Shred With Shifty

The moment you’ve all been waiting for has finally arrived. That’s right: Shred With Shifty is back, and your beloved host Chris Shiflett is kicking off season two of the podcast with a super-special episode. Shifty’s Foo Fighters shredders-in-arms Dave Grohl and Pat Smear join him for this season premier that reveals some of the magic and maneuvering behind the Foos’ triple-guitar attack. The three friends and bandmates start off with some history lessons, discussing their earliest influences and how they learned to play before covering Grohl’s early days with Nirvana, Smear’s time in the Germs, and Shiflett’s invitation to join Foo Fighters—followed promptly by a trip to a guitar store to build out his arsenal, courtesy of Grohl’s AmEx. (Plus, Dave tells how he conned his mother into buying his first distortion pedal.) The trio cover their current and historical favorite pieces of gear—like Dave’s famed Gibson Trini Lopez, Mesa Boogie's Rectifier series, and Fender's all-tube, '90s-era Tone-Master amps—before getting into how they apply those tools in the studio between three players. “I think it took 15 to 20 years to figure out the recipe of what we do,” admits Grohl. Running through tunes like “Rope,” “Hey, Johnny Park!,” “La Dee Da,” and “A Matter of Time,” Shiflett, Grohl, and Smear demonstrate the evolution of the band’s rhythmically unique and tonally tiered guitar arrangements. From Melvins-inspired drop-D slammers to delay-driven, polyrhythmic riffs, Grohl likens the band’s 6-string components to the various elements of a drum beat. Once a drummer… Tune in for tons of hilarious stories (including Grohl’s “worst tour ever”), fascinating tidbits, and Dave’s guitar-store riff when he’s trying a new axe. It might sound familiar. Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudion Video Editor: Addison Sauvan Graphic Design: Megan Pralle Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.

As the premier season of the show comes to a close, Richie Sambora sends it off with a fun, free-wheeling episode that looks at his high-drama fingerwork on “Only Lonely” from Bon Jovi’s second record, 1985’s 7800° Fahrenheit. (The song’s music video is everything you’d ever want from mid-’80s hard rock.) Richie joins Shifty subterranean-style, from his mother’s basement in New Jersey, where he’s equipped with a reverse-headstock Charvel, complete with a Floyd Rose system. It’s a busy time for Sambora: His first new single in 11 years, “I Pray,” dropped in late April, alongside a brand new, four-part Bon Jovi documentary.  For “Only Lonely,” Sambora recalls that he used just a 50-watt Marshall and a yellow Boss overdrive pedal to push it to the limit. Producer Lance Quinn captured the performance at the Warehouse in Philly in spring 1985, and Sambora hasn’t slowed at all since that day. Shifty takes a run at a few of Sambora’s blistering lead screeds before Richie takes the reins and brings it home. They don’t leave it at “Only Lonely”; as an added bonus, they run through Sambora’s famous licks from “Bad Medicine,” too. Between solo runs, Richie talks about his current rig (no modelers for him, just old-school tube-amp goodness) and addresses the rumors: Will he rejoin Bon Jovi after 11 years gone? See you on the next season of Shred With Shifty! Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudoin Video Editors: Dan Destefano and Addison Sauvan Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.

The Aerosmith axeman recounts how he ripped the blazing lead on the Rocks hit, dishing some critical history along the way. Behind Steven Tyler’s unhinged howls, Aerosmith’s twin-guitar attack with Joe Perry and Brad Whitford cemented them as one of the greatest hard-rock bands of the ’70s. “Last Child,” the street-strutting, hard-blues hit off their breakout 1976 record Rocks, is one of the greatest demonstrations of this dangerous duo’s interplay. While Perry holds down the funky rhythmic chord stabs, Whitford burns through a volcanic, first-take solo. Did any pedals help snare that screaming tone? Nope. Just a ’57 goldtop Les Paul and a 100-watt Marshall. That combo just “makes you play real good,” Whitford says with a grin on this week’s episode. Whitford gives Shifty the background story on how Rocks came together between the band’s Massachusetts rehearsal space and the Record Plant in New York. They dig deep on Aerosmith’s influences and the guitar players that shaped Whitford’s lead style, including the shredders that knew when to pause. “Whatever you play, you’re still replicating the human voice for the most part, and you have to take a breath,” Whitford notes. Later on, Brad’s son Graham—an established player in his own right—joins the episode to talk about raiding his dad’s guitar and amp vault, and Brad muses on a big question: Will Aerosmith’s upcoming tour be their last? Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudoin Video Editors: Dan Destefano and Addison Sauvan Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.

The influential British shredder talks about how he formed his playing style and demonstrates how to rip one of his most iconic leads. To hear Phil Collen tell it, he joined Def Leppard almost by accident. He had loaned the band one of his amps, and when they asked him to play some leads on their upcoming record Pyromania, Collen thought he was just doing his friends a solid. The rest is history. He and Shifty talk through Collen’s formative years on guitar, where he soaked up the scorching playing of classic guitar heroes: Jimmy Page, Ritchie Blackmore, Mick Ronson, Michael Schenker, and Gary Moore all played a hand in Collen’s high-flying fretwork.  Collen’s solo on “Photograph” is a perfect example of the sort of “ear candy” that producer Mutt Lange encouraged the band to chase in the studio—and yes, he did record individual notes to build a single guitar chord on Pyromania. But there weren’t many tricks to Collen’s sound on the solo. His Ibanez Destroyer and a 50-watt Marshall were all he needed to get the job done for the slick, Blackmore-inspired solo. Tune in to see how he worked that two-piece setup to record one of the most influential guitar solos of the ’80s. Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudoin Video Editors: Dan Destefano and Addison Sauvan Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.

Being born into rock royalty doesn’t make you a rock star—you’ve gotta earn it with your own chops. And whether it’s the classical pedigree of his first name or the hard-rock infamy of his surname, Wolfgang Van Halen has a long lineage to live up to. As he displays on this episode of Shred With Shifty, he’s more than up to the task. Wolf joins Shifty to teach the blistering, tap-heavy solo for his song “Take a Bow,” from 2023’s Mammoth II. It follows in his dad’s footsteps, sure, but it also shows Wolf has a voice and vision of his own—both of which are just as potent and theatrical as his father’s.  Wolf treats us to a tour of his new signature semi-hollowbody EVH model, the SA126, with details from EVH managing director Matt Bruck. But he doesn’t hold out on the family jewels: Wolf shares the story of his father’s iconic Frankenstein Strat and brings it on the show, with some extra dirt on his dad’s journey from Marshalls to his signature Peavey 5150 amps. When Shifty asks who’s stewarding his father’s invaluable gear, Wolf eases our concerns: “If the world ended, they would still be okay,” he grins. Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudion Video Editors: Dan Destefano and Addison Sauvan Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.

If you can’t figure out how to play Joe Bonamassa’s solo from “Blues Deluxe,” don’t worry. It all changes when Shifty sits down with Bonamassa for this special episode of Shred With Shifty. No surprise that both of them reach for their Les Pauls, and Bonamassa even reveals why he switched from Strats to Gibsons in the early 2000s. Bonamassa is known for his dazzling collection of vintage guitars—which he says has become a target for haters—but he explains that you don’t need a ’58 Les Paul to get the goods. “It’s also the mystique,” he says. “If Jimmy Page played a Tokai, everyone would want a Tokai.” A guitar made two weeks ago, he says, is just as good as a classic. Bonamassa’s lightning-quick soloing style, which conjures a hurricane of major and minor pentatonic notes with some phrygian flair, is the stuff of legend, and his tricks on “Blues Deluxe” are plenty. Even though he tries to adhere to a “divide by two” rule to simplify his phrasings, he still stumps Shiflett with a volume swell trick he learned from Roy Buchanan and Danny Gatton. This solo is no walk in the park. Any brave takers up for giving it a shot? Share it and tag us so Shifty can have a look! Most importantly, remember to have fun. “Do whatever you want with the damn thing,” says Bonamassa. “It’s just a guitar.” Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudion Video Editors: Dan Destefano and Addison Sauvan Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.

It’s time for Chris Shiflett to rip another solo—solo episode, that is. During this first season of Shred With Shifty, our host has been keeping an eye on fan submissions of the lead parts explained in each episode, hand-picking sharp renditions to share. This time, he spotlights takes on the guitar theatrics from “Alive” by Pearl Jam, “Stay a Little Longer” by Brothers Osborne, and “The Waiting” by Tom Petty and the Heartbreakers, plus a snippet of a Hendrix classic that inspired a listener to pursue lead guitar. The question on everyone’s mind: Will anyone be brave enough to tackle Brent Mason’s brain-melting shred on “Southbound Train?” Step right up, brave soul. It’s your moment. Stick around for some choice cuts from this season’s interviews, including Mason laying out his signature pickup arrangement, Ace Frehley sharing how his bodyguard helped him recharge after days of partying, and Mike Campbell running down his old studio rig. Stay tuned for the next episodes of Shred With Shifty featuring Joe Bonamassa and Wolf Van Halen. Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudoin Video Editors: Dan Destefano and Addison Sauvan

Brent Mason has picked for the biggest and best names in country music: Alan Jackson, Willie Nelson, Shania Twain, Brooks & Dunn, Blake Shelton, and George Strait are just a few of the country stars on whose records you can hear Mason’s Fender-on-Fender fretwork. But his solo on “Southbound Train,” the closing track on Travis Tritt’s 2000 record Down the Road I Go, might be his hottest work of all. As Mason explains, the song scoots along at his favorite country tempo—a Cajun two-step, Mason says—which provides the rhythmic framework for his face-melter lead. Mason says the melodic and structural components came in part from his familiarity with jazz, and the mixing of jazz and blues with his usual twangy conventions. In fact, Mason’s furious note barrages occasionally earned him some raised eyebrows (and some choice words from Conway Twitty) in the more traditionalist Nashville studio system. This might be the toughest solo our host has taken on so far on Shred With Shifty. The key to wrestling it? “You gotta keep playing [it] til you wanna pull out all your teeth and hair,” says Mason. Which Nashville producers and stars would let Mason off-leash in the studio? How does a session ace deal with hand injuries? Listen on, shredders. And if you’re brave enough, send in your take on Mason’s solo. Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudoin Video Editors: Dan Destefano and Addison Sauvan Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.

Shifty’s biggest guitar hero joins the podcast to run down his unique lead picking on the 1977 Love Gun hit. Ace Frehley is the reason Chris Shiflett picked up a guitar in the first place, so it’s only natural that Shifty invites his original tone teacher onto the pod to recap one his iconic solos. Frehley, saddled with a classic black-and-cream triple-humbucker Les Paul, shares that “Shock Me” was the first KISS track on which he took lead vocal duty. The first time he sang it live, he remembers, was in front of 18,000 screaming fans at Madison Square Garden. As Frehley explains, that was quite a step up from how he recorded the vocals in the studio for Love Gun: lying flat on the floor on his back, racked with stage fright. Frehley recalls that he ripped most of his solos through a dimed Marshall stack, and always on the bridge pickup. Turns out, he never went for pedals or boards because he’d trip over them onstage. “Wearing those boots?” he snorts. “Forget about it. It’s like a minefield!” His signature sauce, he says, is in the way he picks the strings: He holds his picks loose, but plucks in such a way that his thumb often hits the string at the same time, producing a sound just shy of a pinched squeal, but more spunky than a regular strike. Frehley drops tons of golden bits of KISS history: the engineering behind his famous “smoke bomb” effect, the time he woke up in Paris with his eyes swollen shut from makeup, how he accidentally roadied for Hendrix, the shared genealogy between his technique and Eddie Van Halen’s, and which KISS member smelled the worst after shows. Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudoin Video Editors: Dan Destefano and Addison Sauvan Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.

Tom Petty and the Heartbreakers’ lead guitarist shows Shifty how he bottled an electric reaction to “The Waiting” on the song’s simple, iconic solo. Mike Campbell knows how to write the perfect parts to a song, and records them with the perfect guitar, amp, and tone to match. That’s why Shifty has the Heartbreakers’ lead man on this episode to get a look under the hood at what drives Campbell’s solo on “The Waiting.” The song, from 1981’s Hard Promises, was tracked at Sound City, where Campbell recalls the band had “every amp in the world lined up across the room, every amp you can imagine.” After miking and testing each, Campbell says they settled on a Fender Twin, which he brought to life with a white Les Paul he got from a pawn shop. Shifty notes the song’s music video led him to believe the solo was tracked with a Rickenbacker, but Campbell snickers that it was just for show: “I did that different just to fuck people up,” he grins. (“I hate that video, I think I look like a total idiot,” he adds.) Campbell, who started playing guitar by ear at 16 on an “unplayable” Harmony acoustic, says he didn’t labor over the solo for “The Waiting,” favoring spontaneity and instinct instead. “I like to come in fresh and capture as I’m discovering what it is, there’s some electricity in that moment,” he explains. “The listener can hear that you’re discovering it as they’re discovering it at the same time.” That approach applies to his songwriting experience in general, too: “I don't even wanna talk about it too much, because its mysterious,” he says. “It comes to you when it wants to.” Later, Campbell lays out how he and Petty balanced their guitar parts, and why Campbell favored “droning” open notes over complexity for many of his leads. And stick around to hear how he figured out Lindsay Buckingham’s guitar parts for Fleetwood Mac’s 2018 tour, the difficulty of backing Bob Dylan, and why original Heartbreakers drummer Stan Lynch almost got in a fight with Johnny Rotten. Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudoin Video Editors: Dan Destefano and Addison Sauvan Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.

This time on Shred With Shifty, Chris Shiflett steps out on his own. Shiflett starts up with a video montage of fan-submitted solo takes on leads from Charlie Starr, Rivers Cuomo, Mike McCready, and others. Some are more faithful than others, and Shifty celebrates the originality. “Learn it kinda, and then put your own twist on it,” he encourages. Next, he’s cued up clips from his sit-downs with Paisley, Starr, McCready, and one of his favorite guitarists, Jawbreaker’s Blake Schwarzenbach. Then it’s time for a round of questions from the listeners. Fans probe Shifty about anything and everything: his favorite Van Halen deep cut, whether he still woodsheds scales, his opinion on modelers, and what makes him nervous during his biggest shows. When someone asks the secret to band-life longevity, Shiflett answers earnestly. “I always say the trick to being in a band isn’t always necessarily how you play whatever instrument it is,” he explains. “It’s how well can you sit in tight quarters with a bunch of other people and not annoy the fuck out of them.” Later, he talks about why cowboy chords are actually his go-to “guitar-store lick,” and has a hilarious miscommunication with a listener asking if they should “top-wrap” their Les Paul. “What the fuck is top-wrapping a Les Paul?” Shifty responds incredulously. “I’m just gonna say no. Leave your Les Paul how it is.” Be sure to stick around to hear about Shiflett’s worst onstage guitar-tone debacle. Hint: it happened during a late-night television performance with the Foos. Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudion Video Editors: Dan Destefano and Addison Sauvan Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.

Host Chris Shiflett starts things off with a discussion on the musical context McCready emerged from. “If you didn’t have this punk rock background, then you were looked down upon,” remembers McCready. As he explains, his upbringing was less punk rock and more Cub Scouts until he picked up the guitar. He and PJ rhythm guitarist Stone Gossard preferred the likes of Iron Maiden and Judas Priest, and after Gossard caught McCready shredding Stevie Ray Vaughan licks at a party, he phoned him up to start a two-guitar band. “I could only do what I knew how to do, which was play leads,” says McCready. A major turning point came for McCready when he witnessed Muddy Waters’ performance in The Last Waltz. “It seemed like he could do more in one note than I was doing with all these thousands of notes,” he says. The observation led him to give up shredding and move in an emotion-driven, blues-rooted direction. That spirit drives the soaring solo on “Alive,” which McCready cut with a 1962 Japanese Reissue Stratocaster, a Tubescreamer, and a Marshall JCM800. McCready reveals how Jimi Hendrix’s sounds on “Machine Gun” influenced his own performance. After the lesson, McCready answers questions about how “Alive” has changed over the years, Eddie Vedder’s punk-ish rhythm playing, and why he smashed a Strat onstage last year. Best of all? Shifty finally gets a proper “guitar store lick” from his guest. Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314

On this week’s Shred With Shifty, Chris Shiflett is joined by one of his all-time favorite players: Blake Schwarzenbach, the 6-string architect behind California punk band Jawbreaker’s simple, noisy, orchestral rippers. But before things really get rolling, Shifty gets his heartbroken as Schwarzenbach squashes rumors that Jawbreaker might have a new record in the works: “There’s no truth to it,” he says. Shifty and Schwarzenbach talk about the band’s trajectory up to and after Dear You, their major-label breakout record which ditched their indie punk-rock production style for a slicker sound. But the band’s fans didn’t approve of the perceived sell-out—a concern Schwarzenbach thinks isn’t so present nowadays. “Selling out is not a concern I think for younger people in a way that it was in our time,” he says. “Selling out seems to be this weird virtue.” Schwarzenbach remembers recording at the same studio as fellow Bay Area punks Rancid and realizing Jawbreaker would be left in the dust: “It was clear to me who was gonna win,” he grins. Schwarzenbach admits he’s not a virtuoso lead player, but over the years, the augmented, melodic chording of Jimmy Page blended with the elemental intensity of ’80s D.C. hardcore to create his unique style, which uses octaves and drone notes to build melody and discord at the same time. He recalls the original recording rig on “Accident Prone,” including a Sovtek Big Muff, a white Les Paul, and a hot-rodded Marshall JMP. Then, playing a Gretsch Tennessee Rose Chet Atkins 1963 reissue, he guides Shifty through the tense riffing on the track. When Shiflett suggests there’s an element of complexity to the part, Schwarzenbach corrects him: “Chris, I’m afraid what you’re going to find out in your podcast here is that what you think is finesse is just sloth.” Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudion Video Editors: Dan Destefano and Addison Sauvan Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.

Blackberry Smoke frontman Charlie Starr joins Shred With Shifty to deconstruct his solo on the Smoke’s 2016 track, “Waiting for the Thunder.” Starr, whom Shifty credits with owning one of the best vintage guitar collections he’s ever seen, explains how he got into guitar at age six thanks to the influence of his dad, who was a bluegrass rhythm player. But he turned to his mum, the rocker in the family, to help him get his first electric guitar: a Mosrite copy which he played through his sister’s stereo with some old-school technical finessing. (He eventually blew the stereo, which didn’t go over well with his sibling.) Starr and Shifty swap stories about getting their kids into guitar—Starr’s son wasn’t interested until he played guitar hero, when he discovered Allman Brothers and Van Halen. Starr says his playing has never been too bogged down in theory—“I know what sounds good to me and what feels good to me,” he says—and he details how he came to his hybrid picking, middle-finger “crutch” style of lead-playing. For the scorching solo on “Waiting for the Thunder,” off their 2016 record Like An Arrow, Starr messed around until he found the right shape and sound. He used a 50-watt 1976 Marshall JMP, running through a 4x12 cab with Celestion Greenback speakers, and the same guitar he’s playing in this episode: a 2014 Gibson Custom Shop Southern Rock Tribute Les Paul, an homage to the smooth riffing of Duane Allman, Gary Rossington, and Dicky Betts. You can hear those southern rock pioneers in Starr’s solo, which starts in the low register before slinking its way up the neck to a blistering crescendo. “Tom Waits said, ‘Our hands are like dogs, and they go to familiar places,’” says Starr. Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudoin Video Editors: Dan Destefano and Addison Sauvan Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.

"It's maybe the most important thing to me that the solos [I record] are things that I haven't done a million times," country guitarist and singer/songwriter Brad Paisley shares on this episode of Shred With Shifty. "That's getting harder and harder to do." But as Paisley walks host Chris Shiflett through his solo on "Mud on the Tires," the centerpiece of the interview, it's clear that Paisley can improvise melodies that don't necessarily need to clear that bar in order to hook and make a lasting impression on his listeners. Brad was learning Chet Atkins-style thumbpicking in lessons from the age of 12, and while he later absorbed a rock vocabulary, Shifty comments that Brad always seems to play with a country feel. Throughout the episode, Brad frequently illustrates his points by playing riffs, in a way that shows that his connection with the instrument is a fluid one and a key part of how he expresses himself. "Mud on the Tires" was originally recorded 20 years ago, in 2003. Brad's setup was either his '68 Paisley Tele or '52 Tele, recorded through a '63 AC30 and a Dr. Z Z 28, the latter of which was run through a 15" JBL speaker. As he puts it, the AC30 fills the frequency gaps left by the Fender, making the combination a perfect sonic marriage. He says that live, he normally plays the solo on a guitar he's nicknamed "Splash," and they've had to replace the nut on it three times, due to how Paisley bends the 4th string on the space behind it at a certain point in the solo. While rockin' his G bender, Brad has some trouble executing the solo's most elaborate middle riff during the solo breakdown, but his incredible chops pull through towards the end of the ep as he whips out the impressive lick. Shifty encourages followers to see if they can match it! That might be a tall order, but it is all part of the fun. Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudoin Video Editors: Dan Destefano and Addison Sauvan Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.

In this solo installment of Shred With Shifty, host Chris Shiflett shares juicy unreleased footage from previous episodes, rates fan submission solos, and fields questions from viewers. This week’s Shred With Shifty keeps the spotlight on our intrepid host and shameless shredmeister, as Shifty kicks things off with a swift hammer-on ascent up the neck. Next, he shares a few ace videos submitted by fans where they tackle Alex Lifeson’s solo on Rush’s “Limelight,” though Shifty has some choice words for one shredder’s choice in guitars. (Plus, he duets one lucky Foos cover band expert’s rendition of the solo on “Long Road To Ruin.”) Shifty shares some unseen clips from his conversations on the pod thus far. He talks Epiphones versus Gibsons with Lifeson, soccer fandom and arthritis with Rivers Cuomo, and guitar-painting with Lindsay Ell. Best of all, Nile Rogers dishes on how he rescued David Bowie’s dismal “Let’s Dance” demo. To round out the show, Shiflett answers questions from viewers. He talks about his love for Strymon’s Iridium and how they fit into his solo shows, plus he reveals what he’s playing through on Shred With Shifty. Later on, he recounts how a malfunctioning amp during “This Is A Call” ended with a smashed guitar, his favorite pedalboard picks (“Put like 15 pedals on your pedalboard and go to the races!”), his amp-switching rig and pre-show warm up routine with Foo Fighters, and how to play his leads on Foos’ emotional new track, “Under You.” Look out for the next episode of Shred With Shifty, when Bon Jovi's Richie Sambora joins Shiflett to teach him the screaming solo for "Dead Or Alive." Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudoin Video Editors: Dan Destefano and Addison Sauvan Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.

CHIC bandleader Nile Rodgers and his Hitmaker spill the history behind writing the unforgettable music and lyrics for Diana Ross’ iconic smash, “I’m Coming Out” When CHIC guitar wizard Nile Rodgers tells Chris Shiflett that he was at Woodstock, Shiflett quips, “You didn’t take the brown acid, did you?” Rodgers grins and chuckles, “I took every color acid they had!” This is the tongue-in-cheek tenor of the latest episode of Shred With Shifty, a fun, often hilarious conversational romp through Rodgers’ music career. It all started with classical music and woodwinds (specifically the flute and clarinet), but as Rodgers tells it, a major turning point was a chance encounter with a crew of Los Angeles hippies—affectionately called “freaks” in those days of the late ’60s—that led to a two-day LSD party soundtracked by The Doors’ first album. After he picked up a guitar at 16, he turned to unique jazz pluckers like Django Reinhardt and Wes Montgomery. He followed in their footsteps and played semi-hollow guitars until he met his longtime musical partner and CHIC cofounder, bassist Bernard Edwards, who urged him to pick up a Stratocaster. So it was then that the Hitmaker was born one fateful day in a south Florida guitar shop. Rodgers gives Shifty the full, eyebrow-raising story of how he and Edwards penned Diana Ross’ hit, “I’m Coming Out.” The duo had tried the song’s drumbeat on many other tracks—they nicknamed it “the hesitation waltz”—but its playful rhythm didn’t land until they wrote the song for Ross. Rodgers explains that his neck-pickup “chucking” on the song, which is most clearly voiced on the highest three strings, was structured around the vocal melody. “I’m a very hook-oriented guy,” says Rodgers. “I believe in reinforcing the thing that I believe is melodically the motif that the house is built on.” And Rodgers doesn’t shy away from the whole truth about the song’s history. Ross was the first superstar that Rodgers had recorded with, but as he remembers, that didn’t stop him from spinning a little white lie to make sure that “I’m Coming Out” was released. Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudion Video Editors: Dan Destefano and Addison Sauvan Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.

On this episode, the country guitarist walks Shifty through her blazing solo on "Hits Me," after sharing all about what makes her guitar-mind tick. "I've always looked at guitar solos as additional lyrics to the song," says Lindsay Ell. She approaches guitar solos by balancing their voice with that of the actual vocal, and on this episode of Shred With Shifty, the country guitarist and songwriter—who really draws from a host of genres, including rock, jazz, and blues—breaks down her epic solo on "Hits Me" for host Chris Shiflett, walking him through each phrase and figure. But before the two get into the solo breakdown, they cover some ground delving into topics like Lindsay's early bluegrass studies (and how her teacher Randy Bachman later introduced her to jazz and blues), her experience playing with producer Dann Huff, and why there aren't more female lead guitarists. (For that last one, she's not sure she has the answer, but is proud to be on the vanguard!) "Hits Me" is in Bb, which could be a challenging key to play in, and even Chris admits he gets lost on the fretboard if his songs aren't in the far more common keys of E, A, or G. But, she didn't want to be pigeonholed as the "girl who uses a capo," throwing it out at a very young age, and plays the solo high up on the neck, mostly on the top strings, around the 16th fret. It's also full of "guitarmony"—which she loves doing on just one guitar, although the solo was tracked on two for the recording to throw a bone to the mixing engineer. In the final minutes of the ep, Lindsay reveals one of her favorite warm up exercises, which she calls "chromatic spiders," which Shifty finds pretty wild (and they sound just as creepy as their name). Watch the full episode to get the whole story on Lindsay and the nuts and bolts of her guitar wizardry. Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudoin Video Editors: Dan Destefano and Addison Sauvan Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.

Weezer's Rivers Cuomo sits down with Shifty to talk Yngwie, Phish, and the outro solo to "Only in Dreams" off the “Blue” album. Head to http://volume.com/shifty to watch the full episodes! "I don't use effects," Rivers Cuomo states, matter-of-factly, to Chris Shiflett on this second episode of Shred With Shifty. That might come as a bit of a shock to all the Weezer fans out there who went and bought a Big Muff in an effort to imitate the alt-rock guitarist's sound. For his tones on the band’s famous debut album, he went straight into his amp, and the only effect heard on that record, he says, was a bit of delay on the swells in "Only in Dreams." The outro solo to "Only in Dreams," the final song on the album, is the subject of this ep. And after the guitarists spend a few minutes discussing Cuomo's inspirations, influences, and the production of both that album and the band's sleeper success, Pinkerton, Cuomo walks Shifty through the solo lick by lick. There's the sequence of octaves high up on the neck, colored by an unexpectedly placed major 7th chord ... and Cuomo's vibrato, which reminds Chris of Brian May. What shapes a guitarist's vibrato? “Must have something to do with your nerves between your brain and your fingers,” Cuomo says. Before the recording of the album at Electric Lady Studios in NYC, Weezer's label insisted they work with a producer, which Cuomo rejected at first. Then he heard the Cars' "Just What I Needed" in the supermarket one day, and sought out the band's guitarist, Ric Ocasek. Ocasek was the one to push Cuomo to record an outro solo over the previously stripped-down, rhythm-section-based final three minutes of "Only in Dreams." After weeks of Ocasek's encouragement, Cuomo found himself alone in the studio one weekend and improvised his way through the solo. "This might be hard to believe, but when we started out, we were much more like a hippie band," Cuomo explains, describing his past devotion to Trey Anastasio. As it turns out, part of the "Only in Dreams" solo came out of Weezer's jamming portions of the song during their live shows. Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple Podcasts: https://podcasts.apple.com/podcast/id... Spotify: https://open.spotify.com/show/4B8BSR0... iHeart: https://www.iheart.com/podcast/269-sh... Pandora: https://www.pandora.com/podcast/shred... Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudion Video Editors: Dan Destefano and Addison Sauvan Special thanks to Chris Peterson, Gregory Nacron, and the entire Volume.com crew.

On the first episode of the new podcast series Shred With Shifty, which features host and Foo Fighters guitarist Chris Shiflett getting a front-row lesson from our favorite guitar heroes, Shiflett learns the solo from Rush’s “Limelight” with a little help from the man who wrote it, Alex Lifeson. According to Shiflett, Lifeson’s lead on the song “does exactly what a great solo should do. It’s a scene change, it’s kind of emotional, it builds, and yes, it shreds.” Shiflett recalls that in context, both “Limelight” and Moving Pictures, the 1981 Rush record that featured the track, were stylistic and structural departures from the rock ‘n’ roll fare of the day. Compared to Aerosmith, Black Sabbath, and KISS, the Canadian prog-rock trio were practically avant-garde. Lifeson joins Shiflett from a meticulously maintained studio den he built in his apartment (“I’m a virgo,” Lifeson admits), and talks about early influences like Allan Holdsworth, Jeff Beck, and Andy Summers. The first solo he learned was from Cream’s “Spoonful,” but even after Rush’s international success, he says he never felt confident in his ability. “I’ve always been a little bit insecure about my playing,” he says. “I always felt like I could be better than I was.” And despite Rush’s infamously complex arrangements and each member’s dazzling technicality, Lifeson remembers that there were occasionally some “trainwrecks” onstage. “With our music, if you got lost, boy, it was hard to get back,” he grins. While memories of the “Limelight” sessions are imperfect (“That was 43 years ago. I can’t remember things from 40 minutes ago,” Lifeson quips), the guitarist recalls using a modded Stratocaster with a vibrato arm to record the song’s solo in five or six takes, which bassist and vocalist Geddy Lee and producer Terry Brown then comped into the final version. The idea was to create a solo that reflected the isolation and fragility of “living in the limelight.” “The solo I really wanted to echo that feeling and that sense of loneliness,” he says. Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Youtube: https://www.youtube.com/channel/UCAcCnSdvOZL8h--4tWP0G1Q Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudion Video Editors: Dan Destefano and Trevor Bowman Special thanks to Chris Peterson, Gregory Nacron, and the entire Volume.com crew.