo – we did a take like that and eventually threw the whole thing in the trash because it wasn’t Guthrie enough. And the end product is way better for it. As for “Let Go Of Everything”, a close listen will pick up a few subtle post-demo changes we made to try and bring the album to a suitable conclusion. (And yes, that guitar solo is me, and for once, I don’t mind it.)<\/h2>\n
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“Sweet Water\/Let Go Of Everything (Demo)<\/span><\/a>“<\/strong><\/h2>\n\u00a0<\/h2>\nI went into this knowing that it would be Guthrie Govan driving the entire album home on this song, and once again, it took me a month to really get the demo right. I didn’t bother with acoustic guitars; the acoustics on the demo are keyboards. But the thing is, with a song like this, I had such a strong idea of what it was supposed to be, I really had to be careful and not fall into the demo-itis trap. It wasn’t easy! You can hear the guitar is super David Gilmour-y on the demo – we did a take like that and eventually threw the whole thing in the trash because it wasn’t Guthrie enough. And the end product is way better for it. As for “Let Go Of Everything”, a close listen will pick up a few subtle post-demo changes we made to try and bring the album to a suitable conclusion. (And yes, that guitar solo is me, and for once, I don’t mind it.)<\/h2>\n
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I went into this knowing that it would be Guthrie Govan driving the entire album home on this song, and once again, it took me a month to really get the demo right. I didn’t bother with acoustic guitars; the acoustics on the demo are keyboards. But the thing is, with a song like this, I had such a strong idea of what it was supposed to be, I really had to be careful and not fall into the demo-itis trap. It wasn’t easy! You can hear the guitar is super David Gilmour-y on the demo – we did a take like that and eventually threw the whole thing in the trash because it wasn’t Guthrie enough. And the end product is way better for it. As for “Let Go Of Everything”, a close listen will pick up a few subtle post-demo changes we made to try and bring the album to a suitable conclusion. (And yes, that guitar solo is me, and for once, I don’t mind it.)<\/h2>\n
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