GhostofCain
Ancient Mariner
Polish, like his dad.
Joking aside, he has a regional accent typical of the area in Northern England where he was born and grew up.
Janick Gers
- Thread starter Forostar
- Start date
Polish, like his dad.
Joking aside, he has a regional accent typical of the area in Northern England where he was born and grew up.
GhostofCain
Ancient Mariner
Not too far obviously from Donington!He can go there by bicycle if the weather is fine.
It would be one hell of a bicycle ride! Approximately 160 miles, so no energy left for prancing!
GhostofCain
Ancient Mariner
He's from Hartlepool, Teesside as @matic22 says. I think the Teesside accent generally is known as "smoggie".
Hartlepool folk specifically are known as "monkeyhangers"
Oh, the hanging of a monkey because they allegedly thought it was a French spy! I hope people in the area are more civilised these days.
GhostofCain
Ancient Mariner
A little known fact about Janick is that he nearly replaced Angus Young in AC/DC at some point in the early days!
matic22
Ancient Mariner
... but he grew out of it.
GhostofCain
Ancient Mariner
Height wise? Definitely!
MindRuler
Ancient Mariner
So the line from Death Or Glory was his idea?Hartlepool folk specifically are known as "monkeyhangers"
Black Abyss Babe
I live for my dreams and a pocket full of gold
I think that may have been the Red Baron's own, actually.
matic22
Ancient Mariner
Exactly.
JudasMyGuide
Ancient Mariner
Recently I remembered some nice things I wrote about Janick in another thread - thought I might drop this here as well.
Murder of Rue Morgue
They're never gonna find me!
I don't share the appreciation for Gates of Tomorrow, but I agree that he wrote some pretty solid ones. Also those are usually my favorite songs as well.
JudasMyGuide
Ancient Mariner
Sorry I put it in a confusing manner, I wrote that I like The Time Machine the least of them all, with the possible exception of GoT, meaning that I like GoT probably even less than TTM.
TheMercenary
Ancient Mariner
DYLAN GERS, Son Of IRON MAIDEN Guitarist JANICK GERS, Releases New Solo Single 'Fly Fly Butterfly'
Dylan Gers, the son of IRON MAIDEN guitarist Janick Gers, has released a new single, "Fly Fly Butterfly", through independent record label Sly-Tone. Written and solely performed by Dylan, with the exception of Noah Yorke, the son of RADIOHEAD frontman Thom Yorke, who drums on the track, "Fly Fly...
blabbermouth.net
Murder of Rue Morgue
They're never gonna find me!
Revisiting the famous jam with Deep Purple,
Once again I find myself wishing Janick was more controlled. Here he's jamming with STEVE MORSE and doing an amazing work.
Also if he stuck more to his own recorded work that would be amazing. His solo on Death of the Celts is fantastic, too bad he didn't even bother reproducing it on stage.
Once again I find myself wishing Janick was more controlled. Here he's jamming with STEVE MORSE and doing an amazing work.
Also if he stuck more to his own recorded work that would be amazing. His solo on Death of the Celts is fantastic, too bad he didn't even bother reproducing it on stage.
Christopher Baines
Educated Fool
Hes so random i dont think he could reproduce it live. Im ok with Jan, had adds a little unpredictability to Maiden.
Murder of Rue Morgue
They're never gonna find me!
Depends. Some solos are clearly thought through, and Death of the Celts is an example. His solos in The Parchment are clearly structured too.
Kalata
Out of the Silent Planet
Yes, some of Janick's structured solos are great and some of his best (Celts, Parchment, Wasting Love, Blood Brothers), but the ''wild and chaotic'' playing is his thing. His fast solos like in Bring Your Daughter, Alchemist or Be Quick are also great and a needed contrast for Maiden's 3 guitar attack imo. I like the unpredictability he adds to Maiden. He's more closer to Dave's style. The thing is, The Three Amigos are great and effective playing slower, faster, melodic, chaotic or following the vibe of the song and that's what makes them special.
About the reproducing the solos live, iirc it was said in one of the documentaries that he doesn't like to play the same thing twice live. But Celts solo is indeed so so cool and a bit tricky to play it live note for note.
Janick's sense for melodies is important to the band, since the Reunion he plays almost all the melodies in the longer songs. He is a unique guitarist!
Kalata
Out of the Silent Planet
“What people tend to do is learn licks and then try to stick them into the solos – and that’s not really the way to do it”: Iron Maiden’s Janick Gers shares his tips for better guitar solos
The Iron Maiden stalwart explains why he is a big advocate for guitar solos with the safety off: no soundchecks, no warm-ups, and something different each and every night
In this interview from last year, Janick talks about his playing.
You can use a lot of different tunings. I keep a lot of guitars around the house in different tunings. That way, when you pick one up different things come out. You have to experiment and see what interests you. Once you know, you have to carry on and try to push your boundaries.
Practice is important but use your mind and think. Everyone has a different way of playing. There are a lot of guitar schools where you learn the same chords and scales, which ultimately means people ending up sounding the same. You have to be innovative and remember that nobody does it right. There is no right. There is no best. Everything is what you make it. Try to find the best way to get what’s in your mind into your fingers and onto your guitars. That’s how you find melodies. Put your personality onto your guitar.
You need to practice your alternate picking and scales, but you have to remember a lot of those things you can’t actually put into songs. You need to have the ability to do more than that. What people tend to do is learn licks and then try to stick them into the solos, and that’s not really the way to do it. You should think about what you actually want to do with each solo. But what I say is not right, you’ve got to make your own mind up. Nobody is wrong.
I find that before a gig, I very rarely touch the guitar. I want to see what happens when I get out there. I don’t like to warm up; the first time I’ll pick up my guitar is when I’m about to walk on stage. I find that exciting because I don’t know what’s going to happen! I’ll check the tuning and then I’m out there, feeling that buzz every night. It’s always a shock. We don’t soundcheck, because when the halls are empty, the echoes are ridiculous.
Spontaneity is important. For me personally, if that disappears, it becomes a cabaret act. So I like to change the solos slightly, not to the point where people get pissed off, but utilise different areas within the solo. Every night I try to make it a little bit different, but still keeping the main melodies. The one thing that would kill me is doing the same thing every night. It can’t be like that with me. Even my chord inversions change, I’m looking for better ways all the time. I never wanted to be in a cabaret band. I’ve seen that happen to people and it becomes mundane.
I never work out my solos. I purposely try to and do something different every time – if I cut a solo on a track three times before choosing, each one will be different. Looking for something different every time keeps you on edge – you feel the rage and the excitement.
Practice is important but use your mind and think. Everyone has a different way of playing. There are a lot of guitar schools where you learn the same chords and scales, which ultimately means people ending up sounding the same. You have to be innovative and remember that nobody does it right. There is no right. There is no best. Everything is what you make it. Try to find the best way to get what’s in your mind into your fingers and onto your guitars. That’s how you find melodies. Put your personality onto your guitar.
You need to practice your alternate picking and scales, but you have to remember a lot of those things you can’t actually put into songs. You need to have the ability to do more than that. What people tend to do is learn licks and then try to stick them into the solos, and that’s not really the way to do it. You should think about what you actually want to do with each solo. But what I say is not right, you’ve got to make your own mind up. Nobody is wrong.
I find that before a gig, I very rarely touch the guitar. I want to see what happens when I get out there. I don’t like to warm up; the first time I’ll pick up my guitar is when I’m about to walk on stage. I find that exciting because I don’t know what’s going to happen! I’ll check the tuning and then I’m out there, feeling that buzz every night. It’s always a shock. We don’t soundcheck, because when the halls are empty, the echoes are ridiculous.
Spontaneity is important. For me personally, if that disappears, it becomes a cabaret act. So I like to change the solos slightly, not to the point where people get pissed off, but utilise different areas within the solo. Every night I try to make it a little bit different, but still keeping the main melodies. The one thing that would kill me is doing the same thing every night. It can’t be like that with me. Even my chord inversions change, I’m looking for better ways all the time. I never wanted to be in a cabaret band. I’ve seen that happen to people and it becomes mundane.
I never work out my solos. I purposely try to and do something different every time – if I cut a solo on a track three times before choosing, each one will be different. Looking for something different every time keeps you on edge – you feel the rage and the excitement.
He never work out his solos!? Wow, in a good way.
As I've said before, I'm interested in a solo album of his and I don't know why he doesn't experiment with sounds and tunings. It will probably be like the White Spirit debut album, but a mix of heavy metal, rock, all kinds of melodies, fast playing, acoustic parts..
Jer
'Til Tomorrow
Sounds about right to me.
