In my video example for this week, I play some bluesy/Indian runs on a fretless, glass-necked guitar I custom-modified for John Frusciante. This interesting job, which I completed in September 2006, was arranged by Frusciante's guitar tech, Dave Lee. I took a Warmouth vintage replacement neck ... click to read more!
A video featuring a mashup of Black Sabbath's "War Pigs" and Led Zeppelin's "Whole Lotta Love" has been making the rounds on the Internet lately, and unlike a vast majority of mashup videos on YouTube, it's actually pretty good. Watch below.
While it seems we’ve taken it for granted that our favorite rockers are gonna keep on wailing into their geriatric years, what about the rest of us? Rock keeps you young, right? But even grandmas need pick up an axe once in a while. My new goal? I want to annoy the hell out of my future grandchildren with screaming leads from songs they think are “old” and “boring.” YES!
Best small club in Midlands. Yeah right. More of a shit hole to be honest... Again, no catering — a package of white toast and that’s it. No hot meal either. Had to fight with the promoter for an hour and threaten him, saying that we don’t play if we don’t get any food. Finally, we got 5 pounds buyout with the trade-off that our grade of beer was taken away. This is how it goes in UK, folks. Just bollocks.
When first learning to solo over 7th chords, most guitarists will begin by checking out the pentatonic and blues scales we all know and love, followed by the Mixolydain mode, which completes the fundamental trifecta for blowing on unaltered dominant chords. But what about altered dominant chords? When adding in b9s, #9s, b5s and #5s, all the “altered” notes of a 7th chord, suddenly these three scales just don’t cut it on the bandstand.
Is this the right time to record the rock opera you've been putting off? Should you join that death-metal-bluegrass band that keeps inviting you to sit in? Check in every week with Margaret Santangelo's Rock Stars column.
My approach to guitar is tonally a little different than most modern shredders, as I base all my playing around the pentatonic scale. Players like Shawn Lane and Eric Johnson do this better than anyone on the planet. But my approach is a little different again. I use the combination of sweep picking and three-string arpeggios to get around the guitar rather than focus on the scales in their natural form.
To me, the search for the ultimate tone is a two-way street. I can totally relate to all the guitar players out there who are frustrated by trying to get a monster tone. But, then again, I don't think getting a killer tone is as mysterious and elusive as many guitarists seem to think. It's a fact that the very sound of your guitar says a lot about you as a player, and for that reason, every guitarist strives for the best tone he can possibly get.
Proper throbbing headache. Sweaty figure crawls out from the bunk in the same smelling stage clothes while Paradise Lost guys go jogging. Nice backstage with internet, shower and own kitchen. Sound check: Peavey's FX loop is broken and the amp sounds pretty bad in general. Probably the tubes are going off soon.
When the Rev. Billy Gibbons isn’t playing a Gretsch Billy-Bo or a Pearly clone on the road, there's no telling what the Texas guitar connoisseur might be sportin’! A short YouTube clip from a July 2011 show in France features Billy with a sexy T-type by TAO Guitars of Brussels, Belgium. The El Mirage axe is a one-off guitar for Gibbons springing from TAO’s T-Bucket platform, a sort of space-age, George Jetson, retro-modern T-type interpretation.