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I’ve always been a vinyl lover. The entire time I spent digging through crates or discovering new music through online channels, I kept thinking the same things:

Solution: Look for shows that match your vibe and set list. If you only have twenty minutes of music, it’s probably not time to headline, but you can definitely take part in a showcase! If there isn’t one available, create your own or hit up some open mics! If you feel you’re totally ready to go, tighten up your online presence and start reaching out to venues and promoters. If you’re new to gigging, have a support team around to keep you from panicking over broken guitar strings, and to evaluate shows and help you strengthen your skills as a performer.

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The bass blends well in this mix and grooves solidly throughout the whole song. But one recurring motif that sticks out, perhaps because of the space created by the choppy, Kinks-esque guitar riff, is the simple walk-up to the fifth (an E over the A chord) via the major third and perfect fourth. It happens after the first four chords (which, on their own, actually sound like a rewrite of “You Really Got Me”), and tucks nicely into place as the short D and A guitar chords follow it and carry the end of the measure into the G and C chords of bars 3 and 4. The pattern is repeated over these bars, and basically everywhere else in the song involving the main guitar riff, though East varies it almost every single time with masterful subtlety.

Notice how over the Dm7 chord we play the 5, 6, ♭7, and ♭3. It’s not uncommon to omit the root note when soloing over chord changes, or at least delay the arrival back to the root until the end of the solo for maximum resolution!

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