We are giving away a pair of tickets to Paul Gilbert – Behold Electric Guitar Tour @ Aladdin Theater on June 30. To win, comment on this post why you’d like to attend. Winner will be drawn and emailed Monday, June 24.
From our sponsors:
Paul Gilbert – Behold Electric Guitar Tour
June 30, 2019
Doors 7 p.m., Show 8 p.m. | $30 ADV, $35 Doors | All Ages
More info: aladdin-theater.com
3017 SE Milwaukie Ave., Portland, Oregon 97202
It’s a question every artist has to grapple with: If you’re not pushing yourself creatively, how can you grow? And that’s exactly what acclaimed guitar maestro Paul Gilbert tackles with fervor on his new solo album, I Can Destroy, coming out May 27 via Ear Music / Edel. “One thing I’ve always struggled with as a writer is I don’t think I’ve written a lot of songs that make it easy on the improviser,” the consummate soulful shredder admits. “Coming from a heavy rock background, that’s been a real challenge. But I worked really hard to rework all my fingerings so I could emphasize different tones the way my ear hears them. I’m still working on it, but that was a major step forward for me as a guitar player — to be able to get that sound on purpose, rather than by accident.”
It’s no accident that Destroy cuts a wide swath of styles and textures, from the full-frontal assault of “Everybody Use Your Goddamn Turn Signal” to the jazz-blues lament of “One Woman Too Many” (which also features Gilbert’s patented four-pick Makita drill-bit riffery) to the radio-friendly balladeering of “Love We Had” to the smoking-hot gut/heart punch of “I Am Not the One (Who Wants To Be With You),” the latter track’s title a playful reference to the ubiquitous #1 hit Gilbert enjoyed as part of his gig as lead guitarist for the still-going-strong Mr. Big.
Gilbert knew that Destroy producer Kevin Shirley (Led Zeppelin, Iron Maiden, Rush, Joe Bonamassa), whom he previously collaborated with on Mr. Big’s 2011 release What If, would push him to do his best from the get-go. “One thing I knew about working with Kevin as a solo artist is that there weren’t going to be that many overdubs on the record — not that many takes, and not many fixes,” Gilbert reports. “As a