These videos are bonus content related to the Holiday 2013 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.
Fine 'n' Dandy: They crawled out of the South and took America by storm. They made millions and lost it, but like a bad rash, they never really went away. Now Black Oak Arkansas resurface again with Back Thar N’ Over Yonder, their latest heapin’ helpin’ of southern-fried boogie rock.
Anyone who has traveled to the Pacific Northwest or even watched an episode of Portlandia knows that, next to microbrewed beer, people in Oregon love two things: bikes and recycling. Jacob Chapman of Bend, Oregon, ingeniously put the two together when he realized that the carbon-fiber frame of a Trek Y bike might make a decent guitar body.
“Wanna hear more?” When Lou Reed asks you a question, you know you’re being tested. For the past quarter of an hour, he’s been holding forth on the subject of power tube distortion. Now he wants to know if I’d like him to keep going.
“Benvenuto, bambini!” Roger Waters exclaims through his microphone to the line of children excitedly walking toward the stage inside Rome’s massive Stadio Olimpico. On this blistering afternoon in late July, the former Pink Floyd leader and his band are in the middle of the soundcheck for tonight’s show, at which they’ll perform Floyd’s classic 1979 double-album, The Wall, for 50,000 Italian fans.
Red Rocks is a musical mecca, a natural amphitheater in the foothills of the Rockies renowned for its great sound and serene setting. On this summer night, afternoon storms have given way to sunshine. A rainbow spreads across the plains behind the stage, helping to make the place feel even more magical.
What a difference a year makes. In February 1969, the Grateful Dead recorded a series of shows at San Francisco’s Avalon Ballroom and Fillmore West in the hope of finally capturing on tape the psychedelic alchemy of their already legendary onstage interplay. The double album Live Dead, released in November that year, showcased the Dead at their adventurous and exploratory acid-peak best and cemented their reputation as the premier jamming band of the era.