Crowley” solo-but do you know how those solos were created? See, it’s awesome to learn your favorite players’ solos-like Pope Page’s “Stairway to Heaven” solo, or St. He taught me songs by my favorite bands to keep it fun, but he also taught me scales, chord inversions, and the theory behind why it all worked. When I was 14 and decided I was going to dedicate my life to the guitar, I was blessed with having an amazing guitar teacher named Leroy Wright. I was messing around with that, then I sped it up a bit, added some 16th-notes and some Marshall chunk, and next thing you know it’s “Miracle Man.” But while you can find note-for-note performances of the rhythm and solo on YouTube, a lot of players don’t understand the method behind the madness. When people ask me how I came up with the guitar parts, I tell them I used St. There was a cozy little pub with a beer garden within walking distance, and the routine basically consisted of jamming riffs all day, then going to the pub and sitting in with the house band. We were jamming in a horse stall that had been converted into a living space/rehearsal studio. It was 1987, and Ozzy and I had just begun writing No Rest for the Wicked in Brighton, England. “Miracle Man” will always hold a special place in my heart, being that it was the first thing I wrote with The Boss. Since this is our first gathering, I figured I’d start off talking about the first riff/song I wrote with Ozzy Osbourne some 27 years ago. Hello there, my brethren and sisters o’ doom! Big Black Label thanks to the gang at PG for allowing me to talk about what we all breathe and bleed for-the love of guitar!
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