We’re huge fans of Alter Bridge guitarist Mark Tremonti here at Roadie. Not just because of his prolific use of alternate tunings (for more on Tremonti’s tuning choices, check out this previous blog post about alternate tunings), but because he’s one of the most inventive and interesting hard rock guitarists out there today.
To hear this, you only need to listen to the band’s monolithic 2013 studio album “Fortress” and its lead single “Addicted to Pain.”
Now, the band has released a new take on that song, recorded live with the Parallax Orchestra. It’s the first single from their upcoming live album, “Live at the Albert Hall” (due in September 7
Broken Wings Guitar Pro Tab By Alter Bridge @ Musicnoteslib.com
The merging of rock and symphony is nothing new – see Metallica’s “S&M” or Kiss’s “Alive IV” – but the results often vary. The trick is finding an orchestra that is sympathetic to the needs of a rock song, as well as a band whose music warrants a symphonic scope.
Fortunately, Alter Bridge has found a worthy foil in Parallax, who embellish “Addicted to Pain” in interesting, yet totally complimentary ways. Their arrangement breathes new life into the song, offering a fresh take but not diluting what made the original itself so impacting.
Case in point, listen to how the majestic strings in the half time mid-section interplay with Myles Kennedy’s sweeping vocals – it’s stirring stuff.
Open Your Eyes
As for the band themselves, they’re on fire here. At this stage in their career – with almost 15 years and five studio albums under their belt – you’d expect nothing less. Scott Phillips and Brian Marshall are unrelentingly tight, proving themselves as one of the strongest rhythm sections in rock right now.
Myles Kennedy cements his reputation as the vocalist of his generation – it’s no wonder he was considered for the Zeppelin gig. His seriously underrated panache as a guitarist is also in full effect on this one.
And then, of course, there’s the mighty Tremonti. A modern-day riffmaster, it’s his gnarly, beastly chug that anchors the tune and his soaring leads that kick it into the stratosphere.
Prs Myles Kennedy Signature
Guitarists live and die by their live proficiency; it’s one thing to pull it off in the studio, but another thing entirely onstage. Tremonti – like the rest of his AB compatriots – is a consummate and seasoned professional. That prowess is on full display here and it’s totally inspiring to listen to.
If “Addicted to Pain” sets the stage for “Live at the Royal Albert Hall, ” the record is shaping up to be a stunner. For Alter Bridge fans, September can’t come soon enough!With 2018’s concept album A Dying Machine, Mark Tremonti’s solo endeavour garnered renewed critical acclaim. We speak to the former Creed and current Alter Bridge star about how his gear and prodigious playing technique have evolved across all his varied projects and collaborations.
Mark Tremonti is the archetype of the eternally busy, globetrotting ist: when he isn’t recording and touring with Alter Bridge – the band he formed in 2004 with celebrated frontman Myles Kennedy – he takes up both lead vocal and duties with his solo project, Tremonti.
Mark Tremonti: 'if I Didn't Have Alternative Tunings, I Would Have Run Out Of Ideas A Long Time Ago!'
, is a sophisticated concept album. Its dystopian, future-tech preoccupations are reflected across a record that successfully blends Tremonti’s full-throttle riff-rock with moments of melodic and acoustic introspection. It’s a satisfying and rewarding listen, with many fans considering it the band’s strongest release to date.
As well as making a compelling case for Mark to be considered a great rock singer as well as one of the world’s finest rock players, the album also showcases his writing talents in the accompanying full-length novel, co-authored by Tremonti with cyberpunk novelist John Shirley. We caught up with Mark in Amsterdam, shortly before the final show of his recent European tour…
The latest album features a lot of powerful and intriguing vocal melodies, sometimes reminding us of Devin Townsend. Who are your vocal influences?
Shinedown And Alter Bridge Walk The Sky With A Double Whammy Performance
“I don’t know if I really had any vocal influences. I grew up a fan of 70s soft rock, and when I was a kid driving in the back of my parents’ car, they would always listen to Rod Stewart, Gerry Rafferty, Steve Miller band or Bob Marley. Then I got into heavy metal and speed metal and since then, my world is trying to combine those two elements: the big melodies mixed with the more aggressive, energetic playing.”
There are some intricate vocal harmonies on the new album – sometimes they’re as important as the main vocal hook. Do you spend a lot of time writing harmonies?
“Yeah. There are certain songs where the harmonies are worked out beforehand. A lot of the harmonies happen in the studio and on this record Eric [Friedman – backing vocals/] also sang: you can tell when they’re his harmonies, as they’re really high and his voice is much different to mine. But he’ll go lock himself in a room in the studio and he’ll just sing his harmonies and Elvis [Michael ‘Elvis’ Baskette, producer] will mix them later on, so he’ll give lots of options for the harmonies. We’ve done this so many times now, we kind of have a system.”
Interview With Myles Kennedy Of Alter Bridge
“It’s just a good team – we work well together. He gets the best performances out of us; he makes it sound immense. And he’s just like a brother in the studio with us. We know it works and we know we work well together, so why mess with a good thing?”
“This record was completely written before we hit the studio – the arrangements, the melodies, the lyrics; every bit of it, except for some of the solos. Everything was written so we could hit the ground running.”
“There’s moments here and there where they are improvised, but for the most part, I like to have my tent poles for the solos. So, I have the main statement pieces for each solo that tells a story and sometimes, I’ll leave myself a little space to experiment within those poles, but for the most part, I like to come prepared into the studio. If I’m not having a good day improvising or whatnot, I want to put my best foot forward, so I always prepare something regardless of whether I try to do more or less improvising for that track.”
List Of Guitar Tunings
Given the genre, the songs on the album are very much riff based – so what constitutes a good riff for you?
“For me, it’s always what’s fun to play and makes me feel something, what pushes emotions and draws you in. Every time you record a song, you have to remember you have to play this night after night after night after night, so you want it to feel good when you play it. So, it’s got to be a combination of being emotive and feeling good to play. And something that’s exciting to play.”
“Gosh, so many different tunings: every record I’ve ever done has had a big variety of tunings. The biggest difference on this record from anything in the past is that there’s more songs in standard tuning. Songs like
Drop C Guitar Tuning Guide
“A lot of times, I’m having to tune down for my voice, but on this record, I had, like I said, three maybe even four songs [in standard tuning].
From the last Alter Bridge record. It’s tuned way higher than we did in Alter Bridge: it’s kind of tuned above standard on most strings, but hard for me to explain, as I can only tune it that way by ear.
“With me, I’ll write a song and I’ll hear a melody play out in my head and then, if my fingers and the layout is such that I can’t play the song, I’ll tune it differently so I can play it. With
Open G Guitar Tuning Guide
I heard this open, natural harmonic line that just wasn’t working out because the low string was off a whole step, so I just tuned the bottom string up to F#. The whole is tuned down a step-and-a-half and then I tuned the bottom string up a whole step from there. When you do those things, your chord voicings – and certain open strings or whatnot – just sound great and different, and give you a big open canvas when you’re writing.”
Some players tune s to their song ideas and many use tunings such as open C to inspire new song ideas. Do you ever try different tunings just to see if it inspires you?
“That’s all I ever do, yeah! If I didn’t have alternative tunings, I would have run out of ideas a long time ago! When I sit down and write, I’ll pick up my and play with whatever tuning it was in when I last played, and as soon as I hit a wall, I’ll tune it to the next closest tuning I enjoy and then I’ll keep going from there. Every now and then, I’ll hunt down a new tuning that I just kind of stumble upon. The more I do that, though, the harder it gets live, because I have to keep on backing up s for
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