Whether it was jealousy, ego or apathy, the other members of the band didn't seem to care too much for the tune when Harrison introduced it to them and attempted to record initial takes on August 16. After more work on the song on September 3 and 5, he decided he didn't like what he heard and scrapped the recording.
Has any piece of musical equipment proliferated more, or more rapidly, than the humble electric guitar effect unit? Though there is no official tally, suffice it to say that thousands of stomp boxes, effect devices and processors have been created for the electric guitar over the past 60 years (and that’s not including rackmount effects). Conceivably, more than half of those devices are distortion, fuzz and overdrive effects.
Paul McCartney was generally known for writing "silly love songs" like "Yesterday" or cheeky whimsy like "When I'm Sixty-Four," but occasionally he could rock every bit as hard as John Lennon. While The Beatles recorded numerous violent rockers, few were more fiery, savage and controversial than McCartney's "Helter Skelter."
In the first two installments of Chop Shop, we looked at some arpeggio-based runs that were spiced up with octaves, finger taps, pinch harmonics and behind-the-nut bends. This time, as promised, I’m going to talk about the ways in which I’ve employed ideas I’ve learned from guitarists in different genres to my own playing. To start off, I’m going to show you a lick in the key of B that I use on the track “The Nightmare Unravels,” from my latest solo CD, The Art of Malice.
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.
In this series of videos, Guitar World's Andy Aledort explores the classic Jimi Hendrix track "Freedom," as heard on The Cry of Love. After discussing Hendrix's tuning, Andy jumps into the intro, the verses and the solos.