The Beatles made EMI’s Abbey Road Studios a household name after they titled their 1969 album for the facility. It was there that they recorded nearly all of their songs, beginning with their first release, 1962’s “Love Me Do.”
It’s six o’clock on April 12, just two hours before show time, and Joe Bonamassa is sitting in his dressing room at Seattle’s famed Paramount Theatre absent-mindedly flipping through pictures of vintage guitars on his iPad. “Check this out,” he says to his tech while holding up the tablet.
“We approach every new record the same way—by just fucking totally forgetting about the last one,” Jerry Cantrell says about the creative process within Alice in Chains. “You have to start from a zero every time.” For Alice in Chains, of course, starting from zero hasn’t always been so easy. For a long time, the band’s past—both the highs and lows—has loomed rather largely in their present.
With his monolithic chops and die-hard work ethic, Broderick has emerged as the scariest monster shredder on the planet. As he makes clear in the above quote, Broderick has a deep respect for both music and musical performance and has pushed himself relentlessly in the pursuit of technical proficiency and musical freedom. No less an authority than Dave Mustaine calls Broderick “the greatest guitar player Megadeth has ever had.”
When Guitar World finally catches up with her in Los Angeles, she’s just returning to the mainland from a show in Hawaii. Beyond the pleasures of globe trotting, she is clearly enjoying her long-running stint with the celebrated shock-rocker. “We get to celebrate Halloween all year long,” she says. “And I have the best seat in the house every night.”
Throughout this title track to Jason Becker’s landmark 1988 debut album, the phenomenally gifted and accomplished young guitarist frequently employs a lead-playing technique known as sweep picking to help perform the many swift and nimble-fingered arpeggios used to convey his classical virtuoso-style melodic ideas.
George Harrison’s withering indictment of Britain’s progressive tax system was chosen to open the Beatles’ most progressive musical effort to date. Opening with a rasping cough and a droll count-in, “Taxman” kicks off Revolver in startling fashion, demonstrating both Harrison’s growing sophistication as a songwriter and Emerick’s budding talent for sculpting guitar tones.