1. This site uses cookies. By continuing to use this site, you are agreeing to our use of cookies. Learn More.

Buckethead

Discussion in 'Music Discussion' started by CriedWhenBrucieLeft, Aug 20, 2015.

  1. CriedWhenBrucieLeft

    CriedWhenBrucieLeft Ancient Mariner

    BUCKETHEAD...

    [​IMG]

    Thought I'd open a Buckethead thread! :D

    Buckethead has been around since the late eighties/early nineties and was in early bands including Deli Creeps & the Bill Laswell assembled Praxis. He's had numerous other bands/side-projects, mostly revolving around Buckethead himself; some of them invented, it would seem, simply to circumvent contracts with various record labels e.g. Sony. He was also in Guns N' Roses between 2000 - 2004.

    Buckethead is Brian Patrick Carroll. There's not a great deal of genuine detail online about the guy behind the mask, although plenty of amusing speculation; the goofy, comedic, slightly creepy persona is really all part of the charm. His identity, where he's from, what age he is, etc; none of this seems to have been confirmed by Carroll. Very few people within the music industry, who actually know him personally (& this would seem to be very few in number), speak about Carroll publicly.

    Carroll doesn't speak publicly about his alter-ego/stage-persona Buckethead; and Buckethead doesn't speak. Of the few interviews I've ever read with Carroll himself, Destroy All Monsters (Guitar Player Magazine 1996) is probably the most detailed (Buckethead had a column in Guitar Player Magazine in the early nineties). There are very few genuine photographs of Carroll online (there are probably only two of him that are real; both are from when he was in his teens); and, as touched upon, Buckethead doesn't do interviews, do any real promotion (in a conventional sense), or really do anything publicly --besides play his guitar & do goofy robotic dancing on stage.

    Buckethead has always released a lot of music, especially since the mid-2000s. More recently his vehicle for releasing albums has been via his Buckethead Pikes series, small half-hour albums that he self-releases via Bandcamp; he has released over 200 Pikes since mid-2011.

    Buckethead returned to touring in April 2016 after a three year hiatus...

    [​IMG]

    More information on Buckethead can be found here:
    Buckethead (Wiki)
    Buckethead Discography (Wiki)
    Buckethead Pikes

    Buckethead is probably best known for his early work on the album Colma (1998):


    And for songs like Nottingham Lace (2005), Soothsayer (2006), and Jordan (2009):




    Uh...
    Buckethead's Gear (2013):
    UberProAudio article on Buckethead's guitars, pedals, amps, etc.
    Buckethead Guitar Gear Rig and Equipment
     
    Last edited: Jan 8, 2017
    Brigantium likes this.
  2. CriedWhenBrucieLeft

    CriedWhenBrucieLeft Ancient Mariner

    Interviews/Articles:

    Early Buckethead "Interview":
    Mock interview; Buckethead doesn't actually say anything. Not sure when this dates from or source.
    (Possibly footage from Secret Recipe).

    Shawn Lane (1993):
    Shawn Lane, on stage, is asked "what do you think about Buckethead?"

    Guitar Player Magazine (1996):
    Interview with Brian Carroll.
    Krraaaccckkkkk! Shaaboooommmm! Thunder and lightning rip through the
    foyer of Disneyland's Haunted Mansion, flashing a terrible light on the domed
    ceiling and the corpse that dangles from it on the end of a noose. Everyone
    present lets out a bloodcurdling scream - almost everyone that is. A six-foot-
    plus, long-haired, guitar-wielding robot wearing a white mask and a fried-
    chicken bucket on his head - Buckethead - alone stands unfazed. But then, he's
    probably been on this ride at least 500 times, mostly at night, then he can slip
    past the guards and enter the mansion undetected to sit in with the haunted
    mansion house band. (Buckethead claims their invisible pianist taught him how
    to play Chopin's "Funeral March.") From Haunted Mansion to Pirates of the
    Caribbean, Buckethead likes weird places and strange people. Maybe that's
    why his virtuosic post-metal psycho-shred has been tapped by ecentric
    collaborators from Bootsy Collins to John Zorn to Bill Laswell to Jnas Hellborg
    to Iggy Pop. Or maybe they're just really scared of Buckethead and will do
    anything he tells them to.

    On this particular day, it's Buckethead's alter-ego, mild-mannered Buckethead,
    who roams the dark corridors of the haunted mansion. Like Peter Parker to
    Spider Man or Bruce Banner to the Hulk, Carroll is the flipside of his freakish
    creation. A likable, guileless, extremely self-effacing 27-year old, Carroll molded
    his childhood fascination with hardcore horror movies, martial arts, Michael
    Jackson, Disneyland, and heavy metal guitar into a playing style and onstage
    persona that shatters the stereotype of the babe-snaggin' guitar-jock cool guy
    with the same force that it explodes the harmonic and textural possibilities of the
    guitar. Like Clark Kent and Bruce Wayne, he's on a super hero's mission not to
    harm, but to help. He dreams of constructing his own version of Disneyland for
    the children of the world - Bucketheadland.

    With two new records on the shelves - jungle beat driven "The Day of the
    Robot" on Sub-Meta and "Giant Robot" on NTT (2633 Lincoln Blvd., Suite
    405, Santa Monica CA 90405), plus an album with jazz drummer Tony
    Williams featuring Ornette Coleman and Pharoah Sanders, an upcoming project
    with fellow guitar virtuoso Shawn Lane, and an all-Disney theme album for
    Zorn's Avant label, Buckethead is poised at the guillotine edge of progressive
    rock guitar. Inspired by forward thinking buddies like Laswell, Praxis drummer
    Brain and the DJ outfit Invisible Scratch Pickles, he's genetically mutating metal
    guitar into bizarre hybrids with hip hop, jungle and ambient music. Sprawling
    metropoli and thatched villages beware: the time has come to destroy all
    monsters.

    The suburban room where Carroll grew up near Los Angeles (about a half-hour
    from Disneyland) say it all: Bruce Lee, Michael Jackson and Leatherface
    posters adorn the walls. On the ample bookshelf, works on Paganini, Slonimsky
    and Glenn Gould are slipped between magic books, martial arts material and
    slasher flick compendiums. Robot toys with laser eyes stare from every corner
    and there is a futuristic rack of CDs boasting titles from hip hoppers the Wu-
    Tang clan, techno-trip-hop buddies the Chemical Brothers, Yngwie's Rising
    Force and the soundtracks to Godzilla and War of the Gargantuans.

    It's clear that visual stimulation is every bit as important to Buckethead's guitar
    playing as the music he listen to and the theory he has absorbed.

    Onstage with Praxis - with Brain and bassist Laswell or with his band Giant
    Robot, Buckethead moves with robotic precision, but he imagines pictures in
    his head as he plays. "It's just more fun that way", he explains, fiddling
    nervously with a Giant Robot doll. "For the most part, I think in terms of
    amusement park rides and monster and robot movies. I'll watch a movie
    without the sound and play to the picture. I would watch the death scene in
    Texas Chainsaw Massacre where Leatherface slams the steel door, and a low
    and creepy drone comes in. I would use that drone to solo over, the sound of
    that guy's death. I guess that's kind of bad, but I was into it. The whole scene is
    so vicious and powerful, it gives me a certain feeling. When I put myself in that
    position, I like to tape what I'm playing and feeling, because of what it brings
    out in me."

    As a kid, Brian's mom nicknamed him "Boo" because of his obsession with
    monsters and robots, and he took karate lessons from the age of ten. By the
    time he was 13, he'd picked up guitar under the spell of Angus Young and
    Randy Rhoads, whose classic "Crazy Train" riff and 32nd note pull off runs are
    echoed on Bucketheadland's "Park Theme" (The Japan-only release is available
    through Avant/Disc Union, 2-13-1 Iidabashi Chiyoda-Ky, Tokyo 102, Japan, or
    direct from Buckethead). "I was really into sports, but I liked guitar because it
    was something you could do all by yourself," he recalls. Yngwie Malmsteen's
    early recordings, some of them only available as Japanese imports - like many
    of Bucket's albums - were a major revelation.

    "When Yngwie came out he was totally in your face; you can tell he just
    wanted to destroy," Caroll raves. "It's so dramatic, and that aspect of it was as
    cool as the speed. Plenty of people play fast but they don't set it up like he
    does. Like the way "Far Beyond the Sun" builds and builds until there's a
    break, and then the guitar rips into it - the payoff is so great. Yngwie had that
    fire and even now I'm trying to use that to motivate me. The fact that he hasn't
    changed is pretty rad too. He doesn't care what people think and I admire that."

    Sitting across from Buckethead as he fires off four-fingered diminished-scale
    tapping licks at breakneck speed is humbling. But he makes it look incredibly
    easy, as if technical wizardry were second nature. It's partly the result of keen
    observation. "I can usually understand what someone's doing pretty quickly,"
    he nods. "In martial arts, I can see why Bruce Lee was so much better than
    everyone else, because of the way he moved his body. It was in the way he
    held his arms and all those little details. When I saw Yngwie or Paul Gilbert
    or Shawn Lane, I could see quickly HOW they did it, even though it took a lot of
    time to actually play it. I looked at Shawn Lane's hands to see how he picks,
    because technically I've never seen anyone more efficient. Of course, the real
    ideas are in his head. When he plays, he's always looking out into space,
    because he's going for the sound. But I still had to ask myself "What is he doing
    to get that sound?"".

    Back at Disneyland, the Rolling Thunder roller coaster is suddenly pitched into
    darkness as it flies through a miniature mountain range, and its occupants -
    mostly teenage girls - let out a communal shriek that subsides for a moment
    when the car re-emerges into daylight. Relief turns to horror, however, when
    they notice that Buckethead, seated in the front car, has zipped his jacket up
    over his head and is waving his arms in the air as if the tunnel has just
    decapitated him. Reunited with terra firma moments later, Buckethead draws a
    parallel between high speed roller coasters and his own careening 32nd note
    phrases. It's an apt analogy. Buck's peaks and troughs come from his weirdo
    scale forms and note choices, including minor 9th intervals, whole tones and
    stacked minor seconds. Surely Leatherface didn't teach him that. "I got a lot of
    mileage from Slonimsky's "Melodic Patterns", he says of the late musicologist's
    classic text. "There's a lot of really disjointed stuff in there, like far-apart
    intervals and octave displacement [the transposition of certain notes in a phrase
    or chromatic line an octave above or below their normal scale position]. There's
    also a section on quadratonal arpeggios - that sounded crazy." In addition to
    Slonimsky, lessons with Mr. Bug's Paul Gilbert and classical guitar
    studies sharpened Buckethead's technique, right-hand/left-hand independence
    and theory chops. He's also picked up a thing or two from books by G.I.T.'s Steve
    Trovato, and he's plundered Danny Gatton and Albert Lee videos to learn, uh,
    chicken picking. These days, though, he says he's more inclined to leave the
    books at home and trust his ears. "I just love the sound the hammering stuff
    makes", he insists. "It isn't about using four fingers on both hands. That's just
    the technique I use to get there. It's not even that tough to do technically , but
    the way it sounds is so bizarre. When Shawn Lane plays fast, it's like a swarm
    of notes; it really creates a texture." Suddenly, Buckethead face drops and goes
    quiet. "Captain Eo", he gasps, as we approach Disneyland's 3-D theater, "Huge
    influence." He's not kidding. Two thirds of the way through the film for which
    the audience views stunning effects through 3D glasses, Michael Jackson's
    singing and dancing - the biggest influence on Buckethead's stage moves - has
    turned all but a handful of the bad space guys into orange-clad love-happy
    dance fiends. Only the Medusa-meets-Siouxsie Sioux evil queen, played by
    Anjelica Huston remains to be converted to the light. "This is the best part", he
    whispers as the theme music goes into a robotic drum-machine and bass
    breakdown that Jackson moonwalks to with killer finesse. The groove uses
    exactly the kid of heavily syncopated breakbeat and funky bass line that
    Buckehead exploited on his early Japanese releases, and the outer-space funk
    vibe is straight-up Bootsy Collins (the legendary P-Funk bassist and
    Buckethead's frequent collaborator and inter-galactic mentor.) After getting a
    copy of one of Buckethead's homemade videos, Bootsy with fellow P-Funk vet
    Bernie Worrell on keys, became part of the first Praxis ensemble, which
    included Brain and DJ Afrika Baby Bam. The group debuted with the Laswell-
    produced Axiom album, 1992's "Transmutation", Later, Bootsy produced
    Buckethead's first solo album.

    In '94 Buckethead recorded Dreamatorium [Subharmonic, 180 Varick St., New
    York, NY 10014] under the name Death Cube K (an anagram for
    "Buckethead" coined by Keyboard magazine editor Tom "Doc" Darter). The
    album was a dark, quasi-ambient duet with Laswell that highlighted his
    cinematic flair, clean-toned melancholy and improvisational sensitivity. "I
    practice a lot, but when I'm improvising I don't think about any of that',
    Buckethead explains. "In basketball you shoot 50 baskets in practice so that in
    the game, it's instant. As long as you have the control, you can just do it -
    BAM!". Before Dreamatorium, he appeared on 1993's "Octave of the Holy
    Innocents" [Day Eight US, 532 LaGuardia Place #421, New York, NY 10003]
    with jazz bassist Jonas Hellborg and drummer Michael Shrieve. There his clean
    tone has a plucky quality that fits in nicely with the album's dry, crisp grooves.

    He's also appeared on Henry Kaiser's "Hope you like our new direction"
    [Reckless], Anton Fier's "Dreamspeed [Avant], Bootsy's "Zillatron", Will
    Ackerman's "The Opening of Doors [Windham Hill], Derek Bailey and John
    Zorn's "Company 91" [Incus], the Axiom Funkcronomicon collection, Jon
    Hassell's "Dressing for Pleasure" [Warner Bros.] and the soundtrack to "The
    Last Action Hero". "I listen more and hear things a lot better because of being
    around all these incredible people," Buckethead nods. "That education is the
    best. It's insane, really."

    When it comes to piloting a rocket ship or roller coaster, Buckethead is
    untouchable, but admittedly he's no expert on gear and his take on guitar stores
    is succinct: "It's like a slaughterhouse in there, with all those guitar carcasses
    hanging around. You could do a jig in there." If pressed, he'll 'fess up to prizing
    an '80s Ibanez X-series Flying V style ax with a Schaller-floating tremelo and
    custom egg-yolk colored double coils (one white, one yellow) designed by Steve
    Blucher at DiMarzio. He often plays a blue ESP M2 strat-shaped custom with a
    Floyd Rose but he complains that the guitar is too small for his tall frame (at a
    recent show in San Francisco with Mike Keneally, he accidentally snapped the
    headstock off the ESP after dropping it in frustration). On several Laswell
    projects, he experimented with a '59 Les Paul Custom. He generally uses .009
    D'Addario nickel-wrap strings.

    While his phrasing is unmistakable, a trule personal, distinctive tone has always
    eluded Buckethead. Possibly his best recorded sound was on Praxis'
    "Metatron", on which Axiom house guitarist Nicky Skopelitis hooked him up
    with a Well's 17 1/2 watt head designed by gear wizard Matt Wells. The Wells
    amp wired through a Harry Kolbe 4x12 cab produced a full, bright tone that
    was particular effective on Buck's Eddie Hazel-ish auto-filtered clean chords
    and psychedelic shred-blues passages. It also tracked his hyperspeed leads and
    trill-punctuated chunk rhythms equally well. But Buckethead, a fan of solid-
    state gear's even response and good tracking is just as likely to turn up at a gig
    with a VHT Pitbull 50 watt head, and for a recent "Buckethead and Friends"
    show at Manhattan's Wetlands he rented TWO Mesa dual rectifier full stacks
    and ran them in stereo. "That sounded soooo gnarly", he gushes "I was freaking
    out." Then again, the devastating tones on Sacrifist were recorded direct
    through a Zoom multi-effector. Go figure.

    For all those nightmarish, chandelier-smashing swirls, Buckethead plays his
    characteristic tapping flourish through a Roland SE-50 multi-effector set to
    harmonize the part in four ascending half-step voices above each pitch,
    essentially forming a cluster above or below each note. Apart from that, his
    effects are limited to a ProCo Rat, an Alesis Midiverb II for echo, occasional
    wah and a recently acquired Lexicon Jam Man for looping. "I think a lot in
    loops now", he says, "because of rap and dance music. Sometimes instead of
    using a harmonizer, I'll take one of those tapped things and record it four times,
    moving it up a half-step each time. You can get some really dense harmony that
    way."

    It's getting late and Space Mountain, the last ride of the night beckons. Chowing
    greasy fries in the shadow of the Matterhorn, a stone's throw from
    Tomorrowland, Carroll squirms slightly at the thought that he's unmasking
    Buckethead for this interview. Like Peter Parker and Bruce Wayne,
    Buckethead has always tried to protect his anonymity, although he feels it's
    finally time to learn to co-exist with this monster. Buckethead, the story goes,
    was raised in a chicken coop. But Carroll, who first performed in character
    regularly with his old band the Deli creeps remembers a parallel genesis.

    "I had just seen Halloween IV", he recalls of a dark night in 1989, "and as soon
    as it was over I went into a store across the street and said 'Do you have any
    Michael Myers masks?' They had a white mask, which really wasn't like a
    Michael Myers mask, but I liked it a lot. That night I was eating chicken out of
    a bucket that my dad brought home. It wasn't a Kentucky Fried Chicken bucket
    either. It said "Deli Chicken" on the outside. I was eating it, and I put the mask
    on and then the bucket on my head. I went to the mirror. I just said
    'Buckethead. That's Buckethead right there.' It was just one of those things.
    After that, I wanted to be that thing all the time."

    The combination of Buckethead the friendly ax murderer with Buckethead the
    guitar wizard and robotic stage performer was practically instantaneous. "I
    thought it made sense with the way I play", he explains. "I play all this weird
    stuff, but if I just look like me, it isn't going to work. But, if I'm like this weird
    freak..." If anything, Carroll feels that becoming Buckethead has allowed him to
    express himself more freely than he would as unassuming Buckethead. "It
    opened the door to endless possibilities", he concurs as fireworks erupt in the
    Tomorrowland sky. "I can work anything into that character and make it totally
    work: all the thing I love in my life, like Disney, Giant Robot, Texas Chainsaw.
    Even though I'm wearing a mask and have a character, it's more real, more
    about what I'm really like, because I'm too shy to let a lot of things out. Every
    reason I became Buckethead and am Buckethead has to do with the way I live.
    It's not because I thought it would be successful. I never use anything that isn't
    part of what I really loved as a child or love right now."

    Buckethead MTV Interview (2002):
    Guns N' Roses era MTV interview; Herbie does the talking in the video version.
    Beneath The Bucket, Behind The Mask: Kurt Loder Meets GN’R’s Buckethead
    Guitarist has chicken fetish, will speak only through his rubber hand puppet.
    by MTV News Staff 11/21/2002

    The Buckethead backstory begins with a kid named Brian Carroll growing up in
    a Southern California suburb not far from Disneyland. He’s a shy kid and
    spends a lot of time in his room, which is filled with comic books, video
    games, martial-arts movie memorabilia, slasher-flick stuff, all the usual
    youth-culture detritus. He also spends a whole lot of time at Disneyland.

    As a teenager, Brian takes up the guitar, plonking away under the sway of
    such metal masters as Angus Young of AC/DC; the late Randy Rhoads, of the
    Ozzy Osbourne band; and Swedish overdrive virtuoso Yngwie Malmsteen. Like the
    latter two, Carroll incorporates a considerable amount of classical-music
    consciousness into his burgeoning style. He reads a lot of music theory. He
    starts getting really, really good.

    Unlike his idols, however, Carroll is anything but flamboyant. Mane-tossing
    guitar-god moves are not something he’ll ever be comfortable attempting.
    In fact, in an ideal world, there’d be somebody else he could one day take up
    onstage with him and hide behind. Some sort of alter ego.

    Nobody much liked the 1988 fright flick “Halloween 4: The Return of
    Michael Myers.” After 10 years, this slasher franchise was pretty much played
    out. (Even though it’s still with us today!) But Brian Carroll was inspired
    by the film. He went right out after seeing it and bought a Michael
    Myers-like white mask. Then, that night, as he was eating from a bucketful of
    take-out fried chicken, another inspiration struck. He described it in a 1996
    interview with Guitar Player magazine: “I was eating it, and I put the mask
    on and then the bucket on my head. I went to the mirror. I just said,
    ’Buckethead. That’s Buckethead right there.’ It was just one of those
    things. After that, I wanted to be that thing all the time.”

    Unlike the editors of Guitar Player (for which Bucket once wrote a column
    called “Psychobuddy”), you needn’t be conversant with minor 9th intervals or
    quadratonal arpeggios to be knocked sideways by Buckethead’s
    war-of-the-worlds guitar eruptions. His star-burst chord clusters and
    eye-frazzling eight-finger solos aren’t like much else you’ll be hearing on
    this planet anytime soon.

    Of course there are all kinds of aspiring guitar wizards out there (although
    probably none within pick-flicking distance of this guy). But what sets
    Carroll decisively apart from the pack is the outré “Buckethead” persona he’s
    so painstakingly created. This character, with its vaguely sinister mask,
    soberly upended KFC bucket, and absurdly detailed chicken fetish, is pure
    American surrealism. Buckethead is a star of a strange new kind: not the
    projection of a preening personality, as is usually the case, but a mirror, a
    screen, a somehow lovable cipher. As a musical presence, he seems almost (one
    of Carroll’s favorite words) disembodied.

    Although most people are probably experiencing Buckethead for the first time
    in his current stint with the new Guns N’ Roses, the man has been putting out
    solo albums for the last 10 years. Some, like the 1999 Monsters and Robots,
    are pure “post-metal psycho-shred,” as one writer put it. Others, like the
    just-released Electric Tears, are serenely ambient. Buckethead also records
    under the name Death Cube K (an anagram); the 1994 Dreamatorium is a good
    one.

    In addition to this solo output, Buckethead has also recorded and performed
    with a wild array of other musicians, from P-Funk all-stars Bootsy Collins
    and Bernie Worrell to Iggy Pop, Primus, avant-fusion bassist Bill Laswell and
    the late Miles Davis Quintet drummer Tony Williams. He’s played on three
    albums by “The Lord of the Rings” star Viggo Mortensen, one by the painter Julian
    Schnabel, and some movie soundtracks and scores, too (“The Last Action Hero,”
    “Mortal Kombat,” “Beverly Hills Ninja”). He longs to do an all-Disney album.
    (“When You Wish Upon a Star” is one of his favorite tunes.)

    We encountered Buckethead backstage at two recent Guns N’ Roses shows, in
    Vancouver and Seattle. On both occasions he was standing in his dressing
    room, in full Bucket regalia, wailing away, at subdued volume, on his
    extra-large, custom-made Flying V guitar. (Since he stands about seven feet
    tall — with bucket — he feels that regular, off-the-rack guitars look too
    dinky in his hands.) His fingers, like those of such renowned forebears as
    Robert Johnson and Jimi Hendrix, are extraordinarily long, and dizzying to
    follow as they caper among the frets. (He says he has a “really huge” big
    toe, too. Whatever.)

    As he played, he appeared to be meditating on a large rack in front of him
    filled with odd dolls and objects: Michael Myers, of course; Leatherface from
    “The Texas Chainsaw Massacre”; a little plastic replica of Colonel Sanders, the
    late KFC impresario; and a rubber chicken straight out of vaudeville.

    Brian Carroll is very soft-spoken and self-effacing. He seems to be the sort
    of person who’s consumed by music, and one wonders, in talking to him, if
    there’s any musical style or school with which he doesn’t have at least a
    glancing acquaintance. Since the Buckethead character was famously raised by
    chickens, and has made it his mission in life to alert the world to the
    ongoing chicken holocaust in fast-food joints around the globe, we wondered
    about the presence of the Colonel Sanders doll in his travel rack. Carroll
    said, “It’s like your father; maybe he beats you, but he’s still your
    father, and you love him, and … it’s complicated.”

    Unlike Carroll, Buckethead doesn’t speak at all, at least not for public
    consumption. When our cameras were about to start rolling, he fitted a
    whole-head rubber monster mask over his right hand and said that this
    improvised puppet — he calls it “Herbie” — would answer all questions. We
    asked what the chicken deal was. Apparently, the evil man who owned the farm
    where Buckethead was raised (with chickens, remember) came to the coop one
    day and cruelly slipped some fried chicken pieces inside.

    “And for the first time,” Herbie says, “he realized they were cooking
    chickens. And they were his family, so he tried to put them back together,
    and he just kind of went nuts. And he put the bucket on his head ’cause he
    thought he could help all those dead chickens come back to life. So when he
    plays, it’s like the sound of all those dead chickens coming through his
    hands.”

    Okay. And this rubber chicken here?

    “This is kind of sad,” Herbie says. “It makes him play more pretty. When he
    sees this, he thinks of lullabies and that sort of stuff. But it’s not real,
    and he knows it’s not real.”

    When Brian Carroll first got a call from Axl Rose inviting him to join Guns
    N’ Roses, he was nonplussed at first. He knew the band, of course, but it
    wasn’t really … his kind of thing, right?

    Axl persevered, though. At Christmas he invited Brian over to his house. It
    hadn’t been a happy Buckethead holiday up to that point: he’d really, really
    been hoping that someone would give him a certain hard-to-find Leatherface
    doll he’d been coveting as a gift, but no one had. Then he arrived at Axl’s
    place, and Axl had that very doll — and he gave it to him. Brian took this as
    a sign (“He must understand me somehow”), and he joined the band.

    So has Axl been any help to Buckethead in scoring chicks on this tour?

    There’s a pause, then Herbie says, “He’s scared of, uh, girls. He just gets
    a weird feeling. He doesn’t understand the feeling that he gets.”

    Some sort of chick/chicken confusion, maybe?

    “That’s a possibility,” Herbie says. “I’ve never thought of that. And I’m
    sure he hasn’t, either.”

    By this point, showtime is impending. Bucket has to head for the stage. We’ve
    pretty much covered everything, though: the chickens, the bucket … But wait
    — the mask. What about the mask?

    “There is no mask,” Herbie says.

    —Kurt Loder

    Buckethead Guitar Lesson (2005):
    Buckethead goes through a few "nub" techniques; Herbie does the talking.
    (Possibly originated from Guitar One magazine.)

    Viggo Mortensen Article (2006):
    Article about Viggo Mortensen in Esquire in which Buckethead apparently gave a "rare phone interview".
    The Appealingly Weird World of Viggo Mortensen
    In a rare phone interview that he agrees to do only because "for Viggo, I'd pretty much do whatever," Buckethead describes their collaboration in the recording studio as an often wordless exchange. "You know when kids play? They're just playing and they don't really have to talk? It's like that, I guess. It feels right. It doesn't feel complicated or weird. There's no ego stuff," says Buckethead, who is so mortified by the prospect of celebrity that he wears a Kentucky Fried Chicken bucket on his head whenever he performs. But Viggo, he says, hasn't been altered by fame.

    "He's never different," the guitarist says. There's a long silence. "He doesn't seem like he belongs in this time."

    Buckethead & Bootsy "Interview" (2011):
    Mock interview with Buckethead & Bootsy Collins. No idea of source.

    Josh Freese Interview (2013):
    Josh Freese talks about Buckethead in an interview in 2013 by I'd Hit That for a PodOmatic podcast.
    Episode 34 - John Freese
    (> YouTube Edit)

    Bryan "Brain" Mantia Interview (2015):
    Brain talks about Buckethead (& other stuff) in an interview in 2015 for The Five Count radio show.
    An Evening With Primus' Bryan "Brain" Mantia...
    (> YouTube Edit)

    Bryan "Brain" Mantia Interview (2015):
    Brain talks about Buckethead in an interview in 2015 by I'd Hit That for a PodOmatic podcast.
    Episode 78 - Brain
    (> YouTube Edit)

    Other Scraps:

    Buckethead FAQs
    www.bucketheadland.com
    Official Buckethead website; out-of-date & now abandoned.
    Last updated about 2012; much of the information dates to several years before this.
    FAQ Version 1.0 By Robert White (1999)
    FAQ Version 2.0 By Robert White (2003)

    Marcus Henderson Interview (2007):
    Guitar Hero's Marcus Henderson talks about the making/writing of Buckethead song Jordan.
    Guitar Hero's Marcus Henderson: The Guitar World Interview
    GW While you and the other Guitar Hero musicians perform all the music in the game, Buckethead submitted his own song, “Jordan,” for Guitar Hero II. How did that come about?

    HENDERSON Buckethead’s a friend of mine, so I just called him up. I knew he’d be perfect for the game—I mean, he’s a video game character in his own right. He’s not the most accessible person in the world and he doesn’t do interviews or talk in public, so I had to jump through a few hoops to get him to call me back. So he called me back and thanked me for giving him the opportunity to be part of the game, and we worked on “Jordan” together over the phone. I told him what we wanted: something between three and four minutes, nothing over 64th notes because the game can’t figure out the difference, and start off with a great intro and then go into “Buckhethead land” for two or three minutes and come back around—and whatever you send us will be perfect. And when he was done he left me a voicemail that said, “I think this is one of the best things I’ve ever recorded in my entire life.” And when I heard it I got chills up my spine—it was just incredible. He called it “Jordan” as an homage to Michael Jordan—he’s a huge basketball fan, which makes sense since he’s like 6’7.”
    Jordan (Buckethead song)
    From Wikipedia, the free encyclopedia

    "Jordan" is a song by American musician Buckethead. Originally featured as a playable track on the 2006 music video game Guitar Hero II, "Jordan" was officially released as a downloadable single via iTunes on August 18, 2009.[1]

    Background
    Prior to the inclusion of a studio version of "Jordan" on Guitar Hero II, the song was performed live by Buckethead at a number of shows. While performing the song, Buckethead would omit the guitar solos and interpolate another song (often "Post Office Buddy" from Giant Robot), a series of songs or an improvisation. One such early live version was released as "Vertebrae" on the Praxis live albumTennessee 2004 in 2007. Since the release of the studio version, Buckethead has often included the solo in his live performances of Jordan.

    An alternate version of "Jordan" was re-created specifically for the video game Guitar Hero II. It is considered one of the most difficult songs to play in the series on Expert difficulty[2] due to the complexity of its guitar solos, particularly the "Guitar Solo B" and "Guitar Solo C" sections. On the Xbox 360 version, the "Kick the Bucket Award" is an achievement worth 30 gamerscore, and is awarded for completing the song on Expert difficulty.

    The fastest tapping portions of the solo reach approximately 15.47 notes per second (32nd-notes @ 116 BPM in a 4/4 meter). In this part of the solo, Buckethead frets the notes using only his left hand, instead of resorting to two-handed tapping.

    The picking portion of the solo reaches a speed of 11.6 notes per second (16th-note triplets @ 116 BPM in a 4/4 meter).

    The Guitar Hero series' resident guitarist Marcus Henderson stated that Buckethead feels "Jordan" to be one of the best things he has ever recorded.[3] It was also stated in an interview with Marcus Henderson that "Jordan" is named after Michael Jordan, of whom Buckethead is a huge fan, even referencing the single cover to the Jumpman logo seen on many Jordan-related merchandise, like the Air Jordan shoe brand.

    Technique
    The main riff of "Jordan" is played using left hand hammer-ons and pull-offs, while Buckethead's right hand uses his trademark kill switch.[4] The main guitar riff also features extensive use of a Digitech Whammy pitch shifter. The off-beat 16th note rhythm scheme is reminiscent of Buckethead's earlier songs "Jump Man" (also dedicated to Michael Jordan) and "Night of the Slunk", both first released on Monsters and Robots (1999).

    According to Travis Dickerson, operator of the studio where Jordan has been recorded, "the take ultimately used [for the studio version] was played in one unbroken, unedited pass".[5]
     
    Last edited: May 24, 2016
  3. CriedWhenBrucieLeft

    CriedWhenBrucieLeft Ancient Mariner

    Misc. Bucket Dump Post:

    See post #132
    Siren 19 (1997?) by Giant Robot (Buckethead, Brain & Pete Scaturro)
     
    Last edited: Jan 8, 2017
  4. Night Prowler

    Night Prowler ɹǝlʍoɹԀ ʇɥƃᴉN Staff Member

    I liked his solos on Chinese Democracy.
     
  5. CriedWhenBrucieLeft

    CriedWhenBrucieLeft Ancient Mariner

    Good for you! :p

    No, seriously, I haven't even gotten around to listening to his lead work on Chinese Democracy. The guys lead work is exceptional, I'm sure it's interesting.
     
    Last edited: Aug 20, 2015
  6. Night Prowler

    Night Prowler ɹǝlʍoɹԀ ʇɥƃᴉN Staff Member

    He plays a solo on 13 out of 14 songs on the album.
     
  7. CriedWhenBrucieLeft

    CriedWhenBrucieLeft Ancient Mariner

    I know, I've listened to the solos on their own; just not in the context of the songs they were in.
     
  8. Night Prowler

    Night Prowler ɹǝlʍoɹԀ ʇɥƃᴉN Staff Member

    That's a weird thing to do...
     
  9. CriedWhenBrucieLeft

    CriedWhenBrucieLeft Ancient Mariner

    Aye, possibly...


    And related...

    :shred:
     
    Last edited: Dec 4, 2015
  10. SixesAlltheway

    SixesAlltheway Yacht Rock

    Underrated Guns album :)
     
  11. CriedWhenBrucieLeft

    CriedWhenBrucieLeft Ancient Mariner

    Merry Christmas from Buckethead! Here's a free album:

    [​IMG]

    Rain Drops on Christmas [Pike #219]
     
    Last edited: Dec 25, 2015
  12. CriedWhenBrucieLeft

    CriedWhenBrucieLeft Ancient Mariner

    If you were ever interested in buying a Buckethead Pike, then now might be the time! Other than the three latest Pikes (#217-219), all of them (#1-216) are available (until January 3rd, when the sale ends) as digital downloads for $1.85/each! :ok:

    BUCKETHEAD PIKES
     
    Last edited: Jan 1, 2016
  13. SixesAlltheway

    SixesAlltheway Yacht Rock

    Been listening to two pikes lately. "Arcade of the Deserted" and an older one "Backwards Chimney" Great music to just put on late at night. Very enjoyable and listenable but also not very intrusive (probably because of the mellow/atmospheric parts of some of the music and the lack of vocals) I can easily just listen to "Backwards Chimney" and not realize that I've suddenly heard the album 3 times in a row. Good stuff for when you need a break from the stuff you normally listen too :ok:
     
  14. CriedWhenBrucieLeft

    CriedWhenBrucieLeft Ancient Mariner

    Backwards Chimney is a lovely, lovely album. You hit it on the head with your description: atmospheric. And Arcade of the Deserted; that's a bit new is it not, Sixes? I only downloaded that the other day; haven't even listened to it all the way through yet. Any particular reason you were listening to those two?

    Either way, nice to see someone giving Bucket a listen! :ok:
     
    Last edited: Mar 28, 2016
  15. Forostar

    Forostar Conjure the Death Star again

    I forgot the album title of the one I liked so much. I want to recommend it to Sixes and see how he rates it compared to the ones he mentioned. Can you give me a help, Cried?
     
  16. CriedWhenBrucieLeft

    CriedWhenBrucieLeft Ancient Mariner

    I think you really liked Monument Valley (Pike #49):


    Also...
    Normally listen to? Sixes, you seem (from your Now Playing posts) to listen to anything & everything! :D
     
    Forostar likes this.
  17. SixesAlltheway

    SixesAlltheway Yacht Rock

    Arcade of the Deserted is from February this year. So yes, one of his newer ones.

    I pretty much picked both at random from their titles and cover artwork. They're both quite good though. Arcade of the Deserted also strikes a very good balance between atmosphere and really heavy parts.
     
  18. SixesAlltheway

    SixesAlltheway Yacht Rock

    Well OK yes..but not guitar jamming, one man bands :D

    I'll check out Monument Valley next then.
     
  19. Forostar

    Forostar Conjure the Death Star again

    Yes! Thanks Cried! @SixesAlltheway listen to Monument Valley. I'll check out "yours".
     
  20. SixesAlltheway

    SixesAlltheway Yacht Rock

    @Forostar Sure! Just bear in mind that I picked those two pikes completely at random so don't know how good they are in the grand scheme of Buckethead release. I did enjoy both of them though :)
     

Share This Page