“We approach every new record the same way—by just fucking totally forgetting about the last one,” Jerry Cantrell says about the creative process within Alice in Chains. “You have to start from a zero every time.” For Alice in Chains, of course, starting from zero hasn’t always been so easy. For a long time, the band’s past—both the highs and lows—has loomed rather largely in their present.
Musician and filmmaker Rob Zombie will unleash his Great American Nightmare on Los Angeles this Halloween season. This bone-chilling experience will combine the most advanced haunted house attractions with a not-to-be-missedmusic festival from top artists in hard rock, alternative, EDM and more, every Thursday, Friday, Saturday and Sunday from October 10 through November 2 at the Fairplex FEARplex in Pomona, California, just outside Los Angeles.
Gov’t Mule will release a new album, Shout!, their first studio album in four years, September 24 through Blue Note Records. The album will include a bonus CD featuring the album's 11 tracks, all sung by a different special guest. While more details about the bonus disc will be released soon, you can check out the track listing below.
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).
In 1970, Black Sabbath's second album, Paranoid, entered the Official UK Albums Chart at Number 1. Over the weekend, the band repeated that feat. And it only took them 42 years and eight months to do it! It is, in fact, the longest gap between Number 1 albums — period.
Fretboard tapping has earned a bad name in certain sectors of the guitar community. Some players dismiss it as a technique suitable only for perpetrating the worst possible kind of overblown, unmusical histrionics, preferably played through a wall of amps that “go to 11.”