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Did you know that one of last years most popular songs “Hey Soul Sister” by Train features the Ukulele in the intro and throughout the song? This is just one of many popular songs that feature the unique sound of the Ukulele.

One of the reasons the Ukulele has become so popular is that it’s a fun, 4-string instrument that just about anyone, young and old alike can play, in fact many chords can be played with just 1 or 2 fingers.

Paradise Ukes is absolutely the only place to buy a ukulele. Not only do we feature the most popular Ukuleles but also fun videos, a FREE Ukulele chord chart and more. We even offer a FREE “Ukulele Buyer’s Guide” for those of you that want to know more about buying your first Ukulele. Click here and we’ll see you in Paradise.

Such is the legend and influence of Jimi Hendrix that the man actually has a chord nicknamed after him. Imagine that. As far as we know, no other rock guitarist has been so honored.

Dubbed “the Hendrix chord” by the many guitarists who use it, it is an extended dominant 7th chord with an augmented (sharpened) ninth. This chord form got its nickname because it was a favorite of Hendrix, who did a great deal to popularize its use in mainstream rock music.

The most famous example of his use of it is the E7#9 chord around which his signature hit, “Purple Haze,” is built. One could argue convincingly that “Purple Haze” owes much of its sonic identity and appeal to its author’s choice of the more tonally colorful E7#9 chord voicing rather than a more straightforward E major or E7 chord.

“Purple Haze” starts with the mounting tension of its famously staccato tritone intro; a tension that is explosively released when the Experience launches into the body of the song with Hendrix blasting out a raw and aggressively bluesy E7#9 chord. The chord is also implied throughout “Foxy Lady.” Both it and “Purple Haze” were included on the U.S. version of the landmark debut album by the Jimi Hendrix Experience, 1967’s Are You Experienced. Later, Hendrix also used the chord on live versions of “Voodoo Child (Slight Return).”

What is it about the 7#9 “Hendrix chord” that makes it sound so colorful, so huge, so dirty and so bluesy? The chord’s appeal lies in the fact that, like the blues scale from which it is derived, it is both major and minor at the same time, which is to say that it includes both the major third and minor third tones. Normally, these two notes sounded together would produce a naturally unpleasant dissonance, but the 7#9 “Hendrix chord” structure spreads the two notes far apart enough and includes enough root tones (and a seventh tone) to convey a singularly interesting and not at all unpleasant sound.

To illustrate, let’s dissect the fingering of the dominant E7#9 chord used in “Purple Haze” (see illustration). From low strings to high, you have an open low E (the root), your middle finger on the seventh fret of the A string (octave E above the open low E), your index finger on the sixth fret of the D string (a G#, which is the major third), your ring finger on the seventh fret of the G string (a D, which is the dominant 7th) and the kicker, your pinkie on the eighth fret of the B string (a G, which is the minor third), followed by an open high E.

Go ahead and try it. It’s a sophisticated chord voicing, but it isn’t hard to play. It even sounds purple. Its sound is pure Hendrix.

Although he did much to popularize it, Hendrix was by no means the first guitarist to use the dominant 7#9 chord, as complex dominant seventh chord voicings had been used in jazz for years. It appeared in early 1940s bebop, such as the Dizzy Gillespie-Charlie Parker arrangement of popular standard “All the Things You Are.” It showed up in late-’50s hard bop by John Coltrane (Blue Train, 1957), in ’50s-’60s R&B (“Hold It,” Bill Doggett, 1958), and the great Wes Montgomery used it in “Four on Six” from 1960’s The Incredible Jazz Guitar of Wes Montgomery.

Even in rock and pop music, the dominant 7#9 chord showed up on a few records before “Purple Haze” sparked Hendrix’s meteoric rise to superstardom. The earliest recorded use of it by Hendrix himself appears to be in 1964 on the Isley Brothers’ “Testify, Parts 1 and 2”; one of the few known recordings he made before launching his solo career in 1966. More prominent pre-“Purple Haze” uses by other artists include the Beatles, who used it in 1966 for Revolver opening track “Taxman” (in D7#9 form), and Cream, who also used it in 1966 in “I Feel Free” (in E7#9 form) from Fresh Cream.

The Hendrix chord has subsequently become quite ubiquitous throughout rock and pop music, right up until today. It can be heard down through the decades, for example, in songs by artists as diverse as Steely Dan (“Kid Charlemagne,” 1976), the Pixies (“Here Comes Your Man,” 1989) and Muse (“Hyper Music,” 2001).

No matter who’s playing it or what the song is, though, the dominant 7#9 chord is bound to elicit one response in particular; something along the lines of, “Oh, cool—the Hendrix chord …”

Aerosmith Regretfully Announce Cancellation of Remainder of Summer Tour

It is with great regret that AEROSMITH are canceling the remainder of their summer tour, it was announced today.

Due to injuries STEVEN TYLER sustained last week when he fell from the stage during a concert in Sturgis, SD, doctors have advised the lead singer to take the time to properly recuperate from the accident that resulted in a broken shoulder and stitches to his head. In his current condition, TYLER is unable to tour and the band wants to give him time to get healthy.

Ticket refunds for the rest of the tour dates with special guests ZZ Top will be available at point of purchase.

TYLER fell from the stage during the August 5 show that was part of the Sturgis Motorcycle Rally in Western South Dakota. The mishap occurred while he was dancing during the band’s “Love in an Elevator.” TYLER was subsequently airlifted to a hospital and then returned to Boston to consult with his own doctors.

AEROSMITH–STEVEN TYLER (vocals), JOE PERRY (guitar), BRAD WHITFORD (guitar), TOM HAMILTON (bass) and JOEY KRAMER (drums)–want to thank all their fans for their incredible ongoing support and understanding at this time.

“Words can’t express the sadness I feel for having to cancel this tour,” says JOE PERRY. “I would like to thank our loyal fans for sticking by us through thick and thin and all the good energy they are sending our way. We hope we can get the Aerosmith machine up and running again as soon as possible. I sure am going to miss playing with ZZ Top just as I’m sure the fans are going to miss seeing them playing with us as well. Hope to see you sooner than later.” JOE adds, ” My hat’s off to our crew for putting up with this crazy stop and start tour. In my estimation, it was one of the best looking and best run tours we’ve ever had. Us road dawgs will meet again. May your wheels keep turning and your load in’s stay smooth.”

“All of us here in the AEROSMITH organization and all of the people who contribute to making our shows possible are in a state of shock,”

BRAD WHITFORD says. “We never anticipated this tour coming to such a swift and unfortunate ending. Our thoughts and prayers go out to Steven for a speedy recovery and return to good health.”

For up-to-date information on ticket refunds, please visit www.aeroforceone.com and www.livenation.com.

Missed the show? That’s just one of the many reasons you need to sign up as a Musician’s SuperStore preferred customer, to be notified off these kick-butt events! Next time, don’t miss your chance to meet the Taylor factory staff and guitars makers, straight from El Cajon, California. Or, have the chance to see many rare, one of a kind guitars. Not only that, but you get FREE gifts too when you stop by. Things like a free subscription to Premier Guitar Magazine, free TaylorWare gear and Elixir strings.

Review

Rarely has a band come freighted with such expectation and promise than the new outfit that calls itself Chickenfoot.

Yes, you read correctly – Chickenfoot.

Say that name again, just to get used to its sound. Chickenfoot.

It’s a silly name for a band — and album — that kicks a donkey’s ass six ways to Sunday and back again. Maybe that’s because long before the four men who comprise Chickenfoot came together they already filled the pages of rock history with enough individual mind-blowing chapters to boggle the mind.

The news that they’ve pooled their inordinate talents to one collective whole quickly spread across the Internet last year (and perhaps that crazy name helped just a little). The fact that they’ve succeeded artistically beyond anyone’s wildest dreams (except perhaps their own) is all the more reason to celebrate.

First, let’s consider the stellar line-up. There’s Joe Satriani, he of guitar god status, a dream born on the fateful day of September 18, 1970. It was the day Jimi Hendrix died, and it was the same day that Satriani, upon hearing the news, quit his high school football team and decided, at age 14, to devote his life to the electric guitar.

Interesting, what Satriani wanted more than anything was to be part of a big-time rock band fronted by a larger-than-life singer. He bounced around from group to group, but nothing hit the mark. Finally, he scraped money together and made a record of his solo guitar recordings. Not of this Earth attracted the attention of the guitar cognoscenti. But it was 1987′s Surfing with the Alien that made Satriani a household name. The album went Gold (it has since gone multi-Platinum) and went on to become a benchmark of its kind.

Since that time, Satriani has become one of the world’s most influential guitarists, releasing albums such as The Extremist and Super Colossal that have sold in the millions around the world. “It was all by accident,” the soft-spoken guitarist says. “I never mapped out a plan to be an instrumentalist. I really wanted to be a part of a big vocal-oriented rock band. I had offers, but nothing seemed to fit. Everything seemed like career move…until Chickenfoot.”

So what about that singer? Well, that would be another guy who needs no introduction; Sammy Hagar, the original “Red Rocker”, a Rock and Roll Hall of Fame inductee for his tenure with Van Halen, who made his professional debut as the singer for the much-revered group Montrose during the early 70′s. As a replacement for the iconic David Lee Roth, Hagar faced what many would have viewed as an unenviable, if not impossible task, but as Hagar sees it, “I decided I wasn’t going to get criticized for being the second singer in the band — I was going to be the only singer in the band.”

Hagar carried the Van Halen brand to new heights, and together they scored a string of No. 1 albums and sold tens of millions of albums. “I upheld the artistry of the band,” reflects Hagar, “and brought them to new places they normally wouldn’t have gone. That, to me, is what I really accomplished in that band.”

Hagar wasn’t looking to form a new group in his post-Van Halen career. “I really wasn’t looking to have a real band, but when I got involved with these guys, only a fool would say, ‘No, I’m not going to do this.’ The minute we started jamming it was obvious, like, ‘This is something that needs to be heard.’”

A great band is nothing without a great rhythm section, and Chickenfoot has one of the best in the two-man team of bassist Michael Anthony and drummer Chad Smith.

As a founding member (and fellow Rock and Roll Hall of Famer) of Van Halen, Anthony laid the bedrock for which guitar genius Eddie Van Halen could fly. More than that, he provided a signature style of background vocal that became an intrinsic part of that band. “A total fluke,” the good-natured bassist humbly asserts. “I was just doing what came naturally.”

Hagar sees Anthony’s abilities differently – “Michael keeps the band going. Listen, he’s never going to get the kind of credit he deserves — he played next to Eddie Van Halen. Hell, Jack Bruce didn’t get much credit compared to Eric Clapton — that’s just the nature of things. Mikey held down the fort, and he still does.”

Aiding Anthony in holding down the fort is Chad Smith, drummer for the Red Hot Chili Peppers, who have, since Smith joined the group in the late Eighties, gone from cult faves to a worldwide force. Heretofore thought of as a “funk/alternative” drummer, Smith gets to rock hard with Chickenfoot, and the percussion explosion he creates might come as a surprise to those who only know of his work from tracks like Under The Bridge.

“The guy’s from Detroit, for God’s sake!” says Hagar. “He can play the hell out of funk, but he’s a rocker. He plays hard, man. You could put one mic in a room with Chad, and you can hear all the parts of his kit — he’s hard, but he’s balanced. The band wouldn’t exist without his groove.”
The members of Chickenfoot admit that the band came together almost by accident, a result of jams held at Hagar’s club, Cabo Wabo Cantina, in Cabo San Lucas, Mexico.

“We were just having fun,” recalls Michael Anthony. “After Sammy and I left Van Halen, we’d get together with musicians, and certain people seemed to really gel. Chad came down and we got on well with him. Gradually, we started talking about doing something more serious, but we needed a guitarist. Somebody smokin’ – somebody who could take us to the Promised Land.”

Enter Satch, who hooked up with Hagar, Anthony and Smith and felt “an immediate connection unlike anything I’d ever experienced before.” To Satriani, who had almost abandoned his lifelong dream of being a part of a “big-time rock band,” here was his chance, and here were his band mates. “After just a few songs, it became stunningly obvious that we shared an overall musical agenda. The only question was could we make a great album?”

The band answered that question last fall when they hunkered down with the illustrious producer Andy Johns at George Lucas’ Skywalker Studios and knocked out a batch of songs that sets a new standard for rock music in the new millennium.

From the thunderous, ominous opening strains of Avenida Revolution (detailing the bloody drug wars in Tijuana, in which Hagar makes his feelings come through his skin) to the album closer, the shimmering rock ballad Future’s in the Past, “Chickenfoot” is a firebomb of a record, the likes of which we haven’t heard in ages.

The band kicks and snorts their way through a passel of take-no-prisoners rockers like Soap on a Rope, Sexy Little Thing, Oh Yeah and My Kind of Girl.

“These are the kinds of songs I could never do on my own,” says Satriani, “I needed a band like this to make those songs come alive.” The band explores mature themes on songs such as Runnin’ Out, about a world stretched to the breaking point to Learning to Fall, perhaps the most poignant love song Hagar has ever written lyrics for. As both a vocalist and songwriter, Hagar’s intensity and forcefulness are on vivid display on “Chickenfoot”.

“I write what comes to mind,” the singer says. “I’m not bound by anything subject-wise. I’m inspired by the music. When I heard the music Joe was going for, it made me reach, it made me stretch. I think it made me sing in a way that I normally wouldn’t have done. We seem to have that kind of effect on each other.”

Satriani agrees. “People have this idea of what this band is about, or what Sammy Hagar is about as a lyricist and a vocalist. The thing is that we manage to get each guy to up his game in a non-confrontational way. When I play with Chickenfoot, I find myself wanting to give them more all the time. I don’t hold anything back. I think the rest of the guys feel the same way.”

That Satriani unleashes sheets of shred magna is, of course, a given, but what’s interesting is, as individualistic and recognizable as his talents are — and this is true of all the players — they transform in a strange and beautiful way on “Chickenfoot”.

Likewise, Anthony and Smith, channel past heroes. For Anthony it’s Electric Flag bassist Harvey Brooks. For Smith it’s Zeppelin’s John Bonham. Together, they perform something of an astonishing balancing act, dispending performances that meet at the intersection of Heavy and Nimble. This is what a rhythm section does, drives the band in forceful, creative ways. Listen to Chickenfoot and you’ll hear what a true rhythm section sounds like.

By the way, did we mention they have a weird name?

(Review repost from Hampton Beach Casino Ballroom | http://www.casinoballroom.com/event-detail.php?event=330)

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