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Tracy G
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Key Information
Tracy Grijalva (born January 3, 1959), known as Tracy G, is an American heavy metal guitarist best known for his time with Dio from 1993 to 1999.
Early life
[edit]Tracy's first band experience was in band called the Grijalva Brothers with his father as a member. Growing up he had a few guitar instructors, one of them told him that he would have a hard time playing because "his fingers were too small". Grijalva, being the determined musician that he was, would practice until his fingers hurt.
Influences
[edit]Tracy gives credit to Eddie Van Halen (Van Halen) and Donny Simmons (Yankee Rose, Stormer)[1] for influencing his playing, especially referring to Simmons as 'his idol'.[2]
Career
[edit]He would later play in a variety of bands, including with future member of Great White, Jack Russell. He also put together the bands Love/Hate with singer Jizzy Pearl, and Swift Kick with whom he released an EP "Long Live Rock" in 1984.[3] He would play at almost any club he could find to get his publicity out. He also played with vocalist Rudy Torres and drummer Audie Desbrow (Great White) in Riff Raff, a very popular band around southern California in the early days of hard rock and heavy metal.
Tracy then joined Dio. In his six years with the band, Tracy G was featured on two studio albums, (Strange Highways and Angry Machines), and one live album (Inferno: Last in Live). He left the band in 1999 when he was asked to play rhythm guitar while Craig Goldy took lead. [citation needed] Dio decided to bring back Goldy, who had played with him on the Dream Evil album.
Tracy G formed The Tracy G Group, which included Jeremy Masana on bass guitar, Donnie Rodriguez on drums and, respectively, Tracy G on guitar.[4]
Further, Tracy G is in the band Goad-ed. They have released two albums, and Tracy has released numerous solo albums as well.[5] Tracy is working with members of Barren Cross in a new project called Gale Force. The album is called subhuman and was released in 2021. [citation needed]
Discography
[edit]Dio
[edit]- Strange Highways (1993)
- Angry Machines (1996)
- Inferno: Last in Live (1998)
- Live in London, Hammersmith Apollo 1993
Swift Kick
[edit]- Long Live Rock (1984)
Rags
[edit]- Tear 'Em Up (1988; re-released in 2003)
WWIII
[edit]- WWIII (1990)
Eightball Cholos
[edit]- Satan's Whore (1996)
Tracy G
[edit]- The G Factory (1997)
- Compilation Volume I (1999)
- Baron Von Troglenstein (1999)
- A Spooky G X-Mas (2001)
- Katt Gutt (2001)
- Deviating From the Set List (2002)
- Grijalva (2007)
- A Frosty G Christmas (2009)
Tracy G & The B.M.B.
[edit]- Watch Out for The Cucui (1999)
Tracy G & Michael Beatty
[edit]- Me, Myself, and The Rain (1999)
Tracy G & The Starr Track Vatos
[edit]- Stripper Bootleg Live (2002)
The Tracy G Group
[edit]- The Tracy G Group (2003)
- Erector Pili (2006)
- Controlled Chaos (2011)
- Tramp (2017)
Curly Fester and The Blues Quartet
[edit]- ...Live Sessions (2003)
Driven
[edit]- Work in Progress (1999)
- Citizen X (1999)
- Driven (2000)
- Self Inflicted (2001)
The Mark Bramlett Band
[edit]- Fast Women and Slow Horses (2000)
Goad-ed
[edit]- Goad-ed (2005)
- To Die is Gain (2008)
Epic
[edit]- Metaphor (2006)
Vessyl
[edit]- Freakz Unite (2007)
Ranfa
[edit]- Little hard blues (2007)
Special guest in the song "I learned my lesson well"
Robot Lords of Tokyo
[edit]- Virtue & Vice (2012)
Pain Savior
[edit]- Dead Weight on a Dying Planet (2013)
Barking Spider
[edit]- Warrior by Night (single) (2014)
References
[edit]- ^ Renoff, Gregg (2015). Van Halen Rising. ECW Press.
- ^ Renoff, Greg (2015). Van Halen Rising. ECW Press. ISBN 978-1-77041-263-7.
- ^ "Tracy G Official Website". www.tracyg.com. Retrieved June 19, 2022.
- ^ "Forever Dio Guitarist Announces New Singer for Goaded". Blabbermouth.net. April 11, 2007.
- ^ "Tracy G Official Website".
External links
[edit]
Tracy G
View on Grokipediafrom Grokipedia
Early life
Family background
Tracy G was born Tracy Grijalva in 1959, in Whittier, California.[4] He grew up in a close-knit musical household alongside two sisters, where his parents actively supported his developing interests. His father served as the drummer in the family band, the Grijalva Brothers, performing alongside his own brother—Tracy's uncle—on weekends at local events.[4] This vibrant environment immersed young Tracy in the world of live music from an early age, with frequent exposure to performances, rehearsals, and a variety of instruments around the home. His father's rhythmic prowess on the drums proved especially influential, sparking Tracy's foundational curiosity about music and setting the stage for his lifelong dedication to the art form.[4]Introduction to music
Tracy G, born Tracy Grijalva, began his musical journey at the age of seven following a childhood illness that curtailed his aspirations in little league baseball. With his baseball season abruptly ended, his parents encouraged him to explore music as an alternative pursuit, enrolling him in guitar lessons to channel his energy constructively. This marked the start of his formal introduction to the instrument, initially using a rented acoustic guitar provided by his instructors.[4] After three months of dedicated daily practice, Tracy earned his first electric guitar, demonstrating early discipline and commitment. By age eight, he progressed to a Fender "Blue Flower Telecaster," which he later traded for a red Telecaster as his skills developed. His practice habits were rigorous, often enforced by his family, blending structured lessons with self-taught exploration inspired by observing his relatives' musical activities. Although he had multiple teachers, one early instructor questioned his potential due to his small hands, yet Tracy's persistence overcame such doubts.[4] The familial musical environment played a pivotal role in nurturing his interest, with his father's involvement in the Grijalva Brothers band exposing him to live performances and group dynamics from a young age. At thirteen, Tracy joined his father's band, transitioning from a personal hobby to semi-professional involvement by performing at local events. This step solidified his dedication to music as a serious endeavor.[4]Musical style and influences
Key influences
Tracy G's early exposure to music included non-rock genres that broadened his sonic palette. At a young age, he was particularly struck by the funk and soul elements in Curtis Mayfield's 1971 soundtrack for the film Shaft, which inspired him to acquire his first wah-wah pedal and experiment with rhythmic, groove-oriented guitar tones.[4] Transitioning into rock and heavy metal, Grijalva drew significant inspiration from several iconic guitarists during his formative years. Tony Iommi of Black Sabbath became a cornerstone influence, with Grijalva citing Iommi's down-tuned, heavy riffs as pivotal in shaping his preference for powerful, riff-driven playing; this led him to trade his Fender Telecaster for a Gibson SG guitar around age 13.[4] Other key figures included Jeff Beck for his innovative technical prowess and expressive solos, Jimi Hendrix for boundary-pushing improvisation and effects usage, Jimmy Page of Led Zeppelin for dynamic riffing and blues-infused rock, Ritchie Blackmore from Rainbow and Deep Purple for neoclassical phrasing and hard rock intensity, and Carlos Santana for fluid, melodic phrasing rooted in Latin influences.[4][5] These influences collectively molded Grijalva's guitar style, blending Iommi's emphasis on heavy, ominous riffs with the technical flair and virtuosic experimentation of Beck and Hendrix, while incorporating Santana's melodic warmth to add emotional depth to his otherwise aggressive approach.[4] He discovered much of this music in the late 1960s through early 1970s via AM/FM radio broadcasts, vinyl records purchased from local stores, and occasional live concerts that exposed him to the era's burgeoning rock scene.[4]Guitar playing philosophy
Tracy G's guitar playing philosophy centers on the concept of "controlled chaos," a deliberate balance between technical precision and spontaneous emotional improvisation that allows for a distinctive, unpredictable sound. He has described this approach as playing in a manner that feels "kind of out of control, but I know where I’m going," emphasizing the importance of guiding raw energy to create music that resonates authentically rather than adhering to rigid structures.[6] This philosophy prioritizes self-expression above all, where G insists on channeling what emerges "from my soul" to forge a personal voice, stating, "I have to play what comes out of my soul. Otherwise I might as well drive a truck."[6] He values originality over imitation, advising musicians to "play music from your soul and don’t follow the world, make the world follow you," thereby avoiding direct replication of influences in favor of a unique identity recognizable through even a few notes or chords.[4] Technically, G employs methods that enhance this expressive freedom, such as half-step down tuning on his primary guitar to achieve a heavier tone suitable for blending heavy metal with blues and rock elements, alongside effects pedals like the ADA Flanger for unconventional "robot effect" sounds that add layers of texture.[6] He forgoes traditional picks, opting instead for fingerstyle techniques akin to Jeff Beck, which facilitate fluid improvisation and hybrid elements of control within chaotic phrasing.[6] This fusion-oriented toolkit—drawing from bluesy bends and rock-driven aggression—enables him to prioritize emotional depth over commercial predictability, as he notes that money, while necessary, is secondary to authentic communication through music.[4] G's philosophy evolved significantly after his formative years, maturing in his solo endeavors where he could fully apply these principles without band constraints, resulting in works that highlight uncompromised originality. In projects like his self-produced albums, he refined "controlled chaos" to communicate personal narratives, evolving from early diverse influences—such as a brief nod to Jimi Hendrix's innovative spirit—into a mature style that fuses genres for broader emotional impact.[4] This progression underscores his commitment to innovation, where technical experimentation serves self-expression, ensuring his guitar work remains a direct extension of his inner voice rather than a derivative of past icons.[6]Career
Early bands (1970s–1980s)
Tracy G, born Tracy Grijalva, began his professional music journey in his early teens by joining the band Legend around 1973, performing at local venues such as weddings, parties, and lounges in Southern California.[4] These early gigs provided foundational experience, though he soon left due to the band's lack of commitment, marking his initial foray into structured group performances.[4] By the mid-1970s, Grijalva had formed and played in subsequent local outfits including ATM, Phaze, and Riff Raff, focusing on club and venue shows across the California scene.[4] With Riff Raff, he drew inspiration from witnessing Van Halen's 1976 performance at the Golden West Ballroom, which highlighted the need for cohesive band dynamics in his own projects.[7] These groups emphasized persistent touring and live honing of skills, helping him build a regional reputation as a dedicated guitarist without achieving widespread recognition.[4] Songwriting emerged as a key pursuit during this period, laying the groundwork for his compositional style through collaborative rehearsals and backyard performances.[4] In the late 1970s, Grijalva co-founded Centaur alongside drummer Audie Desbrow and vocalist Jack Russell, both future members of Great White, auditioning Russell at age 16 for covers of Scorpions and Judas Priest material.[4][8] The band operated within California's local circuit, fostering Grijalva's abilities in band leadership and original material development before disbanding, with Russell later joining another group that evolved into Great White.[8] Throughout the 1980s, Grijalva continued assembling and joining acts such as Swiftkick, the Tracy G Group, Rags, and Mankind, performing at clubs, venues, and informal settings to refine his live presence and songcraft.[4] He later contributed to Temper and Blue Rebel, maintaining a steady stream of regional gigs that solidified his standing in the Southern California rock community.[4] A brief stint as second guitarist with Love/Hate in the late 1980s, lasting about a month, underscored the era's competitive Sunset Strip environment, where internal band tensions were common amid efforts to stabilize lineups for potential breakthroughs.[9] Overall, these formative years involved no major label releases but emphasized relentless touring and skill-building, establishing Grijalva's resilience in the local hard rock landscape.[4]Time with Dio and breakthrough (1990s)
Prior to joining Dio, Tracy G was a member of the short-lived heavy metal band World War III (also known as WWIII) from 1989 to 1993, alongside vocalist Mandy Lion, bassist Jimmy Bain, and drummer Vinny Appice, both Bain and Appice being former members of Dio and Rainbow. The band released a self-titled album in 1990 on Hollywood Records, which highlighted G's technical guitar prowess in the glam and hard rock scenes.[10][1] In 1993, following the dissolution of WWIII, Tracy G was recruited to join Dio through recommendations from former bandmates Vinny Appice and Jimmy Bain, who had already rejoined Ronnie James Dio's lineup.[6][4] He replaced guitarist Craig Goldy, marking a significant shift in the band's sound toward a more aggressive, modern heavy metal edge.[11] This opportunity represented a major breakthrough for Tracy G, elevating him from local and regional scenes to international prominence within the heavy metal community.[1] During his tenure, Tracy G contributed substantially to Dio's creative output, co-writing several tracks on the band's 1994 album Strange Highways, including "Jesus, Mary & the Holy Ghost" and "Firehead," alongside Ronnie James Dio and other members.[12] He continued this role on the 1996 follow-up Angry Machines, co-authoring songs such as "Institutional Man," "Don't Tell the Kids," and "Hunter of the Heart" with Dio, Appice, and bassist Jeff Pilson.[13] His guitar work, characterized by intricate solos and rhythmic drive, helped define the era's darker, more introspective tone, distinguishing it from Dio's earlier melodic style.[11] During this period, G also contributed guitar to the title track of Japanese drummer Munetaka Higuchi's 1997 album Free World (with Dream Castle), which featured vocals by Ronnie James Dio and bass by Jeff Pilson.[14] Tracy G also appeared on the 1998 live album Inferno: Last in Live, recorded during the Angry Machines tour, capturing performances that showcased his live improvisational flair.[15] From 1993 to 1999, Tracy G participated in extensive world tours supporting Strange Highways and Angry Machines, performing across North America, Europe, and Asia to sold-out audiences and solidifying Dio's enduring fanbase.[4] These six years of high-profile activity greatly enhanced his visibility, establishing him as a key figure in heavy metal guitar alongside legends like Dio.[1] Tracy G departed Dio in 1999 on amicable terms, citing creative differences after being asked to shift to rhythm guitar in a dual-guitar setup with the returning Craig Goldy; he preferred maintaining a lead role akin to Ritchie Blackmore's style and chose to pursue independent projects.[11][4] This exit, while marking the end of his Dio era, underscored his pivotal role in revitalizing the band's momentum during the 1990s.[1]Post-Dio projects (2000s–2010s)
Following his departure from Dio in 1999, Tracy G formed the band Driven alongside vocalist Timm Saxton, with whom he co-wrote over 50 songs blending hard rock and progressive elements.[4] The group released its debut album, Work in Progress, independently on G's own label in 1999, followed by Self Inflicted in 2001 on Germany's MTM Music label, featuring drummer Mike Terrana.[4] Bassist Larry Dennison and drummer Ray Luzier contributed to the band's sound during this period, and by 2004, a third album was in progress, though it remained unreleased.[4] Driven represented G's shift toward more collaborative songwriting outside the high-profile Dio framework, emphasizing groove-oriented riffs and melodic structures.[16] In the mid-2000s, G expanded into diverse band projects, including Epic, where he served as guitarist on the 2006 album Metaphor, a hard rock effort produced with bassist Larry Dennison that showcased intricate guitar work and dynamic rhythms.[17] He also contributed to Vessyl's 2007 release Freakz Unite, delivering lead guitar on tracks that fused alternative metal with experimental edges.[18] That same year, G made a guest appearance on Italian hard rock band Ranfa's Little Hard Blues, providing the guitar intro for the track "I Learned My Lesson Well" alongside guests like Deep Purple's Ian Paice.[19] These endeavors highlighted G's versatility in supporting emerging acts while exploring blues-infused and progressive styles.[18] G's involvement in heavier projects continued with Goad-ed, a Los Angeles-based progressive metal band he co-founded, releasing To Die Is Gain in 2008 on his Spooky G label, with production credits shared alongside Joe Floyd and featuring vocalist Jason Witte, bassist Dennison, and drummer Luzier.[20] In 2012, he guested as lead guitarist on Robot Lords of Tokyo's Virtue & Vice, contributing to its southern-tinged groove metal sound on tracks like "Knock 'Em Dead Kid."[21] By 2013, G joined Pain Savior, a heavy/groove metal outfit, and co-produced their debut Dead Weight on a Dying Planet that year, handling guitar duties and drum recording with vocalist Elvin Rodriguez.[22] Later in the decade, he appeared on Barking Spider's 2016 single Warrior by Night, adding lead guitar to the power/thrash metal track amid a lineup including vocalist Marius Danielsen.[18] Additionally, G participated in the Dark Mile project during the 2010s, contributing guitar to its hard rock compositions as part of his ongoing local collaborations.[3] Beyond band work, G maintained an active role in production and engineering through his G Factory Studio in California, where he recorded, mixed, and mastered tracks for various independent acts in the hard rock and metal genres throughout the 2000s and 2010s.[3] He also released several solo instrumental CDs during this period, including Deviating from the Set List (2002), Deviating from the Set List II (2004), Katt Gutt (2005), and Tarantula Ditch (2008), focusing on shred guitar techniques and improvisational jams.[23] A key blues-oriented outlet was Curly Fester and the Blues Quartet, a hardcore blues project G fronted for local performances and recordings, culminating in the 2010s album Revenge of the Bombastic Bastards, which emphasized raw, energetic covers and originals rooted in traditional blues structures.[23] These post-Dio efforts underscored G's commitment to experimentation across metal subgenres, production mentorship, and live scene involvement, sustaining his career through independent releases and niche collaborations.[4]Recent work (2020s)
In 2021, Tracy G contributed guitar work to the hard rock album Subhuman by the band Gale Force, which featured vocalist Michael Drive of Barren Cross and marked the group's debut full-length release.[24] The album blended classic metal influences with modern production, showcasing G's signature riffing and solos on tracks like the title song and "Crash & Burn."[25] Entering the mid-2020s, Tracy G released two notable projects in 2025. The collaborative album El Mariachi Sexorcismo with Gratz Arias fused rock guitar with mariachi elements, available in streaming, digital download, and CD formats.[23] Concurrently, his solo effort Hand of Time highlighted heavier styles, with the release explicitly dedicated to his father, Tony G, who favored such intense music.[26] Tracks like "The Crusher" exemplified G's ongoing commitment to dynamic, guitar-driven compositions.[23] As of November 2025, Tracy G remains active as a producer, songwriter, and performer, operating through The G Factory studio where he handles recording, mixing, mastering, and collaborations across guitar, bass, and drum programming.[3] His work emphasizes digital distribution via platforms like Bandcamp, enabling broader access to new and archival releases.[27]Personal life
Family and health
Tracy G's father, Tony G, a drummer and musician, remained a profound influence throughout his son's career, providing unwavering support from Tracy's early days in music. Following Tony G's passing sometime after 2017, Tracy G dedicated his 2025 instrumental album Hand of Time to him, noting, "This album is dedicated to my Dad Tony G. He loved the heavier stuff I do so this one is for U Pop!" This dedication underscores the ongoing familial legacy in Tracy G's heavier musical style, preserving his father's appreciation for rock and metal.[3] Tracy G has two sisters, though public details about their current relationships remain limited. At age seven, Tracy G contracted a childhood illness shortly after joining a Little League baseball team, which sidelined him for the entire season and redirected his interests toward music, particularly the guitar, as a form of perseverance and outlet. No major health disclosures from his adult life have been publicly shared, but Tracy G has emphasized music's role in therapeutic expression and sustaining family bonds, evident in dedications like Hand of Time that honor his father's legacy while channeling personal resilience.[4]Other interests
Beyond his performing career, Tracy G has pursued production and engineering as a side endeavor, operating G Factory Studio where he records, mixes, and masters tracks for emerging artists, including local musicians seeking demos.[3][5] In this capacity, he collaborates on songwriting and drum programming, helping to shape projects like his own solo releases Driven and work with Curly Fester and The Blues Quartet.[4] Tracy G's approach to music emphasizes self-expression over commercial pressures, stating, "Music is my best way of communicating… play music from your soul and don’t follow the world, make the world follow you," while noting that "Money is important but it’s not the main thing to me."[4] This philosophy informs his interest in unique sound experimentation, describing his style as "controlled chaos" achieved through gear innovations like the Wawa pedal and baritone guitars for heavier tones, as heard in Dio tracks such as "This Is Your Life."[4][2] Within the metal community, Tracy G engages in mentoring by providing studio access and guidance to up-and-coming players, fostering post-Dio networking through ongoing collaborations that extend his influence in the scene.[5]Discography
Albums with Dio
Tracy G joined Dio as lead guitarist for the band's 1994 album Strange Highways, contributing significantly to its songwriting and performance. He received co-writing credits on multiple tracks, including "Jesus, Mary & the Holy Ghost" (with Ronnie James Dio and Jeff Pilson), "Firehead," "Strange Highways," and "Hollywood Black," where his riff-based approach shaped the album's darker, more aggressive tone compared to prior Dio releases.[28] His guitar solos, particularly on the title track and "Hollywood Black," were noted for their creative phrasing and technical flair, adding emotional depth to Dio's soaring vocals. The album was recorded at The Enterprise in Burbank, California, with producer Mike Fraser, who encouraged the band's organic jamming sessions—Tracy G often initiated riffs that the group built upon collaboratively.[2] Reception highlighted Tracy G's input as a fresh, raw edge, with critics praising the heavier riffs and his integration into the lineup, though some fans initially resisted the stylistic shift; it peaked at No. 142 on the Billboard 200.[29] On the follow-up Angry Machines (1996), Tracy G's songwriting involvement deepened, earning credits on tracks like "Institutional Man," "Don't Tell the Kids," "Hunter of the Heart," and "Double Sunday" (co-written with Dio), emphasizing intricate riffs and dynamic structures.[30] The album marked a deliberate heavier sound, influenced by Tracy G's use of baritone and seven-string guitars for chunkier, groove-oriented tones, as discussed in band interviews; this shift incorporated odd time signatures and crunchier rhythms, diverging from Dio's melodic roots toward a proto-groove metal aesthetic.[31] Recorded at Silver Cloud in Burbank and Sound City in Van Nuys, the process retained Fraser's hands-off style but amplified the aggression, with Tracy G's solos on "Hunter of the Heart" and "Night Music" showcasing his shredding amid the band's intensified dynamics. While polarizing—some critics lauded the raw power and Dio's darker vocals, others felt it lacked the band's classic accessibility—it sold modestly and underscored Tracy G's role in Dio's mid-1990s evolution.[32][33] Tracy G's live contributions culminated in the double album Inferno: Last in Live (1998), capturing performances from the 1996–1997 Angry Machines tour across venues like Sun Theatre in Anaheim and The Rialto in Montreal. As the sole guitarist, he delivered extended solos, including a dedicated "Guitar Solo" segment blending technical runs with improvisational flair, and heightened renditions of classics like "Holy Diver" and "Rainbow in the Dark," where his stage energy amplified the set's intensity. The recordings, mixed by Ronnie James Dio and engineered by Moray McMillan, preserved the tour's high-octane presence, with Tracy G's raw tone and commanding delivery earning praise for maintaining Dio's theatrical momentum despite the era's lineup changes; fans and reviewers appreciated how his work bridged studio heaviness to live spectacle, though some critiqued occasional improvisational excesses.[34][35]| Album | Key Tracks with Tracy G Co-Writing | Notable Guitar Contributions |
|---|---|---|
| Strange Highways (1994) | "Jesus, Mary & the Holy Ghost," "Firehead," "Strange Highways" | Solos on title track and "Hollywood Black"; riff initiation in sessions |
| Angry Machines (1996) | "Institutional Man," "Don't Tell the Kids," "Hunter of the Heart" | Heavier riffs with baritone/7-string; solos on "Hunter of the Heart" |
| Inferno: Last in Live (1998) | N/A (live album) | Dedicated guitar solo; live enhancements on "Holy Diver," "The Last in Line" |