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
