Tenth album done, as far as recording.

This was a smooth and easy album to make for myself and Mike.

And have to give CJ Scioscia credit for engineering on the first day of recording…way back on January 16 this year. Hard to believe, huh? And even before that, Mike and I put our pedal to the metal and rehearsed our brains out from October last year until the week before recording.

Yet this was the most relaxed batch of sessions we’ve ever done.

Today, on the first day of Spring, I laid down solos for eight songs in two hours. Yes, two hours. Yes I make a big deal about that. Mike and I are very efficient musicians, come prepared to do battle, and can look back with a huge sigh of relief. A good sigh though.

As for the solos, I was working on ideas at home of course. Playing with modes, finding notes that fit (and didn’t). But then a video that I came across on a YouTube short gave me a jolt of inspiration. And who provided it? Joe Satriani? Steve Vai?

Trey Azagthoth of Morbid Angel.

Yes, you can scrape your jaw off the floor now.

This video was about the making of their breakthrough album BLESSED ARE THE SICK (and trust me, it’s great!) A producer said that he purchased an Eventide H3000 Harmonizer rack unit, the same one that Steve Vai popularized. He said that Trey was playing with various patches and decided to have a different sound on each solo. Phase/delay on one, flanger on another, and whatever else peaked his interest. I thought to myself, “Self! Why not do that?”

I brought this up to Mike and he said, “Sure, do it!” And just in time, I purchased a used Flamma FS06 Modulation Pedal from Guitar Center. I have the smaller green one but this one is yellow, bigger and programmable. And since I like making funny noises (human and otherwise), I programmed some wacky sounds ranging from helicopter effects to liquidy nonsense. And with these sounds, my solos took on a new dimension.

Was I ever an innovative, ground breaking guitarist? No but I tried. And while I’m not reinventing the wheel here, I made it a bit rounder. Along with my plethora of noisemakers on the pedalboard, we began committing solos to tape…well, wav file. One solo was done in one take and I expected that. A few I did some re-takes, as either Mike or I would say “Nah”. Mike even surprised me when I used the wah pedal as a filtering effect ala Randy Rhoads/Michael Schenker. He said “It cuts through well so use that.” Roger that! And when I employed whatever nutjob sound I had on the Flamma, Mike would say “That’s perfect” or “Dial it back a little, sounds too mushy.”

In the past I would have bristled. But I learned to put my ego aside, as well as my pride, and listened to his advice much better. And he was more open and receptive to whatever hair-brained solos I conjured up. Most of my solos were mapped out at home, but I always leave room for any last-minute ad-libbing or a “happy accident”. Mike even said that my solos aren’t typically “note perfect” as I usually do, but more of a vibe, a feeling. Of course I aim to sound GOOD, right? But also I shoved my perfectionism in the glove compartment, and let it rip.

I would let Mike hear something quickly and he’d offer tips or agree that it worked. One solo goes from Ritchie Blackmore to Eric Johnson (?!) Another is pure speed, with a lot of glitchy sounds (think Joe Satriani and Vernon Reid jamming). Yes I am saying some bold things but I can back my words up. Yet in the end, everything sounds like me. Oh and there’s one song where the solo is…get ready…Kerry King meets Tom Morello.

You thought you had me all figured out, huh?

Even I surprised myself with what flew out of my fingers. I think of the guy who’s stranded on the island with Bugs Bunny: “Gee…did you say that?” I obviously have a good amount of quick playing going on but it’s also tempered with unique phrasing. What’s wrong with me?!?!? But Mike and I are both pleased with not just the solos, but the album as a whole.

Mike will wait two weeks before mixing so he can approach things fresh. I can dig that. Plus I am nowhere near ready to get it mastered. Hoping for more cover band gigs and private students. I’m not broke but not close at all what Joe Lambert will charge me. I’m in NO rush at all and that’s the best part. No stress, no fuss, no muss. This is why the vibes were flowing, the energy levels were high, and the music was a breeze to record.

Is this going to be my best album?

I’ll let you decide.

While I’m on fumes this morning, it’s best to do my usual blog about a gig I just did and post various photos. Otherwise I might sleep the day away.

I have to get my live chops back!

Last night was my first gig of 2026, and honestly it shouldn’t sound like such a big deal. But after spending months in rehearsals and recording my latest album (which as you know is going exceedingly well), my brain had to readjust to live mode. Thought it could be analogous to riding a bike but it felt more like being run over by said bike.

Of course, the gig was with Supernova and we always have a blast! We played Mason Street Grille in Lake Hopatcong and while parking there sucks, once inside, we got down to business with setting up and rocking out. Last time I played with them was back in November 2025, and in my mind I thought “Pick up where I left off.”

I left my stage energy at the Thirsty Farmer apparently.

Don’t get me wrong: the band sounded great, the place was pretty crowded, but by the second set, I was on auto-pilot. First set, I thought “Yeah this is awesome” and by set two, that rigor mortis started creeping up. Was I getting too used to going to be earlier? I cannot be that old…right?

After downing a few Cokes (the drink, people) I started feeling good again. Some new tunes were added by Lenny Kravitz, Judas Priest, and while we were supposed to do a couple of Irish tunes for St. Patty’s Day…OOPS! We forgot!

Singer Mike McCormick told me before the show that he would not play as much guitar, would focus more on singing. Some songs he strapped on his Strat but otherwise I was left to my own devices. Fortunately, I know how to sound like two guitarists with my myriad of pedals (plus having seven strings works too…tee-hee!) I think he enjoyed walking around the stage without a guitar around his neck. Even got to put his foot on the monitor ala Iron Maiden.

I could have said Dokken but…let’s stick with Maiden.

By set three, I was done. Felt like “Wow, do I have it in me to perform any more?” I enjoyed playing, no question. I was and still am concerned that the live chops suffered, yet of course “the crowd doesn’t care”. Yet I do. The next show isn’t until May 29 with Rubber Duckie Riot, and I’m almost done recording the new album (doing guitar solos next weekend). If more shows emerge, then great. I will have to prep myself better, simple as that.

At least the hot pink sneakers with the glowing laces were a hit!

Yesterday and today (March 7th and 8th), I got to record guitar melodies and like the other sessions before this, everything is going very smoothly. Doesn’t even feel like we’re making a new album.

I can dig that.

Of course what would a session be without its hiccups and gremlins in the machine? Yesterday we had to content with grounding issues from one of my pedals. Today we fixed it but as always, the show must go on. Friday saw me lay down five of the eight melodies in three hours, and that’s damn good. Today I finished up the remaining three in two hours. Again, not bad, eh?

This time around, Mike and I experimented with harmonies and at one point, he said “Do something weird” with one of the songs. HUH?! Preaching to the choir here, man! If he asked me to do something normal, I might have fallen over. I got to use the Flamma Mini Modulation pedal (the green one that’s not on the board) and dialed up some CRAZY sounds. I’m good at that. But if that wasn’t “weird” enough…

You might recall that I wrote a song that sounds like a cross between 80s Rush and 5150-era Van Halen. Now you can add Allman Brothers to it. WTF?! Certain harmonies lend themselves to particular eras. Most think of Thin Lizzy/Wishbone Ash and of course IRON MAIDEN! But…Allman Brothers?!?! REALLY?! Well as I always say, I get out of the way of the music, and let things come to me. I didn’t plan it to happen, much like I didn’t plan to combine Rush with VH. Yet in the end, it all still sounds like…me.

We listened back to the tracks and we’re satisfied for sure. Things are going incredibly well, and shouldn’t making albums always be like this?

Next weekend I am performing with Supernova at Mason Street Grille (Lake Hopatcong, NJ) and then back in the studio the following weekend to do…wait for it…GUITAR SOLOS! Yes, I get to make funny noises and play too many notes per square inch. I excel at those WHEEEEEEEEEEEE!

Can you tell I’m ebullient?

I was supposed to go to the studio this Friday to do guitar melodies. Mike asked if we can push back to next weekend and I was 100% fine with that. Rather than do one day this week and wait another week, it makes sense to do Friday and Saturday next weekend so we can flesh things out.

Works for me!

I have some pretty solid ideas for melodies, and a few where I will ask Mike for his input. I had to learn over time to not be so wedded to my ideas. I have a strong vision and hated having it squashed in the past. I’ve taught myself to loosen up over the past few years. It’s not been easy! Dave Mustaine of Megadeth once said years ago, that “when I run things, I ruin them.” Clever wording on his part! And it makes perfect sense. I can say with great confidence that the melodies that I feel are strong will stick. The others might either be re-worked, or as Mike said last time, “We might do a lot of ad-libbing.”

Again, works for me!

And as you can see in the above banner, I’ve been working on the cd cover. I showed Mike my idea a while back and he said it was great. No I won’t divulge much else aside from that’s the “new logo” for 2026. Hell, if Motley Crue and Joe Satriani never had a steady logo, neither will I!

Of course, I have some gigs lined up starting March 14 with Supernova. Two more with that band will happen much later this year, as well as a Rubber Duckie Riot show in May. The gigs are spread apart, and that’s fine. I’m sure more will fill in the gaps as time moves on. I can’t wait to be on stage with my revamped Orange combo. You may recall that back on December 30, my CR35 amp died on stage. First time that had ever happened to me in my million years of playing shows. So with the help of my friend Steve Nani, he helped me get a brand new Jensen speaker and installed it a bit ago. The original Orange speaker was great but this takes it up a few notches WOW! So the retooled Orange will make its debut on March 14.

Tune in next week when we head back to Bandmother Recording…

Those who can, do. Those who can’t, do it anyway!

I will never profess to be a great bass player. I am competent enough to play my own songs. After all, I wrote them, yes? For a bass player, I’m a really great guitar player.

When Mike and I talked about who would play bass on ths new cd, we both agreed that I should do it. I’ve done it on four of my (almost) 10 albums: TWISTED METAL, LAYERS OF TIME, MOOD SWINGS, and this one which has a title but am not revealing it. I can’t afford to have ideas stolen anymore, not since 2005.

Even though I was mapping bass lines in my head, and had a good amount of time before committing them to tape (well, computer), that feeling of “Can I really do this?” washed over me. So what’s a guitarist to do? Play lines that I envision other players doing. Seems simple in theory.

Although I can play bass with fingers, we agreed that using a pick (gasp!) was the best plan of attack. Kept things more consistent but…did I slap and pop on one tune? Oh do tell!! I will later on.

One song had me channeling Deep Purple’s Roger Glover of(his bass lines are more complex than you realize), and another got me in Chris Squire of Yes mode (his bass lines are just friggin’ COMPLEX!) If a song only needed straight grooves to hold down the fort, I did just that. I did resort to the teenage 8th note that some guitarists do at times; threw in some little melodic ideas, to which Mike quipped “Okay there, John Entwhistle!”

So what’s this about slap and pop?

A certain song was begging for a tasteful yet syncopated slap/pop lick. I rehearsed it at home of course before going to the studio. But the studio does funny things. At home, I sounded like Larry Graham. In the studio, I sounded like Larry Hagman. But I showed Mike what I had in mind and he said “just try it”, and after a few takes, I got it where it sit in the pocket yet jumped out of the speakers.

Oh and there’s another groovy tune where I pulled a cool Verdine White-type lick.

Wait…this is a metal album, right?

Why yes it is but you know me: I mix things up, keep people guessing. Nothing generic or predictable about anything I do. And even if you think you got me pegged, think again. If I’m going to play bass on an album, it better be interesting. Or at least mildly amusing.

So on February 14, Valentine’s Day 2026, I banged out eight bass tracks in two hours. And had time for a bowl of chicken noodle soup at the Bayonne Diner, now that Miss America Diner is no longer.

In two weeks, guitar melodies.

Now I’m really feeling the heat!

Yesterday January 30th, I started recording rhythm guitar parts. After some technical snags (what else!), we were up and running. Banged out six of the nine songs in 3.5 hours.

Our ears were fatigued!!

But make no mistake, the first day was an exercise in patience and diligence. When the ghosts are in the machine, all we could do was dissect the problem and then move forward. Once things were in place, we were off to the races. I wrote these songs and was messing up a lot LOL! That happens, you know? The studio is one giant microscope that magnifies EVERYTHING you do. Nothing stays hidden.

One thing people will notice when they hear the new songs is that it’s a very guitar-dense album. “That’s all your albums, right, Steve?” Well, no. I always concerned myself with pulling things off live. But since I no longer feel compelled to get back on stage with my own material, Mike and I (along with friend Jon Hanneman) said “LAYERS! Layer those guitars!” So we’re piling them on. Different chord voicings to add more texture and flavor. One chord might have open strings, another will be a power chord, and the results blend. Clean chords under metal chords. This isn’t going to sound like a Boston or Def Leppard album, but it will still give listeners a lot to chew on.

We met up today to finish the parts. All the heavy stuff is done, so we had time for clean tones. WHAT?! Clean tones?! Well yes, I always mix things up on each album. Why would this one be any different?! I’m being cheeky here but I always liked music and albums went on a journey, wasn’t just one dynamic. I guess that’s the Led Zeppelin influence that goes over some peoples’ heads. Jimmy Page called it “light and shade.”

I call it…being me.

Now we will take another two-week break, so we don’t suffer from any burnout. No sense rushing or pushing things, as there’s no reason to do so. We are enjoying this more relaxed vibe, yet things are moving quickly. But when we get back, I will be doing bass tracks. Last time I did that was for MOOD SWINGS, and I did everything in one day. I’m not TM Stevens or Billy Sheehan, but I know how to hold the fort and when to throw in some cool little licks.

Here’s a five-second clip that Mike secretly recorded yesterday. Enjoy!

No recording this week as Mike and I agreed that a break is necessary. Plus, with this impending snowstorm coming, we picked a good week to go nowhere.

Nice not to rush things!

I’ve been listening to the tracks, working on rhythm parts here at home, also coming up with some cool clean ideas (!) that I think will open the heavy riffs up a little more. As much as I love crushing heavy guitar, it’s okay to throw in some Police/Fixx-type patterns here and there.

And what better time to put new strings on my guitar and bass than right now? Well, I did them a few days ago, giving them time to settle in. I had the strings on the bass for over a year, and while they still had some good tone, the low B was sounding a bit floppier. My ears and hands were thinking “Don’t risk it in the studio” so out came the tools and the new string packs. The strings are bright and clear…ahhhhh!! Also changed on the blackberry 7, so now when I head to the studio on January 30/31, the tones will be sharp and have good edge to them.

This will be the fourth album where I am laying down bass tracks. Billy Sheehan, Mark King and TM Stevens (RIP) have nothing to worry about but I hold my own on bass. I’ve played bass as long as guitar, but never with the intention of being in a band. More like working on my own songs and demos/albums. I taught myself to use fingers ala Geddy Lee/Steve Harris but of course, though Jeff Berlin once said “Slap bass is the worst thing to happen to white people”, I learned slap/pop bass as well. Why not, right?

On TWISTED METAL, I used fingers on bass. With LAYERS OF TIME, I was asked (well told) to use a pick, and I was dead against it. Lots of guitarists who play bass play it like a guitar. So I learned to use a pick while jamming to Yes and Beatles licks, as well as Graham Maby of Joe Jackson’s band. I am more comfortable using a pick but still use fingers when needed. Mike and Jon Hanemann said that using a pick on MOOD SWINGS would be best, and they were right. I did sneak in some slap on one song, very subtle but pull it out of the mix and it would sound empty. So with this new album, I will use pick but if fingers work, then so be it.

Will I slap? Hmmm…

But of course, I will be laying down rhythm guitar first. Mike will be trying new recording ideas with the microphones, and while I won’t give away his secrets, I can say that he’s been listening to various bands to get ideas for capturing the room sounds to make it sound more natural.

So, while we’re potentially going to be snowed in this weekend, it will be a great time to grind down the guitar parts at home. Being efficient is best, but anything can happen during recording.

We’re ready…are you?

Friday January 16th, 2026: Mike Sabatini (drums/producer/engineer), CJ Scioscia (assistant engineer) and I communed at Bandmother Recording to begin laying down drum tracks for the tenth magnum opus. Despite the weather being super cold, we were surrounded by warm gear and sheltered from the high winds.

Started tracking drums for the first song, so far so good, some hiccups but nothing we couldn’t overcome. That happens in the studio. You can practice and rehearse your brains out but as soon as CJ says “You ready for a take?”, anything can happen. And some things did happen such as the kick drum not tracking properly on a couple of songs. Faulty cables, as to be expected.

But again, breathe deep, we got this.

Tracked drums for six of the eight songs in three hours. You read that right. Mike and I have always been efficient musicians, and we are in tune with how things operate. Go over the songs until you’re bored of them. THEN you know you’re doing them right. We do leave things to chance, such as the kick drum incident. Yeah, we did a few takes, but who doesn’t? One song out of eight was done straight through, one take, thank you and good night.

You read that right too.

After six songs, we engorged ourselves at Vinnie’s Pizza (SO DAMN GOOD) and then called it a day. A great first day, very productive and fun.

Saturday, January 17, 2026: Day two of getting the last two drum tracks done. No computer snafus, but of course human errors to be expected. No sweat, do another take. And another. Nailed the last two songs in about two hours. Played with tempos to get the best feel. Some songs require a more militant structure; a few rely on natural groove and swing so sometimes we plowed through them. Listened back to the tracks to make sure we were all pleased with the results, and we are! Mike did a fantastic job, really stepped up, dialed in what was needed. As I told him at lunch today, “Sometimes you lead the dance, sometimes you know when to sit back.”

So that’s eight songs in two days. Pretty damn good.

We are taking a week off to recharge and save gas money. Might go back on January 30th and/or 31st to start work on rhythm guitar parts. I have lots of hair-brained ideas, such as adding clean parts where you wouldn’t expect them, or using an effect to make you say WTF?!

Then again, it wouldn’t be me if I didn’t throw you off 🙂

All told, things were great! Props BIG TIME to CJ for taking time out of his schedule to help Mike with recording drums. Many hands make light work for sure.

Think I’ll sleep til Thursday.