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April 2013 - Music Connection

Clint Lowery

Sevendust

Contact: Amanda Cagan, amanda@abc-pr.com

GUITARIST Clint Lowery is a key architect in

designing the sound of the melodic metal band

Sevendust. The new album Black Out The Sun

is their most intense recording to date. Lowery’s

guitar style features staccato rhythmic bursts

and soaring solos. A texturalist as well as a

groove player, Lowery not only handles guitar

duties, he co-writes, arranges and contributes

vocally.

What have you done in the past year to

become a better musician?

I’ve gone back to the basics, just woodshedding.

I’ve been practicing a lot and doing exercises,

working on my legato, finger picking and

anything I’m weak in, like slide guitar playing. I

just try to designate an hour or so a day to work

on it so I can be a better all-around player.

What do you notice when you hear a recording

of yourself from five or 10 years ago?

I notice the influences of what was going on

at the time. I can hear certain things that I was

listening to by the riffs I’m playing, and what

kind of effects I’m using.

Have you added any gear that has changed

your sound or style?

I haven’t. I’m boring. I change guitars for the

most part, but everything else, nothing. I’m

going to revamp my rig pretty soon. I wanna

get a better clean channel, and I want to get a

multi-amp thing going. I want to blend my EVH

100-watt head with something else to get a

wider sound.

Tell us about your guitar roadie.

I have a new guy coming in who’s worked with

a bunch of people, like Slash, Pink and Anthrax.

I’m excited to work with him. Sevendust has

been off for a while, so I didn’t really sustain the

same guy I had before. The new guy is really

good. He’s a technical guy who knows everything

about the gear aspect. I’m not a gearhead.

I need that yin and yang. I need someone who

can sort out everything, or any kind of problem

solving that needs to happen.

Do you have a mentor?

My dad. As far as natural feel and guitar playing,

he was my mentor. Steve Vai is someone

I look up to as far as a guy who mastered the

guitar. He’s comfortable with a guitar in his

hands. Steve Vai is pretty much the man.

What is your most underappreciated quality?

My soloing. I don’t ever really get the chance

to really tee off on guitar solos. I can tear up

a fretboard if you give me the opportunity. I

don’t think people realize that I come from that

old-school mentality of playing. I grew up with

Yngwie, Paul Gilbert, Steve Vai and Dimebag

Darrell. That’s the school I come from.

What’s your worst onstage mishap?

I’ve played with many a stomach virus where I

have thrown up or shit in my pants. I’ve done a

lot of that over the years. I’ve had gear that has

gone down for an entire set. We’ve played for

15 years so there’s going to be a lot of mishaps.

It’s hard to remember them all.

Tell us about your gear endorsements.

I have a deal with PRS Guitars. I have a signature

model. We also have a deal with EVH

amps. We’re obviously big fans of Eddie Van

Halen. The whole camp over there is really

cool. We’re also with Ernie Ball Strings, but obviously

pretty loyal to PRS. They’ve been with

me for a long time.

Lige Curry

Parliament Funkadelic

Contact: danielsiwek@roadrunner.com

LIGE CURRY has been laying down the deep

pocket bass lines for George Clinton’s Parliament

Funkadelic for the past 30 years. Following

in the footsteps of such P-Funk bass icons

as Rodney “Skeet” Curtis, Cordell “Boogie”

Mosson, William “Billy Bass” Nelson and Bootsy

Collins, Curry has kept the funk alive and upheld

the refrain, “One nation under a groove.”

What have you done in the past year to

become a better musician?

What I did the most that I’m still trying to learn

how to do is listen. Whether it’s live or in the

studio, the key is listening. I pay more attention

and remind myself to remember to pay attention.

I would be nothing if I didn’t know how to

listen. I’ve gotten better not only at hearing what

people are playing, but what people are saying.

What do you notice when you hear a recording

of yourself from five or 10 years ago?

Five years ago I was playing a lot more tense

than I am now. It was due to my hands and

arms hurting. What I did was reposition the

strap on my bass. Now I play with my plucking

hand extended, instead of up like a bow. A

lot of bass players play high on their chests or

on their stomach so they can dig in. I went the

opposite way. Now I don’t have as much pain in

my forearm and wrist.

Have you added any gear that has changed

your sound or style?

The last addition was a MXR Bass Envelope

Filter. I came after Bootsy Collins, so he laid

down the law with his Mu-tron III. George

Clinton has this thing were he says, “Play it like

the record!” I added the Bass Envelope Filter.

It’s not a Mu-tron III, but it’s so small and gets

so many different tones. Rather than me carry a

pedal board, I’d rather take this pedal.

Tell us about your roadie.

I do everything myself. We have a drum tech

and a stage manager who can tune guitars. I

have two personal guys that I use on my thing

who I love to death. George Clinton doesn’t

have the kind of shows that require a lot of tech

stuff going on. I like changing my own strings.

Do you have a mentor?

Larry Graham and rock cats like Chris Squire. I

was a big fan of Ray Brown; he use to play on

The Merv Griffin Show. Within my own camp I

was a huge fan of all the bass players that I got

44 April 2013 www.musicconnection.com

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