Rhythm guitar is a technique and role that performs a combination of two functions: to provide all or part of the rhythmic pulse in conjunction with singers or other instruments; and to provide all or part of the harmony, i.e. the chords, where a chord is a group of notes played together. Therefore, the basic technique of rhythm guitar is to hold down a series of chords with the fretting hand while strumming rhythmically with the other hand. More developed rhythm techniques include arpeggios, damping, riffs, chord solos, and complex strums.

In ensembles or "bands" playing within the acoustic, country, blues, rock or metal genres (among others), a guitarist playing the rhythm part of a composition plays the role of supporting the melodic lines and solos played on the lead instrument or instruments, be they string, brass, wind, keyboard or even percussion instruments, or simply the human voice, in the sense of playing steadily throughout the piece, whereas lead instruments and singers switch between carrying the main melody and falling silent. In big band music, the guitarist is considered part of the rhythm section, alongside bass and drums.

In some musical situations, such as a solo singer-guitarist, the guitar accompaniment provides all the rhythmic drive; in large ensembles it may be only a small part (perhaps one element in a polyrhythm). Likewise, rhythm guitar can supply all of the harmonic input to a singer-guitarist or small band, but in ensembles that have other harmony instruments (such as keyboards) or vocal harmonists, its harmonic input will be less important

In the most commercially available and consumed genres, electric guitars tend to dominate their acoustic cousins in both the recording studio and the live venue. However the acoustic guitar remains a popular choice in country, western and especially bluegrass music, and almost exclusively in folk music.

Rock and pop[link]

Rock and pop rhythms[link]

Most rhythms in rock and blues are based on 4/4 time with a backbeat; however,many variations are possible. A backbeat, is a syncopated accentuation on the "off" beat. In a simple 4/4 rhythm these are beats 2 and 4.^[1] Emphasized back beat, a feature of some African styles, defined rhythm and blues recordings in the late 1940s and so became one of the defining characteristics of rock and roll and much of contemporary popular music.

Rock and pop harmony[link]

Harmonically, in rock music, the most common way to construct chord progressions is to play "triads", each comprising a root, third and fifth note of a given scale, interspersed four-note chords, which include the sixth, seventh or ninth note of the scale. Three-chord progressions are common in earlier pop and rock, using various combinations of the I, IV and V chords, with the twelve-bar blues being particularly common. Minor and modal chord progressions feature in later popular music.

Arpeggios[link]

One departure from the basic strummed chord technique is to play arpeggios, i.e. to play individual notes in a chord separately. If this is done rapidly enough, listeners will still hear the sequence as harmony rather than melody. Arpeggiation is often used in folk and country, sometimes in imitation of older banjo technique. It is also prominent in 1960s pop, such as The Animal's House of the Rising Sun, and jangle pop from the 1980s onwards. Rhythm guitarists who use arpeggio often favor semi-acoustic guitars and twelve string guitars to get bright, undistorted "jangly" sound.

The famous Soukous band TPOK Jazz additionally featured the unique role of mi-solo, (meaning "half solo") guitarist, playing arpeggio patterns and filling a role "between" the lead and rhythm guitars.^[2]

Riffs[link]

In some cases, the chord progression is implied with a simplified sequence of two or three notes, sometimes called a "riff", that is repeated throughout the composition. In heavy metal (or just "metal") music, this is typically expanded to more complex sequences comprising a combination of chords, single notes and palm muting. The rhythm guitar part in compositions performed by more technically oriented bands often include riffs employing complex lead guitar techniques. In some genres, especially metal, the audio signal from the rhythm guitar's output is often subsequently heavily distorted by overdriving the guitar's amplifier to create a thicker, "crunchier" sound for the palm-muted rhythms.

Interaction with other guitarists[link]

In bands with two or more guitarists, the guitarists may exchange or even duplicate roles for different songs or different sections within a song. In those with a single guitarist, the guitarist may play lead and rhythm at different times or simultaneously, by overlaying the rhythm sequence with a lead line.

Replacing lead guitar[link]

Some rhythm techniques cross over into lead guitar playing.

In guitar-bass-and-drums power trios guitarists must double up between rhythm and lead. For instance Jimi Hendrix combined full chords with solo licks, double stops and arpeggios.

The Pirates, when they established themselves in 1962-64 and again from 1976 onwards as a separate, power trio entity from Johnny Kidd & the Pirates, were pioneers of the technique of playing guitar solos with a thick chordal rhythm-guitar-like style, which was later popularised by Wilko Johnson of Dr. Feelgood in the 1970s.

A recent innovation is the use of a "looping pedal" to record a chord sequence or riff over which the lead line can then be played, simulating the sound achieved by having two guitarists.

Equipment[link]

Rhythm guitarists usually aim to generate a stronger rhythmic and chordal sound, in contrast to the lead guitarists' goal of producing a sustained, high-pitched melody line that can be heard over top of the band. As a result, rhythm and lead players may use different guitars and amplifiers. Rhythm guitarists may employ an electric acoustic guitar or a humbucker-equipped electric guitar for a richer and fatter output. Also, rhythm guitarists may use strings of a larger gauge than those used by lead guitarists. However, while these may be practices, they are not necessarily the rule and is subject to the style of the song and the preference of the individual guitarist.

While rhythm guitarists in metal bands use distortion effects, they tend to use less of the modulation effects such as flangers used by lead guitar players. Whereas the lead guitarist in a metal band is trying to make their solo tone more prominent, and thus uses a range of colorful effects, the rhythm guitarist is typically trying to provide a thick, solid supporting sound that blends in with the overall sound of the group. In alternative rock and post punk bands, though, where the band is trying to create an ambient soundscape rather than an aggressive Motörhead-style "Wall of Sound", the rhythm guitarist may use flanging and delay effects to create a shimmering background.

Jazz[link]

The rhythmic aspect of rhythm guitar is generally much less important in jazz than in, for instance, rock or pop. On the other hand, jazz guitarists are expected to have deep knowledge of harmony.

Jazz harmony[link]

Jazz guitarists use their knowledge of harmony and jazz theory to create jazz chord "voicings," which emphasize the 3rd and 7th notes of the chord. Some more sophisticated chord voicings also include the 9th, 11th, and 13th notes of the chord. In some modern jazz styles, dominant 7th chords in a tune may contain altered 9ths (either flattened by a semitone, which is called a "flat 9th", or sharpened by a semitone, which is called a "sharp 9th"); 11ths (sharpened by a semitone, which is called a "sharp 11th"); 13ths (typically flattened by a semitone, which is called a "flat 13th").

Jazz guitarists need to learn about a range of different chords, including major 7th, major 6th, minor 7th, minor/major 7th, dominant 7th, diminished, half-diminished, and augmented chords. As well, they need to learn about chord transformations (e.g., altered chords, such as "alt dominant chords" described above), chord substitutions, and re-harmonization techniques. Some jazz guitarists use their knowledge of jazz scales and chords to provide a walking bass-style accompaniment.

Jazz guitarists learn to perform these chords over the range of different chord progressions used in jazz, such as the II-V-I progression, the jazz-style blues progression, the minor jazz-style blues form, the "rhythm changes" progression, and the variety of chord progressions used in jazz ballads, and jazz standards. Guitarists may also learn to use the chord types, strumming styles, and effects pedals (e.g., chorus effect or fuzzbox) used in 1970s-era jazz-Latin, jazz-funk, and jazz-rock fusion music.

Big band rhythm[link]

In jazz big bands, popular during the 30s and 40s, the guitarist is considered an integral part of the rhythm section (guitar, drums and bass). They usually played a regular four chords to the bar, although an amount of harmonic improvisation is possible. Freddie Green, guitarist in the Count Basie orchestra, was a noted exponent this style. The harmonies are often minimal; for instance, the root note is often omitted on the assumption that it will be supplied by the bassist.

Small group comping[link]

When jazz guitarists play chords underneath a song's melody or another musician's solo improvisations, it is called "comping", short for "accompanying" and for "complementing".^{[citation needed]} The accompanying style in most jazz styles differs from the way chordal instruments accompany in many popular styles of music. In many popular styles of music, such as rock and pop, the rhythm guitarist usually performs the chords in rhythmic fashion which sets out the beat or groove of a tune. In contrast, in many modern jazz styles within smaller, the guitarist plays much more sparsely, intermingling periodic chords and delicate voicings into pauses in the melody or solo, and using periods of silence. Jazz guitarists commonly use a wide variety of inversions when comping, rather than only using standard voicings.^[3]

Gypsy pumping[link]

Gypsy jazz is acoustic music which usually played without a drummer. Rhythm guitar in gypsy jazz uses a special form of strumming known as "la pompe", i.e. "the pump". This form of percussive rhythm is similar to the "boom-chick" in bluegrass styles; it is what gives the music its fast swinging feeling. The strumming hand, which never touches the top of the guitar, must make a quick up-down strum followed by a down strum. The up-down part of la pompe must be done extremely fast, regardless of the tempo of the music. It is very similar to a grace note in classical music, albeit the fact that an entire chord is used. This pattern is usually played in unison by two or more guitarists in the rhythm section.

Jazz chord soloing[link]

Jazz guitar soloists are not limited to playing single notes by their instrument. This allows them to create "chord solos" by adding the song's melody on top of the chord voicings. Wes Montgomery was noted for playing successive choruses in single notes, octaves and finally a chord solo. This technique differs from chord-melody soloing in that it is not intended to be used unaccompanied

Funk[link]

Funk utilized the same extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths. However, unlike bebop jazz, with its complex, rapid-fire chord changes, funk virtually abandoned chord changes, creating static single chord vamps with little harmonic movement, but with a complex and driving rhythmic feel. Some of the best known and most skilful soloists in funk have jazz backgrounds. The chords used in funk songs typically imply a dorian or mixolydian mode, as opposed to the major or natural minor tonalities of most popular music. Melodic content was derived by mixing these modes with the blues scale. .

In funk bands, guitarists typically play in a percussive style, often using the wah-wah sound effect and muting the notes in their riffs to create a percussive sound. Guitarist Ernie Isley of The Isley Brothers and Eddie Hazel of Funkadelic were notably influenced by Jimi Hendrix's improvised solos. Eddie Hazel, who worked with George Clinton, is one of the most notable guitar soloists in funk. Ernie Isley was tutored at an early age by Jimi Hendrix himself, when he was a part of The Isley Brothers backing band and lived in the attic temporarily at the Isleys' household. Jimmy Nolen and Phelps Collins are famous funk rhythm guitarists who both worked with James Brown.

Reggae[link]

The guitar in reggae usually plays the chords on beats two and four, a musical figure known as skank or the 'bang'. It has a very dampened, short and scratchy chop sound, almost like a percussion instrument. Sometimes a double chop is used when the guitar still plays the off beats, but also plays the following 8th beats on the up-stroke. An example is the intro to "Stir It Up" by The Wailers. Artist and producer Derrick Harriott says, “What happened was the musical thing was real widespread, but only among a certain sort of people. It was always a down-town thing, but more than just hearing the music. The equipment was so powerful and the vibe so strong that we feel it.” ^[4]

See also[link]

Guitar portal

• List of rhythm guitarists
• Flamenco guitar
• Steel guitar

References[link]

External links[link]

• Multimedia Rhythm Guitar Lessons

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2012)

Carl Verheyen is an American guitarist, known for his work in Supertramp and also for being a renowned session guitarist.^[1][2] He is also an adjunct instructor of studio jazz guitar for the Thornton School of Music of the University of Southern California^[3]

History[link]

Verheyen has authored many instructional books^[3], including Improvising Without Scales, as well as Studio City, a collection of articles written for the magazine Guitar for the Practicing Musician from 1996-1999. In 1996 Carl won the LA Music Awards category of Best Guitarist.^[3]

His first solo album was entitled No Borders; his follow up, Garage Sale, features his own vocals. 1998’s Slang Justice, Verheyen's third release, was the first time he toured to support one of his records. His tour bandmates included bassist Cliff Hugo, drummers Chad Wackerman, Steve DiStanislao and Bernie Dresel. Slingshot, released in 1998, included drummer Gregg Bissonette and keyboard legend Jim Cox. Verheyen continued to play as a session player on other artists’ records whenever in town, for acts such as the Bee Gees and Cher, as well as for movie soundtracks including The Crow and The Usual Suspects. In January 2000, he released the CD Atlas Overload, followed, in 2001,by a solo guitar composition entitled Solo Guitar Improvisations.

Verheyen has also produced instructional DVDs, online lessons and a book/CD which profiles his “intervallic” style called Improvising Without Scales, as well as a book entitled Studio City, a compilation of all columns wrote by him for Guitar Magazine between 1996 and 1999. He currently writes a monthly column for Chitarre, an Italian guitar publication.

In 2001, Verheyen released a collaborative work entitled Reel to Real with Karl Ratzer, an Austrian jazz guitarist. Recorded in two days, it consisted of extended “jams” and interactive musical exchanges between the two guitarists and the assembled rhythm section. Shortly afterwards, he released a collection of past songs entitled Six, featuring a cover of Lennon–McCartney’s "Yes It Is". The band toured extensively behind this record, eventually playing in 14 countries over two years.

In 2005 he recorded Rumor Mill, a DVD box set. His latest release was in 2007 with Take One Step, featuring an extended piece called “Bells of April”.

Throughout 2009 he toured the UK, giving guitar tutorial and instruction.

In early 2011 Verheyen released the live DVD The Road Divides featuring previously unreleased material ("The Road Divides") extended jams and acoustic numbers ("Henry's Farm" and "Jerry's Breakdown"). The package included extensive interview footage with Verheyen and band members Dave Marotta (bass) and Walfredo Reyes, Jr (drums) and was directed by Nigel Dick.

Albums[link]

• 1988 - No Borders
• 1994 - Garage Sale
• 1997 - Slang Justice
• 1999 - Slingshot
• 2000 - Atlas Overload
• 2001 - Solo Guitar Improvisations
• 2001 - Real to Reel
• 2003 - SIX
• 2005 - Rumor Mill
• 2006 - Take One Step
• 2009 - Trading 8s

External links[link]

• Official website
• Official Myspace
• Carl Verheyen Interview (2010) - iTalkGuitar
• Audio Interview with Carl on Guitar Jam Daily
• Carl Verheyen at the Internet Movie Database

References[link]

v t e Supertramp Rick Davies Bob Siebenberg John Helliwell Carl Verheyen Lee Thornburg Cliff Hugo Jesse Siebenberg Gabe Dixon Cassie Miller-Thornburg Past members: Roger Hodgson Dougie Thomson Richard Palmer Robert Millar Frank Farrell Kevin Currie Dave Winthrop Mark Hart Tom Walsh Keith Baker Touring members: Marty Walsh (1985–1988) Brad Cole (1986–1988) Scott Page (1983–1985) Fred Mandel (1983) Albums Supertramp Indelibly Stamped Crime of the Century Crisis? What Crisis? Even in the Quietest Moments... Breakfast in America ...Famous Last Words... Brother Where You Bound Free as a Bird Some Things Never Change Slow Motion Live albums Concert Classics Paris Live '88 It Was the Best of Times Is Everybody Listening? 70-10 Tour Compilations The Autobiography of Supertramp The Very Best of Supertramp The Very Best of Supertramp 2 Retrospectacle – The Supertramp Anthology Singles "Forever"" "Land Ho" "Dreamer" "Bloody Well Right" "Lady" "Ain't Nobody But Me" "Give a Little Bit" "Babaji" "From Now On" "The Logical Song" "Breakfast in America" "Goodbye Stranger" "Take the Long Way Home" "Dreamer (live)" "Breakfast in America (live)" "It's Raining Again" "Don't Leave Me Now" "Crazy" "My Kind of Lady" "Still in Love" "Cannonball" "Better Days" "I'm Beggin' You" "Free As A Bird" "Give a Little Bit (New Version)" "You Win, I Lose" "Listen To Me, Please" "Slow Motion" Selected songs "Brother Where You Bound" "Fool's Overture" Related articles Discography Band members Book:Supertramp

Paul Jackson, Jr.
Background information
Occupations	Musician, Songwriter, Guitarist
Website	http://www.pauljacksonjr.com

Paul Jackson, Jr. (born Paul Milton Jackson, Jr. on December 30, 1959 in Los Angeles, California)^[1] is a fusion/urban jazz composer, arranger, producer and guitarist. He was born and raised in Los Angeles. Jackson knew by the age of fifteen that he wanted to become a professional musician. He attended the University of Southern California, majoring in music.

In addition to being a recording artist in his own right, Jackson is also highly accomplished L.A. session player, with a career spanning multiple decades. He has supported artists ranging from Michael Jackson^[2] (on the albums Thriller, Bad, Dangerous, HIStory and Blood on the Dance Floor: HIStory in the Mix) to Whitney Houston,^[2] Thomas Anders, Patti LaBelle and Luis Miguel, to rockers such as Chicago and Elton John, to jazz greats such as George Duke, Dave Koz, Al Jarreau, David Benoit, Marcus Miller and Kirk Whalum, and to Christian artists such as Leon Patillo and Don Moen.

Jackson can be seen playing guitar in a wide variety of styles on The Tonight Show With Jay Leno and American Idol.^[3]

Guitars[link]

• Gibson ES-335
• Gibson ES-339
• Gibson ES-345
• Gibson Les Paul Custom
• Gibson Les Paul Sunburst
• Gibson SG
• Gretsch Nashville Goldtop
• Gretsch Brian Setzer Black Falcon
• Gretsch Brian Setzer Nashville Heritage Cherry
• Gretsch Brian Setzer Irish Falcon
• Gretsch Brian Setzer Duo Jet
• PRS SE Singlecut Paul Jackson Guitar Series
• Takamine Classical Guitars

Amplifiers[link]

• Marshall Amplifiers
• Mesa Custom Amplifiers

Effects[link]

• Dunlop M-102
• Dunlop M-103

Discography[link]

Albums[link]

As sideman[link]

This section requires expansion.

With Lalo Schifrin

• No One Home (Tabu, 1979)

References[link]

External links[link]

• official site

This article about an American jazz guitarist is a stub. You can help Wikipedia by expanding it. v t e

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (May 2010)

The Basics
The Basics at the Oxford Art Factory, 2010
Background information
Origin	Melbourne, Australia
Genres	Rock
Years active	2002–present
Labels	Independent, Albert Records
Associated acts	Gotye, Down Hills Home, Dog With Wheels, Blood Red Bird
Website	The Basics Official Website
Members
Wally De Backer Kris Schroeder Tim Heath
Past members
Michael Hubbard
Notable instruments
Lead guitar, drums, bass guitar.

The Basics ( /ˈbæzɪtʃ/ BAZZ-ich) are a three-piece band from Melbourne, Australia, formed by Wally De Backer and Kris Schroeder in 2002. Their style has been described as anything from 'indie-pop' to 'rock'n'roll' to 'pop-rock', though their records show they span a wide range of genres, including reggae, ska, country, and electro-pop. They are "recognised as one of Australia's hardest-working bands".^[1]

With close to 1000 shows in their ten-year career, their live performances are well-known for their sense of humour and energy.^[2]

Formation[link]

The Basics were formed after Kris met Wally at a party in Melbourne.^[3] The event was to see off the young aspiring producer, who was about to depart for Los Angeles, and together with a number of musician friends, the two jammed on some blues-rock standards. Later that night, they bonded over a mutual love of The Beatles, 70s and 80s cartoon theme songs and old Sierra adventure games.

Initially, they played around Melbourne as an acoustic guitar/drums combo, starting at The Opposition in Frankston and the House of Fools in Footscray, where in late 2002 they met Michael Hubbard and later invited him to join them on electric guitar.^[4] Though lacking any real experience with the instrument, Kris willingly purchased his first bass guitar, and the trio was born. During this time, the group start performing songs with more complicated three-part harmony.

During late 2002 and early 2003, The Basics recorded and released an album called Get Back through MGM Distribution. They began what was to become regular tours of the East and West coasts of Australia.

2004-2005: Current lineup[link]

Tim Heath joined the group in June 2004, after Michael decided to pursue his solo career, which has included being one half of Down Hills Home.^[4] Tim was reportedly the only person to reply to an advertisement in Melbourne's Beat Magazine looking for a new guitarist. Tim apparently answered the advertisement - which said the applicant "must have a love of 50s and 60s rock'n'roll" - thinking that he would be meeting "a couple of old guys to play with on the weekends over some beers". They soon recorded For Girls Like You.

The Basics in 2005 continued to tour and play small festivals, and after releasing For Girls Like You through MGM Distribution, they departed for a national tour of Australia, which lasted for two months and took them to every Australian state and territory. Stuart Padbury, a young Melbourne sound engineer, joined them on much of this tour. On returning, the band began demonstrating songs for a new album.

2006-2009: Touring and soundtracks[link]

In 2006, The Basics began recording what was to become known as Stand Out/Fit In. Taking several months, it was not completed until the end of the year, despite intentions to have it released in June. Instead, they held a successful 'album preview', where each of the tracks was demonstrated in 'rough form' accompanied by a music video for each (produced by Melbourne photographic artist James Bryans). The band also talked about the origins of the songs. This event brought a lot of attention to the band for the idea's originality. They pre-released a radio single 'Just Hold On' from the album. The band were invited to play the hugely popular Homebake Festival in Sydney, where they received a great response, after being introduced onto the stage by a short stocky Asian guy with big calves ("one of the highlights" wrote The Daily Telegraph).

In 2007, the band departed on a tri-state residency which saw them play Melbourne, Sydney and Brisbane every week for the month of April - a bold move which brought further attention to the band for its original idea.^[5] Riding on the wave of this tour, Schroeder, De Backer and Heath departed on their first overseas tour which saw them performing 26 shows around Japan, Norway and the United Kingdom.^[6] They also toured twice more up the East Coast, one of which was with popular Japanese band The Bawdies. Their song 'Rattle My Chain' was used in a series of commercials for Volvo Australia. The song 'Hey There!' featured in the British film The Bank Job - starring Jason Statham - and was used as the backing for a February 2007 short film directed by Tim Longhurst called The Rip. Their song 'Better' was featured in a surfing documentary about the invention of the shortboard in 1967.

In 2008, the band appeared on Australia's Channel 9 for Australia Day celebrations, performing two of their songs - 'Just Hold On' and 'Hey There!' - to an estimated audience of 2 million. Securing an Australian Government grant, they embarked on a two-month tour of Australia, specifically targeting "culturally underprivileged groups" in rural and regional schoolchildren and Indigenous communities. The programme had them holding masterclasses and performing alongside Indigenous groups in the remote Northern Territory and Queensland.^[7][8] Their initiative also had them raising money for the charity Lifeline^{[disambiguation needed ]}, their contribution to which was recognised with a plaque at the end of the tour. Season two of Californication starring David Duchovny featured their cover of the classic 'Have Love, Will Travel', most famously covered by 'The Sonics'.

In 2009, The Basics for the first time enjoyed the support of Australian radio network Triple J, which had reportedly snubbed the band's previous material.^[9] The singles 'With This Ship' and 'Like A Brother' were added to the station's playlist, and momentum carried The Basics overseas for a second tour of the United Kingdom and Norway, and also a series of shows in Dublin, Ireland. They were joined by the longtime front-of-house engineer Stuart Padbury, who had been mixing them since 2005. The band was often seen in the Grafton Street Mall in Dublin, busking to promote their concerts there. Their second show in Oslo, Norway, saw the band perform with Hot Tub, one of the members of the Norwegian boy band "Boyzvoice", in his first performance for several years. Season Eight of Scrubs featured the song 'Lookin' Over My Shoulder'.

Despite all this promise, the band's album Keep Your Friends Close - produced and part-recorded by Peter Cobbin at London's Abbey Road Studios - though enjoying many favourable reviews,^{[10][11][12][13]} failed to impress Richard Kingsmill, music director of Triple J. This effectively ended the band's apparent upward spiral and the resulting album launch tour was reportedly "trying".

2010: Hiatus and live album[link]

In 2010, following the band's fourth stint at the Tamworth Country Music Festival, and the recording of a yet-unreleased live album, an indefinite hiatus was announced on the band's websites. This was in part due to the impending release of a new album produced by Wally for his Gotye project, and also to reported tensions within the band following the previous year's disappointments.

However, this hiatus was soon broken with a two-month residency at the Northcote Social Club in Melbourne, which saw an apparent return to form.^[14] The band's EP "Wait For You" enjoys airplay on Triple J.^[15] The Basics also played a one-off show at Sydney's Oxford Art Factory.^[16]

On 20 August 2010, The Basics released their fourth LP /ðəˈbæzɪtʃ/, available free and exclusively from their website for digital download^[17]. The band had reportedly moved to expand their listenership through this free giveaway, though 300 "Deluxe" CD/vinyl versions have been printed. /ðəˈbæzɪtʃ/ was recorded at the Northcote Social Club on 6 February, "in front of a live studio audience", and like the previous record, was mixed by Peter Cobbin at Abbey Road Studios. Technically a self-titled album, the phonetics spell out the accurate pronunciation of the band’s name. Kris Schroeder: "For years we’ve worked at bringing our live energy into the studio and thus far it’s been a bit hit-and-miss. Our trick this time was to pull a switcheroo and bring the studio to us instead; the result is the best and closest to us we’ve sounded yet."

Melbourne thespian and Dog With Wheels bassist David Bramble - friends with Heath from university days - has occasionally joined the band on tour, playing keys, often while sporting a large moustache. Other guests have included Jake Mason (saxophone), also of Cookin' on 3 Burners and The Bamboos^{[disambiguation needed ]}, Gideon Brazil (saxophone, flute), Simon Imrei (guitar and vocals) and Monty MacKenzie (saxophone).

Covers have often made an appearance from various sources: to date, some of the bands covered have been Cream, The Kinks, The Rolling Stones, The Police, Neil Young, Bob Dylan, New Kids on the Block, Richard Berry, Sonny Curtis and The Crickets, JJ Cale, Harry Nilsson, Bill Scott, Ryan Adams and The Coasters (via The Beatles for their cover of Three Cool Cats).

Members[link]

Current

• Wally De Backer - drums, vocals (2002-present)
• Kris Schroeder - bass, vocals (2002-present)
• Tim Heath - guitar, vocals (2004-present)

Former

• Michael Hubbard - guitar, vocals (2002-2004)

Discography[link]

Albums[link]

• Get Back (15 January 2004)
• Stand Out/Fit In (5 May 2007)
• Keep Your Friends Close (25 September 2009)
• /ðəˈbæzɪtʃ/ (20 August 2010)

EP[link]

• For Girls Like You (11 July 2005)
• Lookin' Over My Shoulder (10 February 2007)
• Like A Brother (5 June 2009)
• Wait For You (21 May 2010)

Singles[link]

• Call It Rhythm & Blues (20 August 2004)
• Just Hold On
• With This Ship (22 February 2009)

Upcoming projects[link]

The band is taking a three year hiatus, with an announced return to the stage together in early 2014. Wally De Backer launched Making Mirrors under his Gotye act in August 2011, Tim Heath will be touring and recording with Blood Red Bird, and Kris Schroeder recorded a solo EP titled, Patience in the Face of Control, before leaving Australia to work with the Red Cross in Kenya for a two year sabbatical.

References[link]

External links[link]

• Official Website
• Myspace Website

Rick Parfitt OBE
Background information
Birth name	Richard John Parfitt
Born	(1948-10-12) 12 October 1948 (age 63) Woking, Surrey, England
Genres	Hard rock, rock and roll, boogie rock
Occupations	Musician, songwriter
Instruments	Guitar, vocals
Years active	1960s–present
Associated acts	Status Quo
Website	www.statusquo.co.uk
Notable instruments
Fender Telecaster

Richard John Parfitt, OBE (born 12 October 1948) is best known for being a singer and the rhythm guitarist in the English rock band Status Quo.

Career[link]

Born in Woking, Surrey, Parfitt attended Goldsworth School, Woking and first met band member Francis Rossi in 1965 in Butlin's Minehead whilst he was playing as Ricky Harrison in a musical trio called 'The Highlights'.^{[citation needed]} Rossi was playing with the Spectres (forerunner of Status Quo) at the time and Parfitt was sufficiently impressed to approach him with a view to working together. Nothing came of the meeting until 1967 when Parfitt joined Rossi, Alan Lancaster, John Coghlan and Roy Lynes to form the classic Quo lineup.

Parfitt has been a continuous member of the group, and has penned some of their greatest hits, sometimes in collaboration with the group's keyboard player Andy Bown, among them "Whatever You Want", "Again and Again", and "Rain". He recorded a solo album in 1985, but it was never released. Among musicians on the record were bassist John Edwards and drummer Jeff Rich, formerly with the Climax Blues Band and Judie Tzuke. He has earned the nickname 'The WOMORR' (The Wild Old Man of Rock 'n' Roll). Parfitt is known for his trademark white Fender Telecaster – a 1965 model.

In 2006, Parfitt released his invention, the "guitar facelift"^[1] which has the backing of guitar manufacturer Fender.

On 16 June 2007, the presenters of the British children's television show, Tiswas, reunited for a special one-off show. Parfitt performed with the rest of Status Quo on the show (all of whom were constantly plagued by the show's trademark practical jokes during their performance), and presenter Chris Tarrant alleged that during a broadcast of the show in the early 1980s, Parfitt was smoking cannabis on live children's television.

On 15 September 2007, Parfitt and Rossi appeared on Celebrity Who Wants to Be a Millionaire?, earning £50,000 for charity.

In December 2009, Parfitt teamed up with Rolf Harris for the single "Christmas in the Sun". This follows on from the 2008 Status Quo hit "It's Christmas Time", which Parfitt wrote with current songwriting partner Wayne Morris.^[2]

Musical equipment[link]

One of Parfitt's guitars is a white 1965 Fender Telecaster. In addition he also plays a Gibson SG tuned to an Open E, a 1981 Zemaitis tuned to a B, a Schecter, a Fender Esquire, and a Chet Atkins acoustic guitar. For amplification, Parfitt uses Marshall JCM800 or JCM900 amplifiers with 4x12 cabinets combined with VOX AC30 amplifiers and a Roland GP8 signal processor.^[3]

Personal life[link]

Parfitt had a relationship with his childhood sweetheart Patty after meeting her in 1968. After the pair split up, Parfitt married Marietta Boeker, and the pair had a son, Richard (born 1978). They had also a baby girl Heidi Marie Elizabeth Parfitt who drowned in the family pool at the age of 2. Parfitt and Marietta then divorced, and he married Patty – the pair had a son, Harry (born 1989). However, they also divorced, before Parfitt reunited with Patty in 2000. The couple lived in a £1 million mansion in Teddington, but after paying out more than £3 million in divorce settlements, Parfitt vowed in 2005 that he would never marry again. However, in August 2006, after meeting 46 year old fitness instructor Lyndsay Whitburn, the pair married in a £40 ceremony in Gibraltar.^[4][5] On 26 May 2008, Lyndsay gave birth to twins - a boy named Tommy Oswald Parfitt, and a girl named Lily Rose Parfitt.^[6]

Parfitt had a quadruple heart bypass in 1997. In December 2005 he underwent tests for suspected throat cancer, but just before Christmas that year, the tests found the growths to be benign.

Parfitt was appointed Officer of the Order of the British Empire (OBE) in the New Year Honours 2010.^[7][8]

References[link]

External links[link]

• Status Quo official site
• Guitar Facelift