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It’s a bridge that I played twice and it takes the song out of the blues world and into a more melodic part that’s like my take on Steve Morse’s playing in Dixie Dregs.
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”This is essentially a blues piece, but there’s a stylistic part in there that breaks it up. ”On a record like this, that’s spirited and energetic and technical and is filled with metal parts, it’s always cool to try a melodic idea that stands out and provides a break from the other stuff. I recorded the acoustic solo on a gypsy jazz guitar that I bought in Germany from Joscho Stephan, who is this German gypsy jazz player and builder.” ”And that was very different than the original clinic version, so that was fun. ”It was a long solo, so I started improvising and soloing on acoustic and I decided to make half the solo acoustic – and then follow it with electric and have it build, almost like an Al Di Meola type of piece with a Latin-y groove to it. I decided to make half the solo acoustic – and then follow it with electric and have it build, almost like an Al Di Meola type of piece I thought, 'You know what? This sounds pretty cool!' There’s a moment in Gemini, too where I was playing some acoustic rhythm for the solo section breakdown, and I just started soloing on the acoustic while I was playing the rhythm. ”It was interesting to try to remember what I intended to play and build it into a complete song. I scoured the Internet to find the best-sounding quality of a video recording where a guy’s holding a camera in a clinic where people are talking. I used to bring along a little Yahama sequencer and play these clinics so I never had an official demo. It’s the oldest song on there, and it was interesting because I had no version to base it off of.
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”I wrote that song for clinics around 1993.
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