BUCKETHEAD.Thought I'd open a Buckethead thread!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. 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.

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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 has seldom spoken publicly about his alter-ego/stage-persona Buckethead; and Buckethead doesn't speak. Destroy All Monsters ( Guitar Player Magazine 1996) is probably the most detailed interview with Carroll (Buckethead had a column in Guitar Player Magazine in the early nineties) until the revelationary Coming Alive podcast interview of July 2017. 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.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 250 Pikes since mid-2011.Buckethead returned to touring in April 2016 after a three year hiatus.

Thunder and lightning rip through thefoyer of Disneyland's Haunted Mansion, flashing a terrible light on the domedceiling and the corpse that dangles from it on the end of a noose. Everyonepresent 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'sprobably been on this ride at least 500 times, mostly at night, then he can slippast the guards and enter the mansion undetected to sit in with the hauntedmansion house band. (Buckethead claims their invisible pianist taught him howto play Chopin's 'Funeral March.' ) From Haunted Mansion to Pirates of theCaribbean, Buckethead likes weird places and strange people.

Maybe that'swhy his virtuosic post-metal psycho-shred has been tapped by ecentriccollaborators from Bootsy Collins to John Zorn to Bill Laswell to Jnas Hellborgto Iggy Pop. Or maybe they're just really scared of Buckethead and will doanything 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 toSpider Man or Bruce Banner to the Hulk, Carroll is the flipside of his freakishcreation. A likable, guileless, extremely self-effacing 27-year old, Carroll moldedhis childhood fascination with hardcore horror movies, martial arts, MichaelJackson, Disneyland, and heavy metal guitar into a playing style and onstagepersona that shatters the stereotype of the babe-snaggin' guitar-jock cool guywith the same force that it explodes the harmonic and textural possibilities of theguitar. Like Clark Kent and Bruce Wayne, he's on a super hero's mission not toharm, but to help. He dreams of constructing his own version of Disneyland forthe children of the world - Bucketheadland.With two new records on the shelves - jungle beat driven 'The Day of theRobot' on Sub-Meta and 'Giant Robot' on NTT (2633 Lincoln Blvd., Suite405, Santa Monica CA 90405), plus an album with jazz drummer TonyWilliams featuring Ornette Coleman and Pharoah Sanders, an upcoming projectwith fellow guitar virtuoso Shawn Lane, and an all-Disney theme album forZorn's Avant label, Buckethead is poised at the guillotine edge of progressiverock guitar. Inspired by forward thinking buddies like Laswell, Praxis drummerBrain and the DJ outfit Invisible Scratch Pickles, he's genetically mutating metalguitar into bizarre hybrids with hip hop, jungle and ambient music.

Sprawlingmetropoli and thatched villages beware: the time has come to destroy allmonsters.The suburban room where Carroll grew up near Los Angeles (about a half-hourfrom Disneyland) say it all: Bruce Lee, Michael Jackson and Leatherfaceposters adorn the walls. On the ample bookshelf, works on Paganini, Slonimskyand Glenn Gould are slipped between magic books, martial arts material andslasher flick compendiums.

Robot toys with laser eyes stare from every cornerand 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 RisingForce and the soundtracks to Godzilla and War of the Gargantuans.It's clear that visual stimulation is every bit as important to Buckethead's guitarplaying as the music he listen to and the theory he has absorbed.Onstage with Praxis - with Brain and bassist Laswell or with his band GiantRobot, Buckethead moves with robotic precision, but he imagines pictures inhis head as he plays. 'It's just more fun that way', he explains, fiddlingnervously with a Giant Robot doll. 'For the most part, I think in terms ofamusement park rides and monster and robot movies. I'll watch a moviewithout the sound and play to the picture. I would watch the death scene inTexas Chainsaw Massacre where Leatherface slams the steel door, and a lowand creepy drone comes in. I would use that drone to solo over, the sound ofthat guy's death. I guess that's kind of bad, but I was into it.

The whole scene isso vicious and powerful, it gives me a certain feeling. When I put myself in thatposition, I like to tape what I'm playing and feeling, because of what it bringsout in me.' As a kid, Brian's mom nicknamed him 'Boo' because of his obsession withmonsters and robots, and he took karate lessons from the age of ten. By thetime he was 13, he'd picked up guitar under the spell of Angus Young andRandy Rhoads, whose classic 'Crazy Train' riff and 32nd note pull off runs areechoed on Bucketheadland's 'Park Theme' (The Japan-only release is availablethrough Avant/Disc Union, 2-13-1 Iidabashi Chiyoda-Ky, Tokyo 102, Japan, ordirect from Buckethead). 'I was really into sports, but I liked guitar because itwas something you could do all by yourself,' he recalls. Yngwie Malmsteen'searly recordings, some of them only available as Japanese imports - like manyof Bucket's albums - were a major revelation.' When Yngwie came out he was totally in your face; you can tell he justwanted to destroy,' Caroll raves.

'It's so dramatic, and that aspect of it was ascool as the speed. Plenty of people play fast but they don't set it up like hedoes. Like the way 'Far Beyond the Sun' builds and builds until there's abreak, and then the guitar rips into it - the payoff is so great. Yngwie had thatfire and even now I'm trying to use that to motivate me. The fact that he hasn'tchanged 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-scaletapping licks at breakneck speed is humbling. But he makes it look incrediblyeasy, as if technical wizardry were second nature. It's partly the result of keenobservation.

'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 thaneveryone else, because of the way he moved his body.

It was in the way heheld his arms and all those little details. When I saw Yngwie or Paul Gilbertor Shawn Lane, I could see quickly HOW they did it, even though it took a lot oftime 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 realideas 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 doingto get that sound?' '.Back at Disneyland, the Rolling Thunder roller coaster is suddenly pitched intodarkness as it flies through a miniature mountain range, and its occupants -mostly teenage girls - let out a communal shriek that subsides for a momentwhen the car re-emerges into daylight.

Relief turns to horror, however, whenthey notice that Buckethead, seated in the front car, has zipped his jacket upover his head and is waving his arms in the air as if the tunnel has justdecapitated him. Reunited with terra firma moments later, Buckethead draws aparallel between high speed roller coasters and his own careening 32nd notephrases. It's an apt analogy.

Buck's peaks and troughs come from his weirdoscale forms and note choices, including minor 9th intervals, whole tones andstacked minor seconds. Surely Leatherface didn't teach him that.

'I got a lot ofmileage from Slonimsky's 'Melodic Patterns', he says of the late musicologist'sclassic text. 'There's a lot of really disjointed stuff in there, like far-apartintervals and octave displacement the transposition of certain notes in a phraseor chromatic line an octave above or below their normal scale position. There'salso a section on quadratonal arpeggios - that sounded crazy.' In addition toSlonimsky, lessons with Mr.

Bug's Paul Gilbert and classical guitarstudies sharpened Buckethead's technique, right-hand/left-hand independenceand theory chops. He's also picked up a thing or two from books by G.I.T.' S SteveTrovato, 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 thebooks at home and trust his ears. 'I just love the sound the hammering stuffmakes', he insists. 'It isn't about using four fingers on both hands. That's justthe technique I use to get there.

It's not even that tough to do technically, butthe way it sounds is so bizarre. When Shawn Lane plays fast, it's like a swarmof notes; it really creates a texture.'

Suddenly, Buckethead face drops and goesquiet. 'Captain Eo', he gasps, as we approach Disneyland's 3-D theater, 'Hugeinfluence.' He's not kidding. Two thirds of the way through the film for whichthe audience views stunning effects through 3D glasses, Michael Jackson'ssinging and dancing - the biggest influence on Buckethead's stage moves - hasturned all but a handful of the bad space guys into orange-clad love-happydance fiends. Only the Medusa-meets-Siouxsie Sioux evil queen, played byAnjelica Huston remains to be converted to the light.

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'This is the best part', hewhispers as the theme music goes into a robotic drum-machine and bassbreakdown that Jackson moonwalks to with killer finesse. The groove usesexactly the kid of heavily syncopated breakbeat and funky bass line thatBuckehead exploited on his early Japanese releases, and the outer-space funkvibe is straight-up Bootsy Collins (the legendary P-Funk bassist andBuckethead's frequent collaborator and inter-galactic mentor.) After getting acopy of one of Buckethead's homemade videos, Bootsy with fellow P-Funk vetBernie Worrell on keys, became part of the first Praxis ensemble, whichincluded Brain and DJ Afrika Baby Bam. The group debuted with the Laswell-produced Axiom album, 1992's 'Transmutation', Later, Bootsy producedBuckethead's first solo album.In '94 Buckethead recorded Dreamatorium Subharmonic, 180 Varick St., NewYork, NY 10014 under the name Death Cube K (an anagram for'Buckethead' coined by Keyboard magazine editor Tom 'Doc' Darter). Thealbum was a dark, quasi-ambient duet with Laswell that highlighted hiscinematic flair, clean-toned melancholy and improvisational sensitivity.

'Ipractice 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 inthe 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 HolyInnocents' Day Eight US, 532 LaGuardia Place #421, New York, NY 10003with jazz bassist Jonas Hellborg and drummer Michael Shrieve. There his cleantone 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', WillAckerman's 'The Opening of Doors Windham Hill, Derek Bailey and JohnZorn's 'Company 91' Incus, the Axiom Funkcronomicon collection, JonHassell's 'Dressing for Pleasure' Warner Bros. and the soundtrack to 'TheLast Action Hero'. 'I listen more and hear things a lot better because of beingaround all these incredible people,' Buckethead nods. 'That education is thebest. It's insane, really.' When it comes to piloting a rocket ship or roller coaster, Buckethead isuntouchable, but admittedly he's no expert on gear and his take on guitar storesis succinct: 'It's like a slaughterhouse in there, with all those guitar carcasseshanging around.

You could do a jig in there.' If pressed, he'll 'fess up to prizingan '80s Ibanez X-series Flying V style ax with a Schaller-floating tremelo andcustom egg-yolk colored double coils (one white, one yellow) designed by SteveBlucher at DiMarzio. He often plays a blue ESP M2 strat-shaped custom with aFloyd Rose but he complains that the guitar is too small for his tall frame (at arecent show in San Francisco with Mike Keneally, he accidentally snapped theheadstock off the ESP after dropping it in frustration). On several Laswellprojects, he experimented with a '59 Les Paul Custom. He generally uses.009D'Addario nickel-wrap strings.While his phrasing is unmistakable, a trule personal, distinctive tone has alwayseluded Buckethead. Possibly his best recorded sound was on Praxis'Metatron', on which Axiom house guitarist Nicky Skopelitis hooked him upwith a Well's 17 1/2 watt head designed by gear wizard Matt Wells. The Wellsamp wired through a Harry Kolbe 4x12 cab produced a full, bright tone thatwas particular effective on Buck's Eddie Hazel-ish auto-filtered clean chordsand psychedelic shred-blues passages.

It also tracked his hyperspeed leads andtrill-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 gigwith 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 stacksand ran them in stereo. 'That sounded soooo gnarly', he gushes 'I was freakingout.' Then again, the devastating tones on Sacrifist were recorded directthrough a Zoom multi-effector. Go figure.For all those nightmarish, chandelier-smashing swirls, Buckethead plays hischaracteristic tapping flourish through a Roland SE-50 multi-effector set toharmonize the part in four ascending half-step voices above each pitch,essentially forming a cluster above or below each note. Apart from that, hiseffects are limited to a ProCo Rat, an Alesis Midiverb II for echo, occasionalwah and a recently acquired Lexicon Jam Man for looping. 'I think a lot inloops now', he says, 'because of rap and dance music.

Sometimes instead ofusing 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 thatway.' It's getting late and Space Mountain, the last ride of the night beckons. Chowinggreasy fries in the shadow of the Matterhorn, a stone's throw fromTomorrowland, Carroll squirms slightly at the thought that he's unmaskingBuckethead for this interview.

Like Peter Parker and Bruce Wayne,Buckethead has always tried to protect his anonymity, although he feels it'sfinally 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 characterregularly 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 soonas it was over I went into a store across the street and said 'Do you have anyMichael Myers masks?'

They had a white mask, which really wasn't like aMichael Myers mask, but I liked it a lot. That night I was eating chicken out ofa bucket that my dad brought home. It wasn't a Kentucky Fried Chicken bucketeither. It said 'Deli Chicken' on the outside. I was eating it, and I put the maskon 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 theguitar wizard and robotic stage performer was practically instantaneous. 'Ithought it made sense with the way I play', he explains.

'I play all this weirdstuff, but if I just look like me, it isn't going to work. But, if I'm like this weirdfreak.' If anything, Carroll feels that becoming Buckethead has allowed him toexpress himself more freely than he would as unassuming Buckethead. 'Itopened the door to endless possibilities', he concurs as fireworks erupt in theTomorrowland sky. 'I can work anything into that character and make it totallywork: 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, moreabout what I'm really like, because I'm too shy to let a lot of things out. Everyreason 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'tpart 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.

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. If you're at all into the guitar (or were a Guns N' Roses fan), then chances are you know who is.

And if you've never heard of him, prepare to meet one of the most talented, generous, and soulful human beings around.In this episode of Coming Alive, Barry talks to Buckethead, whose real name is Brian Carroll. 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)' Jordan' is a song by American musician. Originally featured as a playable track on the 2006, 'Jordan' was officially released as a single via iTunes on August 18, 2009.BackgroundPrior 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 and interpolate another song (often 'Post Office Buddy' from ), a series of songs or an improvisation. One such early live version was released as 'Vertebrae' on the live album 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. It is considered one of the most difficult songs to play in the series on Expert difficulty 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, and is awarded for completing the song on Expert difficulty.The fastest 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 resident guitarist stated that Buckethead feels 'Jordan' to be one of the best things he has ever recorded. It was also stated in an interview with Marcus Henderson that 'Jordan' is named after, of whom Buckethead is a huge fan, even referencing the single cover to the logo seen on many Jordan-related merchandise, like the shoe brand.TechniqueThe main riff of 'Jordan' is played using left hand and, while Buckethead's right hand uses his trademark. The main guitar also features extensive use of a 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 (1999).According to, operator of the studio where Jordan has been recorded, 'the take ultimately used for the studio version was played in one unbroken, unedited pass'.

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