LITTLE KING
Legacy Of Fools
(Unicorn)

 

These guys are so well versed in the domains of progressive rock and pop that it’s hard to believe their from Texas. The latest creation of the El Paso, Texas based Little King, Legacy Of Fools follows in the series of the band’s earlier releases. Featuring the guitars and vocals of Ryan Rosoff, Legacy Of Fools establishes an inventive prog meets pop sound while Rosoff’s punchy vocals are made even more effective by some fine group interplay. Commenting on the group’s fourth album Rosoff adds, ‘The lyrics center on all that we have inherited and what we are willfully leaving behind.’ The balance of progressive lyrics and arrangements with a kinetic, well recorded studio sound brings out the best in each player. www.unicornrecords.com




GUITARS CENTER STAGE - AN INTERVIEW WITH LITTLE KING'S RYAN ROSOFF

Musical Background

I started playing guitar in 1988, so I guess this is my 20th anniversary. My playing is entirely self-taught. I guess I am the epitome of the punch-line of that famous joke, “How do you get a guitar player to shut up? Put sheet music in front of him.” I have only played in a couple bands other than Little King. Cover bands just never interested me, and I suck at parties and open jams because I only know a few cover tunes front to back. Legacy Of Fools is LK’s 4th disc since 1997.

New CD

Legacy Of Fools was recorded in 2007 at Krank Studios in El Paso, Texas. Eddy Garcia, my friend, engineer, and drummer, recorded and mixed the disc. I think it is a great representation of the melding of passion and precision that I have always aspired to as a guitarist. The solos are sometimes spontaneous (“Collateral Damage”), sometimes meticulously crafted (“202” and “Internal Smut”), and the rhythmic work and arpeggios (“Legacy” and “Domino”) have a sweeping quality that is so important to me in the context of a power trio. I truly believe that my greatest strength as a player is rooted in the diverse compositions that demand an equally diverse player. Oh yeah…I try to only wank when absolutely necessary!

Favorite Guitars

For this record, I used about 8 guitars. My faves are a 1991 PRS CE-24 (in the photo), a Mahogany Les Paul Studio with a JB and Seth Lover pickup arrangement, and a Takamine EG 523 SC 12-String. For amplificatory devices, I used almost exclusively a Mesa Boogie Triple Rectum-Fire and cabinet and a Roland JC-120. Boxes include Jekyll and Hyde and H20, an ancient Ibanez Tube Screamer, and my trusty Johnson Rod. The PRS in the 4th position, blending the Mesa and a direct clean signal, gave us the clean distortion on “202” and “Nineteen Strong.” I am also really proud of the LP Studio on “Collateral Damage.” It’s a 7.3 friggin’ earthquake, but it has soul. Finally, the 12 lends so much air and sweetness to choruses, I just love to subtly layer that guitar! I must also mention that I have an old, jacked-up Washburn Dreadnought that is featured on “Moving On.” My dad gave me that guitar in 1988, and I write virtually everything on it.

Musical Influences

I worshipped Alex Lifeson as a kid. When Grace Under Pressure came out, I heard the solo on “Kid Gloves” and just about crapped myself. He is so underrated and understated, and his output by the time he was 27 is more impressive than just about anyone I have ever heard. I love Neil Young…so expressive and equally filthy as an acoustic raconteur (Prairie Wind) and electric slop-master (Sleeps With Angels). The Steely Dan guitar-circus, particularly Skunk Baxter’s playing on Countdown To Ecstasy and Pretzel Logic, move me to practice harder. Special mention must also be made of The Edge’s atmospherics (Auchtung, Baby), Page’s metaphysical nastiness (Physical Graffiti), and the genius of Steve Morse, Steve Howe, Jeff Beck, and Hendrix.

Web Site

www.myspace.com/littlekingband
brosoff@elp.rr.com

 

 
   
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