These videos and audio files are bonus content related to the July 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.
“I knew the only way to do this project properly was to leave no stone unturned and to listen to every Led Zeppelin tape and performance,” Jimmy Page says emphatically. “Additionally, I really researched what had been bootlegged and what stolen material had surfaced, and I was determined to offer things people had never heard."
Since the late Seventies, thousands of guitarists have relied on a dependable pair of orange and yellow Boss stomp boxes known respectively as the DS-1 Distortion and OD-1 Overdrive.
These pedals have their own distinct sonic character, and with their low-noise performance, dynamic response and tonal versatility, they are significantly expanded versions of two of the most beloved compact pedals of all time.
Well, look at the bands who were involved in [the 2012 film] Rock of Ages. Their people came to us early and they showed us the movie and we said, “This is a complete farce. It’s a cheesy movie. It has nothing to do with rock. This is like Mamma Mia! with pretend guitars.”
This is a two-part run in A minor that I play in my solo to "Caravan of Cannibals," on Shredding the Envelope’s debut CD, The Call of the Flames. The first three bars are based mostly on the A Dorian mode [A B C D E F# G], with a couple of "outside" notes thrown in, namely D# and F.
“Every time we head into the studio, I probably haul in 10 amps and 15 guitars,” Neon Trees guitarist Chris Allen says, laughing. “But this time, we tried to simplify it. We really just wanted to do this record with a couple of amps and a few guitars.”
Born from the boogie-woogie sounds of jazz piano in the very early 20th century, the swinging shuffle groove is built from an insistent and repetitive forward-leaning rhythm that is generally written in 12/8 meter—wherein four consecutive beats are each subdivided into three evenly spaced eighth notes—and comprises a repeating quarter-note/eighth-note rhythm that sounds like “da—da, da—da, da—da, da—da.”