A new prestigious musician who pleasantly agrees to answer our questions. In this case we are talking about the famous guitar player George Bellas, who speaks about his past, his present with PALACE TERRACE and his immediate future.

-HOM. As a great Neoclassical virtuoso you are, tell us about your influences, I suppose Yngwie Malmsteen has been one of your main references both in classical music and concerning guitar players.

My guitar influences when I was growing up were from a variety of sources and styles, some of which were: Ronnie Montrose, Michael Schenker, Uli Roth, Ted Nugent, Robin Trower, Ted Greene, Al DiMeola, Eddie Van Halen, Jimmy Page and more. In my early teens I immersed myself in classical music with a tendency towards the polyphonic works of J.S. Bach and then later moving on to the chamber, symphonic and piano works of L.V. Beethoven, Franz Liszt and Nicolo Paganini. While in my teens I had heard Yngwie's playing, and yes I really liked his soloing. Although as much as I enjoyed his guitar playing he wasn't the source of my polyphonic classical inspiration, nor my writing. In my own compositions I gravitated towards a lot of progressive elements, such as odd-time signatures, melodic minor modes, complex rhythms and strict counterpoint.  

-HOM. You have collaborated with great musicians and groups in certain projects, such us Vitalij Kuprij, Ring Of Fire, John West, Mistheria or Ufo. Tell us a bit about your experience in these collaborations.  

Working with Vitalij has always been a great experience. The first album I recorded with him was called "Extreme Measures" and was released by Shrapnel Records. Mike Varney, the president of Shrapnel Records, flew Vitalij out to my home and private studio in Chicago. We spent each and every day waking up early and staying up late working and recording. We had, and still have, great chemistry when working together. For warm ups we would play along with the album's rhythm tracks and improvise solos back and forth, it was like throwing fire -- very intense!  After the first album we kept in contact and wound up doing more records together.  

For the "The Oracle" Ring Of Fire album both Mark Boals and Vitalij Kuprij flew to my studio and we worked on arrangements, recorded parts, hung out and had a great time. While Vitalij and I were working on parts in one room, Mark Boals would be in another room working on his parts. Mark was great to work with. His vocal skills are scary good; very good pitch accuracy as well as good knowledge of what scales go over what chords. Vitalij and Mark stayed at my place for a couple of weeks working and recording. After those two weeks we all flew out to Los Angeles and rehearsed and recorded with drummer Virgil Donati and bassist Philip Bynoe at Steve Vai's Mothership Studio. Working with Virgil was a real treat, he is so unbelievably good it's mind blowing. Philip was the last to join the group. Mark, Vitalij, Virgil and I were at the studio recording drum tracks and Mark was like "We need a bass player" and low and behold in walks Philip Bynoe, who had just returned from touring with Steve Vai. I quickly wrote down song parts for Philip and he began recording bass parts almost immediately.  

For John West's "Mind Journey" album Mike Varney brought me out to San Francisco for the rehearsals and recording. We rehearsed and recorded at Prairie Sun Recording Studios and also did some recording at James Murphy's (Testament) studio. I used my red 1957 Stratocaster and Varney's vintage Marshall amplifiers. On that album Matt Guillory did the keyboard work and was also great to work with, an incredible player and super nice guy. Barry Sparks did the bass tracks and Mike Terrana recorded the drums. The whole group of guys were really great and a lot of fun to work with. Some outstanding talent to say the least.  

Working with UFO was a lot of fun. It started out with me going to bassist Pete Way's house for weeks at a time. Singer Phil Mogg would fly in from England and we would work on developing each other's song ideas. After we had all the songs together we all met out in San Francisco and reherased with drummer Ansley Dunbar. Ansley is another legend having worked with Frank Zappa, Journey, Whitesnake and others. We rehearsed and recorded at Prairie Sun Studios along with additional recording done again at James Murphy's studio. For this album I also used Varney's vintage Marshall amplifiers, my red '57 Stratocaster and a Tube Screamer. Eric Martin, from the band Mr Big, also came to the studio to record on our reworked version of the classic UFO song "Mother Mary". It was very cool working with all of these guys that had been in the music business, were very reputable and extremely talented. As I mentioned UFO with Michael Shenker was a big influence to me when I was kid so it was a real pleasure to actually play and record with the band.

Mistheria is a great keyboard virtuoso from Italy. One day I received an email from him asking if I would be interested in recording on his album "Messenger of the Gods". I didn't hesitate to say yes. For this album Mistheria sent me the tracks to play on and I recorded them in my studio. The tracks had keyboard leads and the rhythm section on there and I just closed my eyes and played my heart out. I sent him several different versions of my parts to choose from. We have also discussed the possibility of doing some concerts together. He is an outstanding keyboardist and a real pleasure to work with. I'm sure we'll collaborate again on an album.  

-HOM. In Vitalij Kuprij’s “Forward And Beyond”, there is a complete constellation of great guitar players like Michael Romeo, Michael Harris, Borislav Mitic, Francesco Fareri… Did you coincide with any of them in the studio or each of you recorded his part individually? If so, what do you talk about being this a meeting of virtuosos?  

For Vitalij Kuprij's album "Forward and Beyond" the recording process was different than our previous collaborations. Vitalij sent me the music to play on and I recorded all of my parts at my own studio, separate from the other guitar players involved with the album. It was exciting nonetheless and our chemistry gelled as usual.     

-HOM. Define in a few words the first thing that comes to your mind when you listen to the following names:
 
YNGWIE MALMSTEEN: I really enjoy his improvised solos.
MICHAEL ROMEO: Unique and interesting writing ideas.
ULI JOHN ROTH: Neoclassical pioneer. Awesome phrasing, tone, bends  and vibrato.
RICHIE BLACKMORE: Another neoclassical pioneer. Great strat and  Marshall tone!
AL DI MEOLA: Great alternate picker. Interesting progressions and  chord voicings. Inspiring acoustic playing.
MICHAEL ANGELO BATIO: Insane madman! Great technique, good feel and interesting writing. Very nice guy too.
TONY MACALPINE: His albums "Edge of Insanity" and "Maximum Security" were a huge inspiration at one point in my life. Great musician!
JASON BECKER: Massive talent. His playing and phrasing on "Perpetual Burn" was another big inspiration for me.
JOE STUMP: I love his strat and Marshall tone. His playing has a raw character about it that I really enjoy listening too. Very cool player.
JOHN PETRUCCI: Interesting writing ideas. The first two Dream Theater albums were very cool I thought.   

-HOM: You have worked with several singers along your career, who is the one who better adapts to your concept of music?  

I honestly think that all of the singers I have worked with have been every fitting for each particular album. I can't imagine someone different on any of the releases. They are all really gifted and most enjoyable to have worked with.     

-HOM. Let’s talk about your new project, Palace Terrace. How long did it take to finish the composition of “Flying Through  Infinity”? It is a very rich work in sonority, choral voices, long instrumental passages…  

I had the album put together within a year after my last instrumental album "Venomous Fingers" was released. The majority of time spent after the initial writing process was on the vocal production as well as further orchestral elaborations. The album was composed using the same underlying process as with all my albums...  with paper and pencil. I love composing without any instruments, just notes from my head and onto paper. I then after the writing process learn my parts and start the recording. This type of writing I find that I compose music that I might not have written by just playing around on the guitar or piano.    

-HOM. What is the meaning behind the lyrics?  

"Flying Through Infinity" is about mysteries that all of mankind has ever wondered about. For example, song one "The Tenth Dimension" ventures into what it may be like in a higher dimensional plane, questioning if it's real, will we find loved ones there, our they standing right beside us right now? At the end of the album the main character's soul comes full circle finding an eternal place to call home. Both Jonathan and I brought our lyrics together in an attempt of projecting the meaning of each song in a way we saw fit for the underlying story.
    
-HOM. How did the idea of having an opera singer come up? At first sight he seems to be very comfortable with your music, was it hard  for him to adapt to the project?  

I think Jonathan has a very good tone in his voice and has nice  operatic qualities; vibrato, range, strength, projection, etc. We have known each other for two decades and he was quite familiar with my style of writing. Even so there were some challenging aspects for him, in particular the odd meter songs. The vocal counterpoint sections were also challenging, but Jonathan's determination was unstoppable, he took parts home, familiarized himself with them and practiced until he was comfortable. It was a lot of fun working together. I would always make sure the environment in the studio was pleasant for our recording sessions. And when we were actually tracking the chemistry was great and recording always went very smooth.    

-HOM. We find very interesting Sasha’s contribution, it reminds us to John Macaluso for his peculiar way of playing. Where does he come from?  

Though I composed every part you hear, Sasha is always a pleasure to work with. He has learned my material with great accuracy and really adds some character to the parts. He eats odd-meters for breakfast and has no problem playing in them. Sasha was introduced to me not to long ago by a guitar student of mine. We instantly hit it off and have been working together ever since.

-HOM. You have been in charge of almost the whole album of PALACE TERRACE: guitar, bass, keyboard, voices, percussion..Apart from the  composition, recording, production, mix, graphic designs… Do you  think it is easy to lose the perspective if you work in so many  things? Or, on the other hand you think it is the only way of  achieving what you have conceived?  

It is the one and only way in my mind. I know of no other way. I can't fathom the thought of describing my vision to someone else and saying please create my art for me. With this album I had a very  precise vision of what I wanted and the absolutely only way for me to  achieve that was to retain control of every aspect. It also allowed me to take a break from each element and come back to that task with a fresher perspective later on in the production.     

-HOM. How do you think your fans will receive this album?  

Fans that find my previous works appealing should find some  satisfaction in this album too. The writing is similar in what they have grown to know me for, although more refined and of course now with vocals. The styles on the album range from neoclassical songs,  progressive songs and even simpler commercial songs. So fans of  those styles hopefully should be able to find something in there that they can enjoy listening to.     

-HOM. Recently, you have said that PALACE TERRACE is the highest  point of your career, so it seems to be more than a project. Is there any plan to go on tour? Will we see you soon in Spain?  

Each album I have done has been an equally satisfying high point for me. Releasing a body of music compiled into an album is very rewarding to me and each one is unique unto itself. And yes, I do plan on coming to Spain for some concert performances in the near future. I love Spain and all the people there very much. One of my favorite foods is that dish of fried eggplant with the honey sauce. That is so very delicious!     

-HOM. You are going to release a new solo album next year, called  “Planetary Alignment”. Tell us something in advance, will it be similar to your previous works or you will try to innovate in the field of composition?  

My upcoming instrumental solo album entitled "Planetary Alignment" will be released February 15th, 2008 on Lion Music. It is the most progressive album I have ever written. It is futuristic and utilizes musical elements that I have never before used on previous releases. The drum parts and rhythms are extremely advanced and very unique. The melodic and harmonic elements brought me into unchartered territory. I literally had learned many new things writing and recording "Planetary Alignment". Fans should expect the unexpected! It is without a doubt very innovative in composition.     

-HOM. What do you think the world of guitar playing needs to reach a  higher level of sales and popularity? Every year a lot of instrumental albums are released but, except some musicians, many of them pass unnoticed for the audience.  

I do not concern myself with trying to be popular or record sales. Those issues are not at the core of my desire or motivation to write and play music, it is a passion purely for the emotional and intellectual satisfaction that it gives me. Artists should create what they envision and not worry about or cater to what is trendy, in my honest opinion anyway.     

-HOM. Palace Terrace and your instrumental album are your priorities now, what do you have in mind in a long term? Any collaboration you can reveal?  

I plan to continue what I've started; writing, playing and recording more music. I always have and always will continue to study, explore and create, all the while trying to really stretch my boundaries. I never feel totally satisfied with my knowledge, playing and creative skills. I always feel I can improve, and will always keep striving to do so.     

-HOM. You do the recordings in your own studio, is it only used for  your music or you help other musicians with the production, mix…?  

My studio is a private studio and used primarily for my own music productions. However, it has also been used for other artists and record labels as well as a few select composition students of mine.
    
-HOM. Last summer you were in Spain, in Malaga, giving a Master Class in Juan Manuel Carmona’s guitar academy (JMC). Tell us about the  experience you lived there. You recorded a video in the beach, didn’t you?  

Conducting the Masterclass at the JMC Guitar Academy in Spain was a fantastic experience. It was a pleasure to work with such talented faculty and highly motivated students. I also did some  recording while in Spain for Juanma's upcoming album. Playing on the beach... One afternoon the faculty and students took me to a restaurant on the southern coast of Spain. While enjoying a very delicious meal and conversation with my company a pedestrian walked by carrying a guitar and portable amplifier. A few students I was dining with looked at me, turned to each other and then ran up to the  guy with the guitar. Before I knew it I had the guitar strapped on giving an impromtu performance on the beach. After performing I was overwhelmed with the reception of the crowd. After I finished playing the guy who owned the guitar just suddenly took off. Very nice of him to let me use his guitar though, it was definitely a lot of fun!    

-HOM. What can you say about Uli John Roth's "Sky Academy"?  

A great experience and an honor to play with such extremely talented musicians. One day I got a call from Uli Jon Roth and he asked if I would like to come out and do some concerts with him. I agreed and then composed some music just for the event and brushed up on my Scorpions songs. There were two concerts we did, both of which were over four hours long a piece. Uli and I performed some classic Scorpions trading off solos and doing harmony lines together. For the encore we played the classic song "Johnny B. Goode". For that song it was Uli, me, Johnny Highland, Michael Batio and Joe Stump all up on stage playing together. We each would take a solo and then in the middle of the song Uli directed us to bring the volume way  down... we then each took turns playing really soft type of short  solos, and then slowly we brought the volume way back up and finally were all soloing at the same time, totally cranking! When we were  all soloing at the end it was actually all in harmony, just super screaming guitar sustains. It was absolutely insane!     

-HOM. If you had to go on a European tour suddenly, what musicians would you like to have with you?  

I would take my drummer Sasha, bassist Ben and if performing vocals my singer Jonathan.     

-HOM. What would you say to the people who are beginning in the guitar world in general, and in the Neoclassic in particular? Apart  from listening to your albums of course..  

Practice hard! Spend an equal amount of focused time on developing your compositional techniques as well as your physical chops on your instrument. Strive for expression over speed, try new  things you have not ever heard before. Be musically unique.     

-HOM. Up to here the interview George, would you like to say anything else?  

I have such a vast amount of new music already composed and recorded, plus new music that is written on paper just waiting to be  recorded, on top of all that I have many new ideas in my head that  need to be written down and then recorded. It is endless for me and  am thankful for those of you who have listened. I want to thank all of my fans in Spain and the rest of the world for listening to my music and for their feedback throughout the years. I very much look forward to releasing many more albums and hope you all can find some enjoyment in there somewhere.
I would also like to  thank Jose and all at Hall of Metal and wish much success to your publication for years to come.

For more information about my past, present and future projects, please visit:
www.GeorgeBellas.com
www.MySpace.com/GeorgeBellas     

-HOM. Thank you very much and good luck in all your projects.  

You are very welcome and thanks for the good wishes. And now...  back to the music.