Marty Favento, who was born and raised in a small town called Koper in Slovenia, started playing guitar at age 10. His father, an accomplished blues guitarist, got him into guitar playing and sent him to a private music school, where he spent five years studying. GuitarWorld.com caught up with Favento to discuss his band Shock Rocket’s new album. Lift Off, which is getting some cool buzz in the European metal underground.
As you might've noticed, with each new week, we look back at a particular year's issues of Guitar World magazine. We do this so we can find cool stories from the past, including our final interview with Stevie Ray Vaughan, which is coming up this week, and our interviews with Steve Vai, Frank Zappa, David Gilmour, etc.
Here are some of the videos we've been sent by guitarists who have entered our "Perpetual Burn" Challenge. If you don't know about the challenge, which started early this month, you can find all the info you need right here.
The July 2013 issue of Guitar World features Black Sabbath's amazing comeback, and Tony Iommi opens up about his fight with cancer, and the struggle to make 13, the group's new record with Ozzy Osbourne.
A few years ago, the editors of Guitar World magazine compiled what we feel is the ultimate guide to the 100 Greatest Guitar Solos of All Time. The list, which has been quoted by countless artists, websites and publications around the world, starts with Richie Sambora's work on Bon Jovi's “Wanted Dead or Alive” (Number 100) and builds to a truly epic finish with Jimmy Page's solo on "Stairway to Heaven" (Number 1).
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.”
"'Something' was written on the piano while we were making the White Album," George Harrison explained in 1980. "I had a break while Paul was doing some overdubbing, so I went into an empty studio and began to write. It didn't go on the White Album because we'd already finished all the tracks."
Many guitar players — at some point — can't help but fall under the spell of the sounds found on classic rock albums of the mid- to late '60s. Players like Jimi Hendrix, Eric Clapton, Jeff Beck, Jimmy Page, Pete Townshend and Robby Krieger were synonymous with wah, fuzz, univibe and/or tremolo. Throw George Harrison and Brian Jones into the mix and you get sitars and other sound- (and mind-) altering effects. They were always experimenting, changing things up, trying to top each other.