Jan. 24, 2025
The Adventures of Pipeman and Bumblefoot... Returns!
This week on Season 19, Episode 4 of The Adventures of Pipeman
Renowned guitarist and composer Ron 'BUMBLEFOOT' Thal is back with a brand-new instrumental album, 'Bumblefoot ...Returns!', set for release on January 24, 2025. Thirty years after his...
This week on Season 19, Episode 4 of The Adventures of Pipeman
Renowned guitarist and composer Ron 'BUMBLEFOOT' Thal is back with a brand-new instrumental album, 'Bumblefoot ...Returns!', set for release on January 24, 2025. Thirty years after his debut solo instrumental album, BUMBLEFOOT revisits his roots with a 14-track masterpiece that spans genres from metal to orchestral to blues
'Bumblefoot ...Returns!' features collaborations with iconic musicians, including Brian May, Steve Vai, Guthrie Govan, Derek Sherinian, and others, showcasing BUMBLEFOOT’s innovative guitar techniques, such as his signature fretless guitar and "thimble technique."
On the album, BUMBLEFOOT shared:
“It’s been 30 years since releasing the debut 'Adventures of Bumblefoot' on Shrapnel Records, and I haven’t done a fully instrumental album since. Writing during the pandemic, these songs became a soundtrack to my life – from heavy fretless growls to bluesy tributes to legends like Lonnie Johnson. It’s a reflection of the moments that shaped me.”
Ron 'Bumblefoot' Thal is a celebrated guitarist, producer, composer, and educator with a career spanning over 30 years. Known for his groundbreaking techniques, Bumblefoothas performed with bands such as Guns N' Roses, Asia, Sons of Apollo, and Whom Gods Destroy.
Beyond music, Bumblefoot is a philanthropist, hot sauce entrepreneur, and international cultural ambassador, with music featured in TV, film, and video games, including VH1’s That Metal Show.
Take some zany and serious journeys with The Pipeman aka Dean K. Piper, CST on The Adventures of Pipeman also known as Pipeman Radio syndicated globally “Where Who Knows And Anything Goes”.
Subscribe to The Adventures of Pipeman at https://www.spreaker.com/podcast/the-adventures-of-pipeman--941822/support
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Contact the Pipeman:
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The following show contains adult content. It's not our intent
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to offend anyone, but we want to inform you that
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if you are a child under the age of eighteen
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or get offended easily, this next show may not be
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for you. The content, opinions, and subject matter of these
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shows are solely the choice of your show hosts and
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their guests, and not those of the Entertainment Network or
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any affiliated stations. Any comments or inquiry should be directed
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to those show hosts. Thank you for listening.
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Hi, you love them too? Yes, that's true. For see Wow,
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for you you.
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Wake up America.
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It's time for the Adventures of Fipe Man.
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I'll tell you for see White.
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I com list ponkas is number one internet radio station.
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Here's your host, the vipe Man.
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This is the pipe Man.
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Here, I'm the Adventures Pipeman W four CY Radio. Super
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excited about our next guest. When I got the email.
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From the publicist and I saw there was going to
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be new music by this amazing musician. I had to
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immediately and he can ask John. I immediately emailed like
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is he doing interviews? And so here we are, Bumblefoot,
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how are you good man?
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Very good?
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Oh man?
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We're happy twenty twenty five.
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I know here we are twenty twenty five badass new
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music that you have. And I want to tell you
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right off the bat what I love most about it
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is two things. One is listening to every song. It's
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not like listening to the same song over and over again.
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They're all different, blending different genres. And I dig that because, like,
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I'm a metal head, but people think outside the metal
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world that we only listen to metal.
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No, metal heads are the most diverse and intelligent and everything,
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no fu right, no doubt, no doubt.
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And then here's the other thing I love. Okay, so.
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You are a shredder that doesn't sound like a shredder,
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and let me define that that goes along with the
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same song over and over again. You see, there's a
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lot of shredders out there that they just play the
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same shred over and.
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Over and over again.
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It's really good, and I hope it's really good if
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you're playing over and over again. But when I listen
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to your I listen to you on guitar, I'm like, yeah,
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it's a really good thing. I quit and playing guitar
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and realized, guy suck is this guy man like he
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could do things I would never even.
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Be able to think of doing on the guitar, Like it's.
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It's amazing even with like let's talk about your fretless
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guitar playing.
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That's that, Yes, let's talk about it.
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I love it.
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I love it, Thank you, thank you very much. So
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there's this company from France, Vigier v ig I e R.
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They were around from nineteen eighty till last year. Patrese,
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the head of the company, has decided to stop making guitars,
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which is a shame because he makes wonderful, wonderful guitars.
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And I've been playing them for God for twenty eight
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years now. I just love what they do. What they
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made you play better when you play on their necks.
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They just feel really good on the hands. And they
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made these metal neck fretless guitars. And I remember we
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started working together in ninety seven and nineteen ninety eight.
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We went to the NAM Show, the big music convention
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together and I saw these. They didn't have double necks
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or anything. This was our own creation, this thing. They
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just listen. I saw it and I was like, why
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did you tell me you made these? Holy shit, look
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at this thing. And I still laugh thinking about the
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look on his face. He just looks up in the
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air and she goes like all frustrated. He's like, in
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eighteen years this company has existed, we've only sold one
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of them. Nobody wants these things.
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Nobody.
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It's like, I do, please give me one, and they
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gave me one. I took it home, immediately started writing
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with it, and it became more and more a part
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of what I do, to the point that I was
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using fretless so much that and I would use it
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in the same song where I'd be switching back and
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forth that I really needed something where I could access
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both quickly, and I thought about retractable threats, thought about
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a flippable dual sided neck that's fretless on the other side,
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like all kinds of ideas, and this just seemed the
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most practical to do that. Plus with it, I can
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even play on two nexts it once if I need to,
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And it's just there are less limitations with it. I
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can have two different tunings, which I do a lot.
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I have this one drop date and this one down
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low and yeah, so started making these two thousand and nine,
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and this is my this is my weapon of choice.
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This is my everything guitar.
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I love it.
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And see, you know, if I knew about that when
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I was playing guitar as a teenager.
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I think I might have kept playing because that was
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the biggest problem I always had. The frets always gotten away.
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I was clumsy with the threats, and then you know,
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you would have that terrible sound when you're not having
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your fingers positioned right.
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With this thing, it's more like playing slide now when yeah,
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you know, people playing slide you have this just and
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if you have a different tuning then you can maybe
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get some more stuff out of it, let's see. But
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with the fretless you can do all the same stuff,
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but you don't have to stay like this, which is
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one finger moving that way.
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Wow.
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You know what I just thought of watching that is like,
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why don't all these blues lap slide guitar players play fretless?
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They should. I guess they don't need to because they
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got their thing down. But it would be great to see.
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And even though this about might dabble in that a
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little bit, songs like Moonshine, Nanny, things like that, a
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little bit of that.
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Yeah, I also love that the first song on Bumblefoot
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Returns is eight minutes and twenty six seconds in twenty.
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Twenty four, twenty twenty five.
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I love it, man, I do find that some bands
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are going back to that. You know, it's like songs now,
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it's so weird. Some of my favorite songs as a
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teenager would never even survive today because the intro.
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Was longer than most people will listen to a track
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on Spotify.
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Yeah. You know, one thing about rock music, metal music
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is that we love bands and we love albums. Yeah,
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where we tend to have I think a longer attention span.
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Yeah exactly.
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And you know, so you have also some cool guests on.
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The album with you.
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Let's talk about each one. Tell us what made you
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pick them for those particular songs.
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I think the songs picked them. That's kind of how
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it went. Like, let's see Guthrie Govan. I was in
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a guitar magazine in August nineteen eighty nine and I
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got a letter in the mail from this kid. I
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was a teenager and from another teenager is like, Hi,
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my name is Guthrie. I live in the UK. I'm
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a guitar player too. Here check out my demo and
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sent a cassette a cassette, and we became pen pals,
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and we would write each other letters, just talking about
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guitar stuff and sending to each other cassettes of our
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demos and little song ideas, and we would write out
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the riffs that we're doing. It's like, here's what I
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did here, put this finger over here, and this one
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that I'm like this, and this like that and for years.
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We've been friends since nineteen eighty nine. So the one
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song that he is on that one, well, I was
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a guest on one of his songs called Rhode Island
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Shred on his first solo album, Me put out back
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in two thousand and six. I had this one riff
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from nineteen eighty nine that I never did anything with
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and it was always just lingering in the back of
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my head somewhere. And when I started working on this album,
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it was twenty twenty. We had a lot of time
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on our hands. It's like, you know what, fuck it,
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let me make another instrumental, all instrumental album. And the
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first thing I did is I grabbed that riff and said,
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let me turn this into a song. Finally, after how long,
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and it was that riff that went So I took
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that riff and just expands it on and turns it
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into a whole song, built it up, and I was like,
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well that's you know, that riff was right around the
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same time that I met Guthrie, and I'm picturing the
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solo section where there's like trade offs of something like
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different rounds of it happening. So he would be perfect
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for it, you know. It's like that moment in time
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that he was a part of, and this riff was
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a part of, and this song was a part of.
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Let's finish it off the way it started, and so
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he laid down solos in that. We traded back and
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forth in that song. The Brian May song, now that one.
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I just had this song and I wrote it and
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at the end of it when there were the sections
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where solos could go, and I just I'm sitting back
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and hearing what this song has become. And it was like,
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this song is just crying out, it's begging, it's pleading
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for Brian May, like his spirit, his sound, what he
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brings to music, like this song would not be complete,
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it would not be it would not be all it
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could be if he wasn't on there. It was like
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the song became this song, and it was just like,
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this is a match for him. Let me ask him,
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and he threw down a solo, the song The Thread.
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I want to mention that before I mentioned the Steve
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Vie song the Thread, I started writing a song. There's
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this well, there is an email thread that I've been
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part of like ten years where a bunch of guitar
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friends were all on it. We just talk about random
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shit whatever. Almost every day we're talking and pretty much
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I have some times, you know, ten times a day,
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just all talking about whatever, random things. And I was
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writing this song and I knew like the melody it
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just sounded it seemed too familiar. It's like, I know,
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I stole this from somewhere and I don't know where.
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I can't place it. I couldn't have come up with
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this melody. It's it's something else and I don't know what.
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So I asked them, I was like, check this out.
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What is this?
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What did I steal this from? And most of the
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guys are like, oh no, no, I mean it sounds
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kind of, you know, like it's been done before, but
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it's not. I don't hear anything exactly. And then someone
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on the thread said oh wait a minute, that kind
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of where the chord's going, the way it ends, the
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last couple of notes of each phrase of it. A
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said Gary Moore song. Huh yeah. I was like, oh shit,
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it is that's what it is, so okay. It was
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the one in Cuisian walkways where he did his kind
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of version of that, and so I back to the
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drawing board. I changed the cores, I changed the melody
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and restructured it and came up with something new. And
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then I showed it to my thread mates and said,
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what do you think of this? Is this I think
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I had And they're like, oh, perfect, it sounds more
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like you, and it's it's hasn't been heard before. It's different,
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it's it's definitely that works. But when the first break comes,
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like he jumping right into crazy shit pacing, you know,
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maybe do something else there and then go to that
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crazy rif. And so really that song was guided by
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my thread mates to become what it came. So I
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named it after him. I called it the Thread, which
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is what we call it the thread, and Steve I
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is on the thread. So when I was making the
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song Monstruso, and I'm picturing all these songs. I'm picturing
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all kinds of stuff in my head. Like it's almost
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like I'm writing soundtracks to things that I'm either experiencing
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or just feeling saying whatever it is. So I was
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picturing like the old sixties seventies Japanese horror movies, the
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monster movies, the old Godzilla movies, wrote damn mall thro
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all of them, and just the sound of like that
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dope step growling keyboard making all those noises Monstrso and
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that's the name of that monster, Monstrouso. And then after
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it like breaks down and it goes into that whole
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kind of clean middle thing and then suddenly kicks back
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in out of nowhere bag and needed it just it
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was calling for something alien like sounds that a guitar
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does not make, Like there's only one guy that can
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do that makes sounds that a guitar cannot make. And
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