British guitarist 'reacts' to Frank Marino WITH Frank Marino!!!

hello phil here from wings of pegasus and welcome to another analysis video if you enjoyed this video please give it a thumbs up and subscribe on the agenda tonight we're going to be taking a look at frank marino and more specifically the trailer for his new DVD blu-ray box set which has come out recently and he's also going to join us on the analysis tonight if the sound is slightly different is because we have Frank on the line and we're gonna be talking across the internet so we're going to be breaking it down as normal with an analysis video I'll be stopping the trailer at particular points and we'll be getting Frank's input on some of the things that I'm mentioning another thing is that's because of the software that we're using when Frank talks a picture will come up on screen and it will split from this feed that you're seeing at the moment so don't panic if it suddenly changes to a picture on screen and then changes back to me it's just the way that the software works but we've already said hi to each other so we're not going to go through that all again we're going to jump straight into looking at the trailer and then I'll jump in as I normally do and we'll get into the analysis [Applause] [Music] I'm just gonna jump in here I will be jumping into this trailer quite a lot because there are plenty of things to point out but first of all we can hear that Frank is using the wah-wah pedal with this lead section that we've just got into and Frank I'd like to ask you whether when you use the wah-wah pedal in certain situations it's going to be part of a composition and something that is pre-planned but then also how you use that wah-wah in extemporized sections and as of when you go to that whether it's pre-planned or whether it's just something that you feel like doing or a mixture of the two well the wah-wah pedal is an interesting device it's one of the oldest devices that guitarists have used from way way back in the day at one point all they had was a wah-wah pedal and then some fuzz tones that came you know along with that but the wah-wah pedal is the device that I think in the beginning most guys who are using them as they as they begin their careers it's almost like it becomes almost like a crutch yeah it's almost like I'm going to do a solo and therefore I'm going to turn on this wah-wah pedal and I'm going to move it back and forth and it's just going to make me sound like I'm doing more notes than I'm doing and it's going to be more expressive and people will go WOW what's that and I think what happens to a lot of kids that do that happened to me when I was starting is that it becomes that crutch that then they have to go to the wah-wah pedal to play the solo yeah it's sort of like that with a delay a lot of guitar players are maybe not as confident as they let on and so they'll use delay because it kind of fills up the gaps and takes away the clicking notes that might have been missed or whatever and sounds pretty impressive but then they become it becomes a crutch and then they can't really play with delay without delay and it's the same for the wah wah pedal so that's the beginning of using the wah-wah pedal what I now do is endless delay as well is a totally different thing the wah-wah pedal is basically going to allow me to express let's say a crying kind of sound an emotional kind of sound that you can't necessarily get unless you're changing the frequency range by moving your foot and there's two ways to do that you can do it by running over to the pedal because you just feel like you have to do it because that's basically what I do do I never walk over to the wah-wah pedal and say well I think I'll turn on the Wawa pedal now because that'll be cool yes it's really like I and oh I have to press this now because I want to express it that way it's almost like a grunt you know like pushing a pushing a crate and then you grunt as you push it this that extra push and so I'll turn the pedal on and do something with it and I'm trying to make the expression happen it's not just going wah wah wah but it's trying to make vowels it's trying to make sounds with it open it a little open it a lot and close it down a little and if it's talking back to me as music as a conversation it's not a monologue it's a dialogue and it can be a dialogue between the artist and his gear actually and gear and artist and his audience and on some days you find it literally is inspiring you in other words it's talking back to you it's making suggestions and that makes you take the song in a different direction but some days it doesn't for some reason and when that happens I close the pedal so just stop using the pedal because it starts to become a distraction the other way of doing it is I don't I don't like being stuck to the pedal board or I can't walk or move my foot is planted in one position almost feel like if I take it off I'm gonna fall off a mountain so I built an envelope follower which is an automatic wah-wah let's put it this way which opens up as you play hard on the string and doesn't open up if you play soft with your pick so now I can use my dynamics for instance we do a song called something's coming our way and on the record on what's next it was a wah-wah pedal but when we do it live I don't want to run over and have to be locked into doing that so I built an envelope follower that I can turn on and then when I'm in the middle of the stage where my pedal board doesn't even exist I could still get the wah wah effect by how dynamically I play and that's almost a better way of do using the wah-wah pedal because now it really is following your physical movements of your hand and how hard you're striking the guitar it's almost like making emphasis so that's really my my approach to it you'll notice in this whole show I pretty much don't use the wah-wah pedal except for a couple of times yeah whereas in the old days man I was locked into that pedal every time I did a solo until I became more confident about what I have to say and felt you know I don't really need to hide it behind the wah-wah pedal and something else that I just want to throw in there about the wah-wah pedal the way that it's used for phrasing and like you said almost talking getting the guitar to talk and you're having a conversation with the music effectively a lot of people when they first start out they wha wah to the beat and right they can't stop doing that and it's something that everyone falls into I think the first person that I listen to and the first person that I ever listen to playing guitar was Jimi Hendrix and the way that he used the wah-wah pedal was so freeform that right sounded like a voice and it was yeah it was totally separate so anything the drummer was doing and Mitch Mitchell by the way just again if you're going to listen to a drummer for the first time he's a hell of a one to pick but having that expression in there that's totally separate to rhythm I think gave me an appreciation pretty early on that what this guy is doing sounds totally different so everybody else is using the wah-wah pedal and I think the way that you explained it is really accurate in terms of when everyone starts using the wah-wah I would have been the same you just start stomping on it well let me take let me take you back to the beginning I was there when the guys when when Jimi Hendrix first used the wah-wah pedal he was also one of the first guitar players that I heard do it but prior to him having done that Eric Clapton had used it on Disraeli gears on on tales of brave Ulysses and Jeff Beck had used it on I don't remember the name ain't superstitious when he had Rod Stewart in the band yeah now if you listen to those two both of those performances particularly tales of brave Ulysses Clapton is going why why why why well why in time with the song he's doing exactly what you just described back on the other hand is doing it when he's playing his solo he's doing what I just described where he's turning it on and playing fast and the wallah makes it sound like it's going faster but Beck is using it to try to imitate a barking dog so you know they they say hear the dogs bark all around my neighborhood he goes wow wow wow he's trying to make the bow-wow sound of a dog he's trying to use it as a kind of expressive device but once he gets going on the solo he too is just sort of stomping on it yeah when Hendrix came along the big thing at the time for us having heard Clapton and you know having heard Disraeli gears all of the sudden Hendrix came out and he did up from the skies which is a jazz kind of piece on access boulders love and hearing that with the little double expressions that he's doing was almost like whoa no one had ever used it that way before but when he finally came out and really used it on still raining still dreaming which is rainy-day dream away he brought it to such a level that you to this day there isn't a guy around that can invent that sound again that can make that do that yeah it's so expressive that it's just you know everyone tries to do wow wow but they never quite get it right so it's so expressive now I know how to do that because I know that style so I can actually do that no matter of fact we used to cover that tune and then and it did sound proper but he's using it in that sort of expressive way of like let's make it be another instrument into itself rather than just sort of make my guitar sound like it's going wah wah wah yeah so there you have it and I think Hendrix used it better than anybody yes I agree with you on that let's jump back into the trailer and we'll resume the analysis when I next jump in [Music] I'm just gonna jump in here again to point out the way the Frank stretches over two frets sometimes with that second finger because it's something that's come up on the channel a few times in the comment section where people to watch my playing and they've said that I shouldn't be stretching over two frets with that second finger I should be doing that with the third finger in terms of playing the most efficient way but I always answer the same way that you have to play the guitar for your own physiology so something that I want to ask you Frank is when you are playing and you're making those stretches is it something that is just happening naturally and is the fingering in terms of how you're playing particular phrases something that happens naturally and you're not necessarily thinking about the fingers that you're using to play a particular phrase interestingly of course it all happens naturally now but using it as an analysis okay like if I have to analyze me because they also produce artists so I sometimes have to analyze them and I treat when I produce my own records I actually treat myself as if I'm another guy I literally say you know okay Frank is doing this when I'm mixing the song so I can analyze Frank that way but here's what actually happens think about the guy that said to you no no no you should always use the third finger right so let's say he's doing that trill we'll call it a trill between the fifth fret and the 3rd fret of his guitar so he's playing in the key of G on the D string and he wants to trill that G FF g FG FG right and he's saying you should always use the third finger well he's only right because there's a big space between the two frets but if you're up high they're closer together and then the third finger becomes a hard thing to use yeah go let's go back down in the first position that same trill if now instead of F and G the song calls for a trill between F and F sharp he wouldn't possibly be using his third finger then he'd use his second finger right and no one would do it F F sharp with their first and third finger so really it becomes question of the distance if you if you are if you're playing if your hand is a certain size and your natural spacing between your two fingers of one and three index and ring finger is exactly the spacing between the two frets why not use those yeah but if it's exactly the spacing between the first and second fret then use those and let's say it was a four fret trill you definitely wouldn't be using one in three B's in one and four yes to make that happen or maybe even two and four okay but it's really a question of the size now since the graduation of a guitar neck is such that the frets become closer and closer together as you get to the top you're going to see one three positions down at the low sides of the neck but you're not going to see one three positions if I'm playing in the second octave then it might be the two positions because it's easier to do that without stretching any of your muscles and everything that I do on a guitar no matter what it is has to be easy it should never be hard yeah if it is hard and I have to do it I'll do it but if it's if there's an easy way to do it you know physically I'll pick the easy way because the less you have to think about the fact that you're controlling an instrument that there's a thing fighting back against you the better you're going to be able to express I often say that I play a form of air guitar on an actual guitar I have extremely light strings I have an extremely slim and thin neck so when I'm playing guitar I literally don't feel a lot of push back so it's almost like I'm playing air guitar so if I start using fingers that are going to force me to stretch that I shouldn't or squeeze my fingers together when I don't want to that's just gonna make me have to think about the fingers and not simply be in the zone figuring out what I want to express musically from my mind yeah so there's no right way and wrong way and if there is a right way it's used the way that is the least resistant yeah it's a really good point and an important point of saying there's no right way there's no wrong way I've seen sometimes with the typical major scale stretch they might have when your B string in your high E string of instructional DVDs that are playing it 1st 3rd and then the gap between 3rd and 4th finger is that to fret gap and for me personally having smaller hands my natural hand position when it's relaxed my first finger would sit over that first fret but then my second finger not my third finger is in a more comfortable position to then get that to fret gap higher up which means that exactly yeah that is my own physiology and having my hand relaxed over the top of the guitar and as a teacher this is what I tell people is that having your hand in a relaxed position stretch out and just see which finger is closest to the note that you want and that's the one you use 100% correct that's exactly what I'm saying yeah yeah it must be relaxation first and whatever accomplishes that so another technique that some guys make a mistake with is consider the guy that likes to hold his guitar down very low yeah he's forcing his wrist to Bend yeah so now he's going to be much harder for him to accomplish some of the things that we accomplished if we hold the guitar higher and then your wrist becomes almost straight with the back of your hand there's no joint in a no bend in it like that so that's another thing to consider whatever makes it easy you know there's a reason that classical guitar players place their classical guitar on their left leg and put their foot up on the stand that's because it forces the elbow away from the body doesn't squeeze your bicep against your chest and it forces your wrist to become very very flat not bent in a bent direction which loosens up all your ligaments yeah so whatever keeps you loose do and I have small hands too so my whole technique is like you said whatever fingers there that's the one that should do it if I have to twist my arm around to get some other one to do it I'm just and basically now I'm not expressing anymore and thinking about oh how do I do this you know this I guess a mogul a mogul skier that really does it well just slides down the hill but when he has to think about every mogul oh here comes another one I better twist I better Bend he's not going to complete the course in the same time as the other guy that's got smooth lines yeah it's a really interesting thing to look out for with other players that you mentioned who have the guitar strung very low in terms of almost playing ground are their ankles this there is any solo section and just the guitarist has popped into my mind is slash whenever there is a more technical solo section he puts his leg up and gets the base of the guitar on his thigh so that the guitar neck is now in the typical classical position where you can play these phrases more fluidly and therefore express himself on the fretboard in that more comfortable position so there is an argument for that that theoretically he might be doing it just because looking cool having it you know really load yeah that's something that goes with the image but then when you get to the real detail of playing and expressing he will get that guitar in a very particular position and that's yeah that's that trade-off point between looking cool and actually making an artistic point and being very musical you need to get everything as you said so easy and subconscious that you're not wrestling anything you can just have the conversation with the audience through the instrument and nothing's gonna get in the way of that but let's jump back into the trailer and we'll resume the analysis in a second [Music] [Music] I'm just gonna jump in here again something that I want to put the spotlight on is singing and playing at the same time is something that I mentioned on this channel all the time about it doubling the difficulty and when you're playing riffs and singing I think that difficulty can get ramped up even more so Frank I'd like to know your approach to playing and singing at the same time how you go about doing it for live performance and whether you attribute particular notes with beats or vocal phrases you might be singing or if it's just something that you play subconsciously on the guitar and then free that up in order to then focus on the vocal well in my case it's a little bit different because virtually every song I've ever done in there in the studio that has become live songs that wasn't done vocal first so the vocal melodies that I'm singing were actually done on the guitar and then later it was okay now take off that guitar melody and sing what I just played so it's very natural where it comes worse comes in handy for me is that I'm a drummer yeah so having a little bit of syncopation ability to do one thing while the other Lynne is doing the other is kind of natural for me but when I get a guy that that doesn't quite get that and he's you know he's trying to say well I can't it's hard for me to sing that part and still play those chords in that rhythm yeah one time I had someone I was producing and he was definitely he was a drummer actually and he was having a little trouble with that idea of time and I said to him well let's just take a break and we'll go down the street get ourselves a cup of coffee and as we walked down and did it on purpose I'll show you why as we went down the street when you walk down the street you walk at a certain pace depending on the time of day if it's cold if it's warm so we're walking at a relatively leisurely pace to go about a quarter of a mile and while we were doing that because I'm also a drummer and he's a drummer you know when you walk down the street you can take your hands and you can tap on your chest like you know make beats on your chest as you walk and you can hear them right so I started talking about the Beatles because we both knew the Beatles very well we weren't playing Beatles songs in the record we were doing but he's a Beatle fan as a Beatle fan so I start talking about the Beatles and I go how about that song and I mentioned know where man and how about that song I mentioned Strawberry Fields and I mentioned any Lane and a bunch of different Beatle tunes and your we're walking down the street tapping on our chest tapping out Beatle tunes and every one of them is different some are slow Beatle tunes some are fast Beatle tunes but we never stopped walking at a certain speed so then I stopped him I said you notice how we just get a bunch of Beatle tunes and completely different rhythm to our walk it didn't screw up your walk and you walk didn't screw up your tunes yes because yeah I hadn't thought about it I said that's the key you hadn't thought about it so the idea is to get the body the rhythm guitars you're playing chords you're playing some so I play funk sometimes or I play soul music a James Brown type of stuff when you're playing rhythm a certain way a lot of 9th chords yeah and you're you're giving it some rhythm and then I got a sing something that's a kind of a counterpoint time to that but I just get the body to do what the walk would do yeah it becomes just a natural walk and then this voice is free to do whatever you like you're real literally disconnecting it the only problem is have you begin to watch it you get to watch it it'll it'll get out of think you have to go outside of yourself you have to project outside don't think inside and and one of the best ways of doing that is and I often say this to singers if you're singing imagine you're actually singing to a person put a mental face in front of you while you sing the line and they're looking back at you with like an expression on their face like what you know and you're singing out to them and you won't notice that your hands are doing the other thing get outside of yourself rather than inside of yourself that's how I accomplish that let's get back into the trailer and then we'll jump in again for the next analytical points [Music] [Music] I'm just going to jump in there again I'm going to bring up the subject of vibrato or vibrato depending on where you're from but it's something that I mentioned on my channel all the time in terms of the expression that each player has I personally think that it's one of the techniques if not the most important technique in expression individuality and getting a player's identity across through the playing so in terms of this Frank and the technique when you use it are you particularly thinking about vibrato when you're applying it or is it more of a feeling that you're going on is it a subconscious thing that is automatically linked in with your expression as to how you want it to sound and how you change your vibrato depending on the mood of the particular track you're playing at the time vibrato is it's the dark art the dark art is making music and in any instrument so consider this in in most forms of music vibrato can be expressed in a lot of forms not most but many it can be expressed in two ways it can be expressed in pitch modulation or dynamic modulation one is called tremolo yeah so a twin reverb that has a tremolo vibrates the note by making it louder and quieter without changing its pitch and choruses vibrate the note or the other kind of vibrato is where you're saying the pitch is going down up down up down up or up down up down up down right in the pitch one that's the one we mostly deal with with guitar yeah in singing we can do both so when I'm singing a line I can I can do a line like for instance some jazz singers and simply change the dynamic aha without bending the note or I can change the pitch uh you know while bending the note yeah but with guitar you can't really do it tremolo it's all about pitch because we're bending a string now you can use a pedal to create tremolo type vibrato which I sometimes do a volume pedal to create a vibrato sound and it sounds like vibrato but it's tremolo but most of the time 99% of time we're dealing with pitch the question becomes this when you when you think of a sine wave you have the positive and negative wave you in the center let's imagine that that Center is perfect pitch we can bend above the perfect pitch and below the perfect pitch in the case of a tremolo arm on a guitar with a finger you can't really go below the pitch you first started with you can either go above it and back to normal or you could start on another note Bend up to the one you want to go to and then use down up down up down up you can bend up to the one you want to go to and use up down up down up down vibrate sharp and then the other thing is the speed of it are they should they be fast should they be slow should they be a combination of fast into slow which I often do or slow into fast or should they start at the beginning of the note and last or should they wait and then only be tagged on to the end of a note you see how many variations now there aren't two vibrato this is why I call it a dark art yes you have to sort of get used to in a second nature way first of all with all of the different permutations that's where the practicing comes in yeah practicing what you don't know how to do till you do and then it's second nature once you've done that you'll find that your expressiveness will increase exponentially because you'll automatically use all of the techniques at different times based on the background music that you're playing - yeah so I'm not going to start vibrating an a held note if there's a beautiful major seven chord yeah that I want people to hear behind me and I'm playing a note along with it that let's say isn't the major seven it's maybe the fifth because I will begin to put a note into that chord by bending it that doesn't belong in the chord yeah so I'll create a dissonance that maybe doesn't make it as pretty so in that case you want to hold that note and then maybe tag on that little bit of vibrato Bend when the chord is dying out yeah it's a flavor now it sounds like I'm overanalyzing this and I am but once you've done this and made it all second nature you will automatically do those things so some chords you're going to bend sharp on purpose and some chords you're going to bend flat on purpose or Bend up and then use the flat form of vibrato one of the things largely misunderstood about our friend Jimi Hendrix when people try to for instance do the beginning of all along the watchtower which is a very very beautiful lead solo entrance into the song very iconic you know when he does that Dead and Atlanta Anna okay well if you go and look at that you'll find that Hendrix often bends above the note he pushes them sharp he'll Bend up to a note and push a little higher yeah most guitar players will push up to the note and then relax and come back relax and come back they're bending lower yeah but you'll also notice that he doesn't do it all the time and there's a perfect example of a guy who's doing all of the techniques as I said but doesn't even know he's doing them because they're second nature yeah and they're fitting in at the right time so to the guitar players who are out there if you go through my for instance you're not believe me you're not gonna see the same vibrato all the time and all the songs yeah you're gonna go oh my goodness you know Frank spending sharp there oh my goodness Frank didn't Bend there oh my goodness he's got it going it flat there hey how come he's vibrating quickly but in the other song he vibrated really slowly it's just it's a it's a dark art that has no real rule except familiarize yourself with the different expressions and then get out of the way again and let them Express and let's get back into the trailer and we'll resume the analysis after [Music] [Music] [Applause] [Music] [Applause] [Music] and just gonna jump in there just to bring up the topic of groov because it's something that is prevalent in all of Frank's performances and I think being a drummer he certainly got a deep appreciation of it and I'm going to throw this way into your court Frank in terms of trying to explain what groov is also as a musician what to look out for how to achieve a groove as a band and how important it is to have because it can make or break a particular track if you haven't got the right groove well it's like I said before timing is everything not just melody and groove is based on timing and it's how do you know the groove is good you know the groove is good when you feel hypnotized yeah it's kind of a hypnosis it just feels good you you I think it's very hard to groove if or to make music groove if it's let's say it's the instruments are fighting each other so there's a certain syncopation well let's take a drummer for instance who's without a band he's playing the groove okay that everyone's playing - yeah now he can look at it as if he's playing a set of drums or he can look at it as if the set of drums itself is an orchestra the set of drums is looked at as an orchestra start looking at it as sections you've got your cymbal section in your toms section and your kick section your snare section imagine that there's a symbiosis there's a synchronicity to how you're going to make those things play and when they're going to come in so a great drummer like Vinnie Colaiuta for instance will be playing a great groove behind sting and all of a sudden out of nowhere he'll just throw in it the don't Tom you know it's the tone that comes out of nowhere it's that little blast that goes in there and then once in a while next time around he maybe he does it with a hi-hat or just something a little different this is creating a kind of a hypnosis and then the people that play to that they move to it it starts to move so groove is like a really beautifully moving ocean and when you lose that groove it's like a hailstorm in the ocean and then waters are all over the place okay the boats are getting tossed yeah you want it all to be really smooth and it can be fast it can be slow it can be medium it doesn't have to be funk it can be it can be a hypnotic line like when we do strange universe on the thing do did it you did it it who did it who didn't it goes over and over again there's a hypnosis to that and that's what the groove is the groove is is it pulling me is the music pulling me into hypnosis so that again I don't have to be the center of attention I'm riding this beautiful machine and it just feels good to ride the machine yeah how do you do that everyone says it's great to analyze it how do you do that well you do that again I hate to say it you stop trying so hard and you listen to the spaces between what you're playing yeah those spaces are very very very important I can't say how important they are they're very there if not more important than the actual notes dragonfly as an example has a lot of space in it yeah and if you actually analyze that tune the kick drum is just go boom boo-boom chop boom okay that's what's doing there's your basis that's what it's built on now what's going to happen in between there rule one if you're producing records that have groove remember this this is a trick but it works if one guy's playing double-time the other guy should playoffs if one guys if the drums are playing a fast beat with double high ax then the other instruments should play single beats on the half time but if the instruments are going to do doo doo doo de doo doo doo doo do do it then the drum should go boom bang boom bang what you don't want is to guitarists doing the same thing the same way and then the bass player too and then the drummer too then it's no good so it's syncopation the instruments in the band are like the spices in a meal and salt doesn't try to beat pepper and how they each do their thing and they the blending together is what makes the taste at the end some songs are easier to groove too because they're written in such a way that it promotes grooving I think the hardest kind of songs to find a groove in are really fast rock'n'roll tunes yeah it's how do you groove on that everyone's going to it you know there's no real groove on that but if all of a sudden I had to play in a band that was playing that fast rock and rolled if I was producing it I might tell one of the instruments to play in half time yeah to give it a groovy ER feel so why are we saying groove we're saying groove because a groove is the middle of two mountains it's the valley in between two peaks it's the balance point that's why it's called groove and and and for instance a record needle follows a groove it doesn't jump over the groove right so that's why we call it that and musically I think playing with really good guys who listen to you and you listen to them you'll groove yeah it's when you get that one guy in the band that isn't listening listening to his amp yeah then it's not gonna grow yeah you're not pulling together it's certainly a combined effort in terms of everyone singing from the same hymn sheet and not having any egos in the band I think playing in a band playing with other people you've got to leave your ego if you have one at the door because yeah groove is the first thing that is gonna suffer when you want to show off what you can do correct correct absolutely grew a groove a groove is the greatest example the total being greater than the sum of the parts yeah it's a perfect example of that it's that magic that happens when everybody is really having a dialogue yeah not talking over each other getting out of the way don't get in the way the singer you know you can get a real great groove going I used to listen to when I was growing up I used to listen to a lot of soul music a lot of rhythm and blues R&B and everything from Marvin Gaye I mean you name it okay and these records had a lot of groove whether Sly Stone or whatever there was a lot of groove in these records so but my entire group of friends understood that it was we even had the term groovy music look if you use that as a term in those days eh it's groovy you know I think Hendrix even says sit back and groove on a rainy day all right so that was very much a part of our culture wasn't foreign to us so naturally we're gonna do music that tries to to do that today they're not thinking about it so much so we have to sort of tell them well here's how we did it yeah and yeah if you watch my DVD there's a lot of tracks that groove like that but that's just not because we're trying it's just because that's our culture that's how we grew up doing it let's get back to the trailer and just watch it till the end and we'll get back to the analysis after [Music] [Applause] [Music] [Applause] [Music] [Music] and there we have it the last point I want to make really with this analysis is about vocals and putting the spotlight on your vocals of Frank and how you achieve your vocals sound is there anything that you do exercise wise vocally is it something that you've always been able to do or had a propensity for or something that you've had to work out over the years well for the first half of my career it's not longer first half of the early career I thought I could not say so consequently my early albums I talked my way through songs like Bob Dylan yeah I talked my way to do it you know yeah I never felt confident in singing and you come into the studio and it's like okay got to do your vocal track I'd say shut the lights get everyone out please don't put the voice in solo make sure that the music is playing if you have to check it you know yeah but as time went on I began to feel you know why am I doing this I actually can sing because I would walk around the house singing and I would I would you know I would sing songs and I actually could but I would think that for some reason I couldn't when I started you know playing with the band yeah I really have to sort of say to myself okay you're just gonna sing you're not you know it doesn't matter whether you're not the best singer it doesn't matter whether you know cuz I'm not I don't want to be judged by singers because I'm not really the best thing or and I don't want to be but I have to be able to at least express my music in my voice now I'm not going to go for instance ever if I'm covering a tune I'm not gonna go cover something by let's say mister mister where the guys singing so high I can't do it Yeah right would be crazy but I'm gonna my voice is very much in the range of let's say a Greg Allman you know it's a bluesy kind of voice is not really that high tenor it's kind of baritone mid Tanner and then I said to myself well I should be able to at least Express with my voice when I'm expressing in my mind because if my hand can do it my voice can do it yeah and I just began to gain more confidence at it and vocals my daughter is a classical soprano and she teaches and she'll tell you as a vocal instructor the voice is all confidence if you're unconfident you just can't do it so you have to almost talk yourself into being confident and then you're able to do it and that's what I had to do I have to talk myself into being confident about it and then just trying it and then I was mildly surprised that I can actually do this thing so once I knew I could actually do what I said well let's take it to greater and greater heights let's try this let's try that I wasn't afraid anymore but in the beginning I was very afraid yes I was I think something that comes up on my channel a lot about singers and the classic comment is this artist whoever it might be was so lucky to be born with such a gift in terms of singing and I think a lot of singers out there especially guitar players became singers through necessity not through choice because my cave yeah yes I went through with my band we auditioned singers for two years and it got so long in the tooth we thought we're not actually doing anything apart from auditions so I decided right well I'm gonna try and learn how to sing and then you know further down the line it was okay and it worked out nummies that I can now sing to a okay level where you know the music my expression comes across and that's the only only level really that I wanted to get to and another point that you made which was really important I think with singers and why people think they can't sing is singing where their voice sits and where their natural range is because so many people try and sing a CDC and not a tenor and they think oh I can't sing because you know when I try and sing that my sound like cats being strangled or whatever again taking their eye off the ultimate goal of personal expression and that wasn't how your mentor Singh because you haven't got those vocal chords it's not the way he has been made up so I think it's a really important thing especially I mean people will say about your voice that I'm sure they'll say you are so lucky to have such a naturally great voice but we know that it's a confidence thing and that you had to work through believing that you could do it the whole thing was that the whole thing was that it was about the confidence I didn't even know it was about the confidence until I found out it was about the confidence but all the early albums the very early albums were I'm literally talking through songs that I now play singing yeah in other words I talked on the albums and now I do some vocal versions of them that see still sound like the talking version but I'm actually going to pitches instead of just sliding around mountaintops yeah you know this is this is what you it all it's just about confidence and look everybody's got gifts let's face it there's some gifted guitarists and gifted vocalists and gifted all kinds of things here's the thing and I saved I said this on another interview if a person is gifted there's no reason to applaud for them because that would be like being applauding for someone that's handsome okay you you want to applaud someone that works it out and does it in spite of the fact they may not have been as gifted yeah and so they deserve all the applause in the world for working at it and getting themselves because because what one person can do another person can do I mean assuming they have the same physical ability you know they have their arms or legs or whatever so all it means is do I want to do this or what I like to do this and if I just like to do it I'll never get it but if I really want to I will put in the time necessary and I'll start to become confident and I'll become adequate to express what I need to express and that's as an artist you know you really only need what's adequate for you to express I'm sure there are some painters who would love to have giant studios but they can still paint in their attic as long as they have the brushes and the ink and the easel yeah they don't need the giant studio they'd like to have it and it's the same with us as singers we'd love to have the pipes but if we don't we have our pipes and we'll find our way to do our art on our easel with our paint and our brushes and it'll be exclusively us that's what we're giving people we're giving them a window into who we are at a moment in time and this is who I am this is what I do I really hope you like it but this is what I do even if you don't like it and that's it that's it's giving people the choice to life or not and not changing yourself to hope that they will like it more than we know gladly now exactly we've been talking to for a while but I'd like to say a massive thank you to you Frank for joining me tonight and for discussing all of these things with me and I'll definitely put the link in the description underneath this video when I upload it and also to the comment section so people can check out the blu-ray and DVD boxset but hopefully in the future we'll be able to link up again and maybe go so we'll stay in touch Ville I mean yeah if you can like link them to the trailer too so that they can see the trailer in its entirety you know if ever they want to and I just you know I'm so thankful to you for doing this I think it's great I think I believe totally and what you're saying 100% and let's do it again let's do it when I get the rights to show more of the tunes yeah that would be cool thank you so much for joining me and I'm sure we'll be talking again soon so call anytime sync right any time let me know when it's gonna when it's going to play I wanna watch it okay Frank have a good night man okay Andy Frank thanks a lot see you later all right so thank you guys for watching this video a massive thank you to Frank again just for making this a very special analysis video and I'm sure that our paths are going to cross in the future I'm going to probably edit what we did tonight into other videos because we did actually talk for four hours about so many different things about the music industry on stage set ups guitars so much I had to take out of this particular video but I'll edit those together probably in two separate videos on different topics and release those over on patreon and I'll make sure that they get over to YouTube as well so you guys can check those out I'm just amending the end of this video and slotting this in there because I want to say a few words about Frank's DVD and blu-ray boxset I've watched it and there's six hours worth of material on there when I speaking to Frank earlier he wanted to do even more buts he took breaks and the set and I said that I think that was a wise choice because he didn't have any sleep going into such a long day it was all filmed on the same day and he hadn't had any sleep so it's an amazing performance with that taken into consideration but it's an amazing performance anyway throughout the whole six hours there is so much in there that players can admire but just musically if you're looking for something to really get your teeth into all of the things that we've been through in this video so many elements and there are so many other things that we could talk about and that's why it would be great just to break down one song of Frank's and a particular performance and really get into the nitty gritty of the live performance and how it's all set up a lot of people were saying when Frank was working on this that is taking a long time when is there going to be out and the reason that it taken the time it has is all included in the box set you get a booklet in there and there is so much in there that is relatable from a musician's point of view also just a hobbyists point of view if you do music on the side it's so relatable all the problems that Frank had and the extent of the problems as well because once you know what Frank has gone through in order to get his art out in front of people it just demands massive respect and just shows you that Frank marina is a true artist in every sense of the word there's not many people that would go through what Frank did to get his music in front of people and that is the focus I'm gonna put the link to the box set in the description below and also pin it in the comments so you guys can click on the link in order to get your hands on it and I'll also include the link for the trailer that we've been analyzing tonight so you guys can watch that all the way through and you can watch it as many times as you want to but thank you so much for joining Frank and I tonight I hope you enjoyed this video if you did please give it a thumbs up and subscribe and I'll see you guys the next one

Channel: Wings of Pegasus

Views: 39,941

Rating: 4.9545698 out of 5

Keywords: frank marino, frank marino (musical artist), mahogany rush, mahogany rush live, mahogany rush (musical group), frank marino live, frank marino mahogany rush live, frank marino live at the agora theatre, frank marino mahogany rush live dvd, wings of pegasus, wingsofpegasus, british guitarist reacts, british guitarist analysis, british guitarist analyses, frank marino live dvd, British guitarist 'reacts' to Frank Marino WITH Frank Marino!!!

Id: P-55NkPvvAs

Length: 54min 58sec (3298 seconds)

Published: Thu Oct 24 2019