Download Only Guitar Instrumental

I know that people listen to songs which are just acoustic guitar and vocals and even instrumental acoustic guitar music but for some reason I feel less confident that an electric guitar alone is enough.

Who is causing that with their attention? Usually fellow guitarists. Is that who those CDs are for? Is that what the entire genre, except for the Big Three, has come to be? Insanely fast lead guitar all the time for other guitarists who care only for technical displays of virtuosity? When those people want to listen to something enjoyable, do they put on something else?

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Here's a guitar solo instrumental tribute to Roy Orbison that I put on YouTube. Trying to capture, through a guitar solo instrumental, not only the melody, but also some of the flavor (if that's possible) of Roy Orbison's classic rendition of "She's a Mystery to Me"...reinterpreted and rearranged a bit, of course, for a guitar solo instrumental. The guitar you hear in the song is my Gibson Custom Shop 1964 J-45. (The guitar shown in the video's photo is my 1972 Gibson Southern Jumbo Deluxe).

Guitar World presents the 10 coolest guitar instrumentals ever. In terms of the videos we selected, we tried to stick with the studio versions -- unless we found a particularly compelling live version that got the point across nicely.

Browse Singer-GuitaristsWhat you might not think about straight away are your wedding ceremony songs and music choices. The church organ or a string quartet are timeless, traditional wedding ceremony music options, but for a more modern vibe, many couples are turning to acoustic guitarists and singer-guitarists to accompany their nuptials.

From prog metal to jazz-influenced rock to tech death and more, instrumental bands are just as capable of crafting incredible songs. Take a look below at 10 instrumental bands killing it in the scene right now.

Animals As Leaders are easily one of the most well-known instrumental metal bands, and for good reason. Their brand of metal-influenced jazz is ear candy for fans of technical guitar work, and their use of eight-string guitars provides extra freedom to come up with interesting soundscapes, unlike any other band.

Blending the sonic noise of post-metal with the raw, gritty sound of doom metal, Pelican are one of the most notable instrumental metal bands to ever exist. Their abrasive take on post-metal has both harsh and soothing moments, drawing out melodies and moments with a slow-building approach that pays off every time they hit their peak.

From: Philadelphia, PAposted 22 November 2006 01:41 PM profile Question is about pedal steel, so Santo and Johnny don't qualify.basilh

Member From: United Kingdomposted 22 November 2006 01:55 PM profile This is something I've thought long and hard about, my wife says not to post this as it would appear as "Bragging", I'm not so sure, mainly because my playing on the albums I'm referring to is most definitely only 'Average'.. Still, I think to set the record straight may be useful to some discographers. As a 'Solo' artist and NOT as a session musician, and under a personal 10 year contract, I recorded at Abbey Road in the sixties for EMI, by far my WORST playing, but the stereo record market was embryonic and the major stores used my albums to demo the 'NEW' stereo sound systems. Most people in the UK who bought Hi-Fi systems in the sixties also bought one of the albums used for the demo, so mine along with 'Impact' sold the same approximate quantities as the major department stores sold Hi-Fi's.EMI Columbia Studio Two Stereo series...

TWO-177 'Shades of Hawaii' (1967) ...in excess of 400,000...

TWO-218...'Hawaiian Nights' (1968)...over 500,000...

TWO-290 'Hawaiian Honeymoon' (1970) ...over 350,000

For those who wish to know, EMI Studio Two Stereo, was the only other International competitor to Decca Phase Four..In the early days of stereo record sales.I think the above albums qualify as they were on release throughout the world.

Over 250,000 copies each in the UK alone.I also had one track on a 'Stereo Sampler' that sold over a million in the UK..STWO2-'Impact' (1968), Re-Released as MFP-50341

The other featured EMI artists that I shared that album with were

Norrie Paramor and his Orchestra,

Mr. Acker Bilk,

David Rose and his Orchestra,

Pepe Jaramillo and his Latin-American Rhythm,

Ron Goodwin and his Orchestra,

Joe Loss and his Orchestra,

The Norman Newell Orchestra,

Ralph Dollimore and his Orchestra,

Manuel and the Music of the Mountains and

Jack Emblow.And I'm still getting royalties from over 23 countries AND on-Line downloads from i-Tunes in particular and also other on-line services.I must scan some of the royalty statements of the numerous countries and post some pictures.

"Off the top of my head" They included Japan, Singapore, South Africa, Australia, New Zealand, The West Indies, Malta, Italy, Spain, France, Germany, in fact all of Europe and most of Asia, but funnily enough NOT the USA and only limited issue in Canada, presumably because the early market for the 'NEW' stereo recordings had already been well exploited. As EMI probably isn't know so well in the USA, it's a label located in the United Kingdom.

Artists include Vengaboys, Geri Halliwell, Kraftwerk, Robbie Williams, Pink Floyd, and Sir Cliff Richard,Shades of Hawaii was my first SOLO Steel Guitar album for EMI. It IS purely instrumental.. no vocals, and I AM the featured artist, i.e. Basil Henriques and the Waikiki Islanders and was released in 1967, today, it is still selling all over the world in CD format AND on-line downloadable from i-tunes etc.

Below is a sample of EMI's statement for December 2005 that plainly shows the new format for digital downloads.

And the DIGI one.. listing songs and service providers. ------------------

[This message was edited by basilh on 22 November 2006 at 08:31 PM.]

"Rumble" is an instrumental by American group Link Wray & His Wray Men. Released in the United States on March 31, 1958, as a single (with "The Swag" as a B-side), "Rumble" utilized the techniques of distortion and tremolo, then largely unexplored in rock and roll.

At a live gig in Fredericksburg, Virginia, in early 1958, while attempting to work up a backing for The Diamonds' "The Stroll", Link Wray & His Ray Men came up with the instrumental "Rumble", which they originally called "Oddball". It was an instant hit with the audience, which demanded four repeats that night.[6] The host of the sock hop, disc jockey Milt Grant, paid for the song to be recorded and released as a single; in turn, Grant would receive songwriting credit.[7][8]

Eventually the instrumental came to the attention of record producer Archie Bleyer of Cadence Records, who hated it, particularly after Wray poked a pencil through the speaker cone of his amplifier to make the recording sound more like the live version.[9][10] But Bleyer's stepdaughter loved it, so he released it despite his misgivings.[11] Phil Everly heard it and suggested the title "Rumble", as it had a rough sound and said it sounded like a street fight.[10]

It was banned in several US radio markets, because the term 'rumble' was a slang term for a gang fight, and it was feared that the piece's harsh sound glorified juvenile delinquency.[10] The record is the only instrumental single ever banned from radio in the United States.[12][13]

Another recording of the instrumental was released by Wray in 1968 as "Rumble '68", and again in 1969 as "Rumble-69" (Mr. G Records, G-820).[16] In 2014 jazz guitarist Bill Frisell released a cover of "Rumble" on his album Guitar in the Space Age![17]

Bob Dylan once referred to "Rumble" as "the best instrumental ever",[18] and the piece has remained widely used in various entertainment media. It has been used in movies, documentaries, television shows and elsewhere, including Top Gear, The Warriors (in the deleted opening scene), Pulp Fiction,[19] Screaming Yellow Theater with host Svengoolie, Independence Day, SpongeBob SquarePants vs. The Big One, Blow, the pilot episode of the HBO series The Sopranos, StarCraft II: Wings of Liberty, Riding Giants, Roadracers, and Wild Zero.

In the 2008 documentary, It Might Get Loud, featuring guitarists Jimmy Page, The Edge, and Jack White, Page, the Led Zeppelin founder and guitarist appears playing a 45 rpm single of "Rumble," apparently from his personal collection. Page discusses the record and performs air guitar along with it. Intercut in this footage is part of a conversation among the three guitarists where Page discusses listening to, "anything with a guitar on, when I was a kid [...] but the first time I heard "The Rumble" [sic], that was something that had so much profound attitude to it."[20]

The 1980 Adam and the Ants's song "Killer in the Home", from the Kings of the Wild Frontier album, is based on the same refrain in "Rumble" (Ants guitarist Marco Pirroni has cited Link Wray as a major influence).[11]

We particularly love it when guitar is put front and centre in a song. Sometimes, the lead singer will even back off and allow the guitar to take the entire melody. This is what this blog sets out to celebrate: those songs where the guitar reveals its genius and stamps its authority and magic over the music.

This swaggersome cut from 1958 promptly puts paid to any notions that guitar instrumentals are mere excuses for a show of technique. Rumble is nothing but full-on attitude, with a lead guitar sound achieved by slashing the speaker cone with a razor in order to get a hotter, more distorted tone.

Every day, in one or more of our guitarguitar stores, players of a certain age will make enquiries on how to attain that immortal Hank Marvin tone. His appeal is never-ending! A 1950s Strat, Vox combo and vintage echo unit will help, but the feel and execution are every bit as important. 2351a5e196