Steve Senes - Interview

Every so often you find a musician who just ticks all the boxes. Their music is written with genuine passion and when you hear their work, you just "get" where they're coming from. I'm an avid Alter Bridge fan because the whole band are like that, but when you talk to them, they're absolutely sound guys that you have an instant profound respect for. And this also applies to Steve Senes. I heard his album, got where he was coming from, and naturally wanted to quiz him. It was tough, because as Dylan Moran would say "I have many many questions for you", so I had to limit it a bit, but loved his answers.

I read that you were inspired to pick up the guitar at a young age after listening to a Yngwie Malmsteen CD. What was it about it that really got to you? Why not the drums, or vocals?

I guess I should clarify a bit. When I first heard Yngwie, I was already sorta playing guitar – it was at one of my first gigs, a party, we were setting up. There was a boombox with a mic pointed at one of the speakers to get it through the PA – our friend Dave said “check this out” and put in the live Alcatrazz cassette. I say I was “sorta” playing because this was a couple months after I started playing. I really wasn’t any good (I thought I was though ;-) When I heard the sounds coming out of Yngwie’s guitar, it resonated with me and I knew I wanted to be able to play like that. The fury, the intensity and the musicality of what I was hearing really floored me!

Why not drums, or vocals? Well, I actually did start on drums when I was even younger, however, it just didn’t come naturally to me. I still call myself a frustrated drummer who plays guitar. Vocals? Naaaa, I’ve heard myself sing, I don’t plan to subject the rest of the world to that torture. Then again, who knows what the future may hold...

Every so often I’ll hear a small section of a riff or solo and think, “that is awesome”, such as, a snippet of Kansas (Carry on my Wayward Son), or that riff you do for Greaseball. I’m just wondering if there are any songs out there by other guitarists that have a similar effect and you just have to play it (in case you were wondering, yes, you had me playing Greaseball, although badly)?

My favorite “soundcheck riff” is, without a doubt, the main riff from Rock n Roll Crazy Nights from Loudness. More times than not, I’ll play that riff for soundchecks. I’ve just always loved it. There are others as well – the main riffs from Bark at the Moon, I Don’t Know and Mr. Tinkertrain (Jake, Rhandy and Zakk – the triumvirate). If I thought about it, there are probably thousands of such riffs. Kiss Of Death from Dokken, Master Of Puppets, If You Want Blood (AC/DC), Balls To The Wall. Holy Wars (Megadeth), Cowboys From Hell, Nightmare from Avenged Sevenfold (also the simple pounding riff starting right about 5:00 into A7X’s Buried Alive) this list could go on and on. I love a great riff!

I no longer have my first guitar, but remember it well, a wonderful red Yamaha. What was your first guitar and do you still have it?

My first guitar was a Carvin V220 – a 1985 model. Yes I still have it. In fact, for a few months a couple years ago I again played it as my main guitar. But that thing weighs a TON. Plus, it was around that time I got my first ESP LTD EC-1000, which are my main guitars now. Something about that guitar just brings out a totally different vibe in my playing. When I was making this record, when it would come time to come up with the melody lines, I’d try various guitars I had lying around. Usually, either nothing would come to me or I’d just end up shredding scales. Every time, without fail, that I would pick up the ESP, I’d almost instantly be on to a melody idea. These guitars just inspire me to play!

You’re completely self-taught. Do you think that’s worked out better for you as a guitarist, and what things really helped you as you were learning (learning scales, finger exercises)?

Honestly, the way I learned to play was by learning songs I liked. This was the 1980’s, so I’d spend hours and hours with my boombox, wearing out the rewind button, learning songs from Motley Crue, Twisted Sister, Kiss. Then I discovered Iron Maiden (the Powerslave album) and I was never the same. As far as what helped, just playing the songs over and over and over. Down the road, having to learn a diverse array of musical styles (because of various gigs I had) really forced me to learn to think differently about what I was playing.

I do think it’s worked out better for me. While I can look back and wish I’d taken lessons for some reasons, I think, on the whole, I’m better off having learned the way I did.

And while we’re on the subject of learning what advice to you have for any young aspiring guitarists out there asides from practice practice practice?

Well, the first bit would be what you said, always be playing. In addition though, something that I think a lot of young guitarists don’t focus enough on is the art of playing Rhythm Guitar. Think about it, unless you’re fortunate enough to develop a career as a soloist, you’ll spend most of your time playing rhythm guitar in songs. A lot of people look at rhythm guitar as the guy that’s just not good enough to play leads but, in reality, it’s an art unto itself. I can remember when I started playing in various cover bands, having to play stuff I wasn’t really accustomed to playing, the only thing that sounded good was my lead playing. Rhythm guitar is so much more than just taking up space behind the vocals (or whatever lead instrument). In some ways being a great rhythm guitarist can be more challenging than being a great lead player.

Also, learn to play as many different musical styles as you can. For example, while you might not necessarily dig Brick House or some Kool & The Gang stuff, there are so many lessons to be learned by just playing that stuff. It’s more than just learning the right notes. All music has it’s own feel, and that’s integral to what makes music so special.

And finally, develop your ears. Resist the urge, when learning a song, to go online and grab the tab. For one thing, a lot of tabs aren’t even close to what’s being played. More importantly, though, learning by ear, while taking longer than just looking at the tab, will better develop your musical ear. To me, when coming up with parts to a song or playing live, I try to listen to what the song wants, instead of thinking ‘theoretically’. Most times, a song will tell you what it needs; you just have to listen. If you haven’t developed your ear, this is a much more difficult proposition.

In your career so far, what have been the toughest challenges that you’ve faced?

This is a tough one because there are so many challenges involved with a life in the music business. I guess, for me, the toughest challenge has been to find the balance between being a working musician and being an artist. There can be a big difference between the two & they can be very contradictory at times.

dE-eVolution oF theory was “Completely self written, performed, produced, engineered and mixed”, did that add pressure, or in some ways did it make it easier for you? In the future are you tempted to bring others in to do the production/engineering?

I’d have to say both. When I began this record, I had no intention of recording an instrumental CD. I’d just attained some new recording software & needed some music to work with in order to learn how to use it. The first thing I recorded ended up being track 2 on the disc, “Greaseball” (a song you’ve mentioned a couple times, thank you!). Once I hit on the idea of doing a full CD, there was really no pressure because no one was expecting anything of me. I could work at my own pace & if it didn’t turn out well, no biggie. In some ways, though, it was harder because let’s face it – as an engineer, I didn’t know what the heck I was doing! This record is the first thing I’ve ever done in that capacity. Not having any money to work with, though, I didn’t really have a choice. To be honest, the main reason this is a one man project is because of money. My original plan, once I decided to go for a full CD, was to record it myself, then have a professional mix it for me. Unfortunately, finances didn’t pan out the way I hoped.

All that being said, doing it this way enabled me to make the record I wanted to make. In the future, I do plan to work with others – since recording this, through my association with Voodoo Amplification (the best amps on the planet) I’ve developed a working relationship with a fellow named Alex Perialas. Alex engineered and produced a bunch of notable stuff in the 80’s and is a GURU! He mastered this record, since then we’ve talked a good bit about him producing my next record. Only time will tell though!

Given you had so much ownership of the music, did you have a choice in the cover art for the album too, and who produced that for you?

Yes, I did. The artwork for this CD was done by Brian Ronquest. Of Metalworks Graphics. I was kind of struggling to come up with the artwork when my friend Rene suggested Brian to me. I sent him what I had for cover art, he took what I had and ran with it. Within a few hours he’d sent me a couple proofs that, in actuality, were very close to the finished design. From there the rest was very quick. He’d send something, I’d suggest a change or two, he’d make the change and Bingo, I had my art. Brian is a wizard & I can’t recommend him highly enough! http://www.metalworksgraphics.com/

It’s refreshing to hear honest personal music writing! Can you tell me if you have any favourite track(s) on your album and what the story / stories are behind them?

Oooo, you’re asking me to choose between my children, LOL! For me the most special song on the album is Ruth. That song is a tribute to my Mom, Ruth Senes, who passed away in 2005. The goal with that song was to try and convey various aspects of her vibe, her personality and spirit. In that song there are a number of different emotions and concepts happening, beauty, pain, sorrow, optimism, etc... People who, having known my Mom, hear this song have pretty much all agreed it’s a very fitting tribute to her. That’s a really good feeling!

I wrote my review of your album, and you commented: “Wow - this guy has ESP or something. His comments about both "Ruth" and "High & Mighty" are dead f'ing on!!! Ruth is about my Mom, the main riff from High & Mighty was written in a music store on a guitar off the rack, LOL!”
How good does it feel when people “get” your music? :o)

Man, it’s a fantastic feeling! Besides the obvious satisfaction of being able to create something I really dig, reading or hearing that it resonates with others is, probably, the most amazing feeling in the world!

“Several years of 300+ gigs a year with various local/regional acts”, recording the album, how on earth do you balance all of your commitments, and at risk of adding to that immense work load, what are the chances of a supporting tour here in the UK?

Hmmmmmmm, I don’t know, I just try to keep myself focused & do what has to be done. I’m currently bouncing between doing a few gigs a week with a variety band, mixing tracks for an upcoming project called Reign Of Kings on which I also contributed a bunch of guitar stuff (an amazingly diverse and complex project – http://www.reignofkings.com ) & the stuff that comes with having a new release on the market. What’s happening now is something I’ve wanted all my life (errr, since I was 15), so this is an absolutely joyous workload for me!!!!

As for a supporting tour – I’d have to say the chances are excellent! Right now it’s just a matter of making the logistics of it all work out. When it does, though, the UK is very high on my list. So much of what I do was made possible by artists from the UK – my record label, attorney and some very close business associates are located in London – it makes perfect sense. I’d say it’s pretty much a certainty.

Finally, guitar lessons, do you teach, how much do you charge? Haha, many thanks Steve!

Ya know, I’ve tried on a number of occasions to be a guitar teacher, but I’m just really not good at teaching. I guess it’s because being self taught, I’ve developed ways of looking at things that, while working for me, come across as nonsense to others, LOL! When I play, I just kinda play; I don’t think a lot about it. So when it comes to trying to teach someone, while I can show ‘em chords, scales, a bit of theory, it doesn’t usually come across in a way that’s easy for students to grasp. There have been a couple people over the years who I’ve been able to help out but, for the most part I’m not a teacher.

Steve, a huge thank you for your time.

So if you want to know more head over to Steve's website (note, Steve promoted everybody else but himself): http://senesmusic.com/

But more importantly check out this video of him:

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What I love about this video is you can see he's really getting into it, the playing is effortless.