On the first leg of Van Halen’s A Different Kind of Truth tour, toward the end of the band’s set, there was a moment during the middle of Eddie Van Halen’s solo spot in the show where the world seemed to stop spinning. Even the techs, security staff and backstage production personnel would stop what they were doing to focus on the celestial sounds emanating from the stage, with huge smiles on their faces that mirrored Ed’s beatific grin as he unleashed a staggering cascade of notes. At that particular point in Ed’s solo, it was clear that there was no place in the world that they’d rather be.
The current version of Van Halen is to music what a street rod is to the automobile. With David Lee Roth back as the band’s frontman, Van Halen has restored its classic appeal, but at the same time the addition of 21-year-old Wolfgang Van Halen on bass has modified the band with a significant boost in power and style.
Most power chord forms in rock and metal and comprised of either two or three notes, usually with the root note placed as the lowest note in the chord, joined with a note a fifth higher to create the two-note form, or with an additional root note on top to create a three-note-form. Equally effective are power chord forms built from fourths.
“Hmmm, let’s see now...the ’57 Gretsch or the ’58 Goldtop?” Joe Walsh contemplates a bevy of highly collectible vintage guitars strewn in open cases across the floor of a Hollywood photo studio. Broad shouldered and looking fit, he towers over the instruments, meditatively stroking his chin. A Guitar World cover shoot is serious business, and Walsh brings to it consummate professionalism that has guided him through over four and a half decades as a classic-rock guitar legend.
A host of musicians, celebrities and comedians — including Duff McKagan, Sharon Osbourne and Scott Ian — turned the heat up on guest of honor Zakk Wylde at Guitar World’s Rock & Roll Roast. The result? A brewtally funny good time.
It's 11 a.m. on the day after Halloween, in the Koreatown neighborhood of Los Angeles. The sun is shining and Guitar World is up bright and early (well, at least by rock-star standards) to meet with Mastodon at the Wiltern Theatre.
The blues tradition runs deep in Texas, which has produced a constant stream of innovative blues guitarists, including T-Bone Walker, Lightnin’ Hopkins, Freddie King, Clarence “Gatemouth” Brown, Albert Collins, Billy Gibbons and Jimmie and Stevie Ray Vaughan.
In last month’s column, I demonstrated a variety of ways to transform standard A minor pentatonic-based licks into modal runs and patterns using the A Aeolian mode (a.k.a. the A natural minor scale: A B C D E F G). This month, I will expand on the concept by applying a slight rhythmic variation to a standard A minor pentatonic pattern, again transforming it to A natural minor, and then examine these newly realized melodic shapes in different areas of the fretboard. We will then transpose the new melodic ideas to another very commonly used mode: A Dorian (A B C D E Fs G).