Interviews en Inquirer with Alex Lifeson of Rush: "When I Sit Down and Play Guitar, I Melt Into the Instrument" <!--paging_filter--><p><em>FROM THE ARCHIVE: </em>Guitar World<em> asks Rush's Alex Lifeson some tough questions.</em></p> <p><strong>What inspired you to play guitar?</strong></p> <p>My brother-in-law played flamenco guitar. He lent his guitar to me and I grew to like it. When you’re a kid, you don’t want to play an accordion because it would be too boring. But your parents might want you to play one, especially if you’re from a Yugoslavian family like me. [<em>laughs</em>]</p> <p><strong>What was your first guitar?</strong></p> <p>My parents got me a $25 Kent steel-string acoustic guitar when I was around 12. The following Christmas my parents bought me a Conora electric guitar. It looked almost like a Gretsch. It cost $59, and my mom still has it.</p> <p><strong>Were you inspired by any particular guitarist?</strong></p> <p>The Beach Boys had a really cool guitar sound. I also liked the guitarists in the Searchers and the Dave Clark Five. Then Jimi Hendrix and Pete Townshend hit, and it turned the guitar world on its ear. The more I got into playing guitar, the more I enjoyed music and the broader my listening became. The instrument itself became important to me, and I started messing around with classical guitar and took classical lessons.</p> <p><strong>What was the first song you learned who to play?</strong></p> <p>The Rolling Stones’ “(I Can’t Get No) Satisfaction.” The songs starts off with the three most important chords—E, A and D—and I learned them. I learned the lead line, as well.</p> <p><strong>Do you remember your first gig?</strong></p> <p>Yeah. In September 1968, Rush played for around 20 people at a small hall in a church basement. We played songs like “Spoonful,” “Fire” and “Born Under a Bad Sign,” and got paid $10. Then we went to a nearby deli and ordered Cokes and French fries, and started planning our future.</p> <p><strong>What was your most memorable gig?</strong></p> <p>Probably the 2002 show we played in São Paulo, Brazil, during the <em>Rush in Rio</em> tour. It was before an audience of 60,000, the largest number of people we ever played for. It was pouring rain, and the huge crowd was singing along to our songs. It was really amazing, because people don’t even speak English there.</p> <p><strong>What advice do you have for guitarists?</strong></p> <p>Do it because you love it, and never give up. It’s great to be able to do it for your entire life. I’ve been playing for 40 years, and I love it more than ever. When I sit down and play guitar, I <em>melt</em> into the instrument. I can play for hours by myself. Playing guitar has given me such a wonderful life, and I’m grateful for it.</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/rush">Rush</a> </div> </div> </div> </fieldset> Alex Lifeson Articles GW Archive Inquirer Rush Interviews News Features Magazine Wed, 27 Aug 2014 19:03:26 +0000 Joe Lalaina Songcraft: Singer-Songwriter David Poe Discusses His New Album, 'God & The Girl' <!--paging_filter--><p>Credited by <em>Rolling Stone</em> as having given "the singer-songwriter genre a much-needed jolt,” composer/singer-songwriter David Poe has issued numerous literate, melodic, major-label collections as a solo artist. </p> <p>At the same time, his songs have done well in the hands of others; they've been recorded by pop-rockers Grace Potter and Daryl Hall, Broadway composer Duncan Sheik and jazz singer Curtis Stigers. </p> <p>Poe’s eclectic compositions have also appeared in TV shows, including <em>Dexter</em> and <em>Nashville</em>, and in theatre productions such as <em>Shadowland</em>, the landmark dance piece by American troupe Pilobolus.</p> <p>In addition to his duties as a world-touring troubadour and in-demand songwriter, Poe also has collaborated with uber-producers T-Bone Burnett and Larry Klein and is a Composer Fellow of the Sundance Institute.</p> <p>Songcraft recently cornered this talented New Yorker, now living in Los Angeles, as his latest album, <em>God &amp; The Girl</em>, neared release to talk songwriting, deities and the women who love them. </p> <p><strong>GUITAR WORLD: First off, congrats on the new album. I love it. It’s very smart, with this beautiful quality of hushed intensity to it. And <em>God &amp; The Girl</em> is such an amazing album title, the allusions are unending. Do titles serve as sparks of inspiration for your songwriting or are they more just a necessary result of the process?</strong></p> <p>"Hymn &amp; Her" sounded glib. The album title refers to the subject matter of the songs. Half concern faith, half concern love, or the lack of either. Some of them, like "The Devil" and "When I Fly," are an attempt to address both, to compare spiritual and romantic love.</p> <p>A song’s title is its thesis statement, the bumper sticker, the controlling idea. Traditional pop songs are a lot like old jokes: something happens three times — three verses — and the chorus is the punch line. </p> <p><strong>On your self-titled debut album, you had the chance to work with producer extraordinaire, T Bone Burnett. From a compositional standpoint, what does a producer of that caliber bring to the table in terms of the formation of a song?</strong></p> <p>Every producer imparts special information; Emile Kelman encouraged minimalism. Brad Jones taught me about layering. Larry Klein has deep intuition. Rick Parker conjures a vibe. Pete Min is a master of process. John Alagia understands how tonality impacts songs. Steve Rosenthal knows history. Ed Ackerson rewrites it. Buddy Miller captures lightning in a bottle. They all do. </p> <p>T Bone can love a record into being. In the studio, enthusiasm works wonders, and having the enthusiasm of someone who is an American hero is powerful. He is known as a unique producer who has come to the rescue of the culture multiple times, but T Bone is also one of our great songwriters, and his solo projects, especially <em>Tooth Of Crime</em> and all that came after it, are, to me, as influential as records like <em>Bone Machine</em> or <em>Time Out Of Mind.</em></p> <p>So yeah, having an experienced songwriter produce the debut of an aspiring songwriter made sense. Working with him was inspirational. Still is. Always is. </p> <p><strong>You’ve done a solid amount of co-writing. Do you approach that process any differently than you would when writing solo? Is the creative head-space the same or different?</strong></p> <p>As a co-writer, my job is to help gather wood and build the fire. Sometimes you’re in the wilderness rubbing flint and steel until there’s a spark. Sometimes a burning bush appears. I keep a match in my back pocket.</p> <p>The goal is to help create something an artist can sing for the rest of their career, starting with a fundamentally sound lyric and melody. There are a lot of factors in the making of a hit song, and some of them — marketing, bribery, the politics of the music business — have nothing to do with art. A songwriter’s responsibility is to render a beautiful thing that is simple but profound and enhances rather than betrays the culture. The Pilobolus choreographer and founder Robby Barnett says, “The idea is the best idea until there’s a better one,” which is a good approach to any collaboration. </p> <p>Another way to say it is “don’t negate, create.” Rather than say “I don’t like that,” say “how about this?” It’s important to be generous with your creativity and to have faith that the song will arrive. When it doesn’t, take a walk. </p> <p><strong>To date you’ve written pop music, music for theatre and music for the screen. Are all aforementioned exercises just slight variations of the larger process, or do you approach writing for each genre differently?</strong></p> <p>A good song works in any genre, but not necessarily in every medium. Music married to a narrative is its own thing, magical when it works, and everyone feels it.</p> <p><strong>What’s the most important piece of compositional/songwriting advice you’ve absorbed in your experience at the Sundance Institute?</strong></p> <p>Be brave enough to edit and revise. Or reject. No music is ever wasted. Every chord progression you learn, every bit of discarded lyric or melody will suit a future piece.</p> <p>The Sundance Institute encourages innovation and serves as an antidote for that sect of the entertainment industry that has a deep contempt for the general public – the ones who say “people are stupid,” even though we’re smarter as a culture than we ever have been. When aspiring artists collude with that sect in order to have a hit, the culture gets flooded with pap and confused. But the best artists have always been at the vanguard of social change, and the pursuit of a distinct vision is its own reward. For me, the reward is in the writing process, especially when others sing a song I’ve worked on. They always sing it better than I ever could, and the thrill I get from hearing it is like when people sing "Happy Birthday" to you, then give you cake. </p> <p><em><a href="">Mark Bacino</a> is a singer/songwriter based in New York City. When not crafting his own melodic brand of retro-pop, Mark can be found producing fellow artists or composing for television/advertising via his <a href="">Queens English Recording Co</a>. Mark also is the founder/curator of <a href="">intro.verse.chorus</a>, a website dedicated to exploring the art of songwriting. Visit Mark on <a href="">Facebook</a> or follow him on <a href="">Twitter</a>.</em></p> David Poe Mark Bacino Songcraft Blogs Interviews News Features Wed, 27 Aug 2014 19:00:56 +0000 Mark Bacino ‘One For The Road’: Cinderella Guitarist Jeff LaBar Delivers First Solo Album <!--paging_filter--><p>For several years, Cinderella guitarist Jeff LaBar had always promised to make good on his quest to record a solo album. </p> <p>After years of waiting, the time has finally arrived. LaBar’s new album, <em>One for the Road</em>, was recorded in Nashville with long-time friend and engineer Ronnie Honeycutt and features mixing by Cinderella bandmate Fred Coury, with mixing and mastering by Chris Collier (KXM, Lynch Mob, Lita Ford).</p> <p>What’s unique about LaBar's first solo endeavor is that not only does it showcase LaBar’s guitar playing, but it also highlights his singing and songwriting prowess. Aside from drums by Tesla’s Troy Luccketta, all of the instruments and vocals on <em>One for the Road</em> are performed by LaBar, a true "solo” album.</p> <p>The new album also captures the magic and spirit of a genre of music LaBar helped define. “No Strings” has a classic Cinderella feel, while songs like “Asking for a Beating” and ”Nightmare on My Street” take on a far heavier edge. Then there’s the acoustic-flavored “Hello or Goodbye,” which speaks to LaBar’s folk influences.</p> <p>I recently caught up with LaBar and asked him about <em>One for the Road</em>, which was released today, August 26, plus guitars and more!</p> <p><strong>GUITAR WORLD: What was the inspiration behind <em>One for the Road</em>?</strong></p> <p>I had been threatening to do a solo album for quite a while. I've been a singer all of my life and actually started singing around the same time I started playing guitar, so I've always had it in me and always wanted to do it. </p> <p>When Tom [Keifer] announced he was going to be putting out a solo album, which also meant Cinderella was going to be put on hold, my manager Larry [Morand], my wife Debi [Salazar] and everyone around me finally called me on it and said now is the time. So with the help of Troy Luccketta from Tesla and my engineer, Ronnie Honeycutt, I laid down a few tracks.</p> <p><strong>How would you describe <em>One for the Road</em>?</strong></p> <p>It's a little taste of all of my musical influences. When I started out, I was playing acoustic guitar and singing to folk music like the Eagles, Crosby Stills &amp; Nash and Cat Stevens. Then I discovered bands like Yes, Genesis and Pink Floyd. From there, I got more into Led Zeppelin, Black Sabbath, Alice Cooper, Iron Maiden and Judas Priest. The five songs I'm singing on this record represent each of those heavier influences.</p> <p><strong>What were some of the differences you encountered working on this album as opposed to a Cinderella record?</strong></p> <p>I think one of the biggest challenges was that I didn't have those three other guys in there with me. Over the years, we've all leaned on each other in the studio to help each other out. With Cinderella, it was always four minds and a producer. For this project, it was just me and Ronnie. </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><strong>Let’s discuss a few tracks off of the new album. “Hello Or Goodbye” isn't the kind of song we've come to expect from you.</strong></p> <p>Yeah, that song is a little bit more in the vein of Fleetwood Mac. It could even be a country-style song. </p> <p><strong>What about "Nightmare on My Street"?</strong></p> <p>That one started out in my basement studio. I was in a heavy metal kind of mood and set up a beat on a drum machine and did some jamming. That’s actually how I come up with most of my riffs.</p> <p><strong>Is there any place else where you find inspiration?</strong></p> <p>Some of the music for the album I originally wrote at a Cinderella sound check, after Fred [Coury] got his drums together and started playing a beat. That was actually where I came up with the riff for "Asking for a Beating."</p> <p><strong>What was your setup like for recording the album?</strong></p> <p>I still have my white, now nicely yellowed, 1980 Custom Shop Les Paul. That's my main guitar and the one I used for all of the heavy stuff you hear on the album. I also have an old Strat I used for the clean stuff and a Telecaster for “Hello or Goodbye." For the acoustic songs, I used an Alvarez 12-string and an Epiphone six-string.</p> <p><strong>There seems to be a lot of chemistry in the “band” that was put together for the video for “No Strings." Do you have plans to tour?</strong></p> <p>I’d like to, and we’re working on it. The chemistry you mention comes from the fact that it's actually my son Sebastian on guitar. He plays for a band called Mach 22. The video also features my good friends Jasmine Cain on bass and Matt Arnn on drums. My wife Debi also makes an appearance.</p> <p><strong>What satisfies you the most about completing your first solo album?</strong></p> <p>Because I had been threatening to do it for so many years, the fact that I did it was a big accomplishment. It finally took my friends and loved ones to really encourage me to do it. I hope it makes and impact and that people enjoy it. </p> <p><strong>What would you say has been the highlight of your career overall?</strong></p> <p>The most memorable things are all of the “firsts." Like the first time I walked into an arena when we were opening for David Lee Roth's first solo tour and saying, "Oh my God! I'm playing here!" Or the first time I got a gold record, which was on that same tour. Then there’s the first time we toured Japan or the first time we headlined on the Long Cold Winter Tour with our own lighting and backline. Things like that are my favorite memories.</p> <p><img src="/files/imce-images/Jeff%20Labar%20CD%20Cover.jpg" width="620" height="620" alt="Jeff Labar CD Cover.jpg" /></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href=""></a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="">Twitter @JimEWood.</a></em></p> Cinderella James Wood Jeff LaBar Interviews News Features Tue, 26 Aug 2014 20:39:33 +0000 James Wood Steve Howe Talks Vintage and Line 6 Guitars and New Yes Album, 'Heaven & Earth' <!--paging_filter--><p><em>This is an excerpt from the October 2014 issue of </em>Guitar World<em>. For the rest of this story, plus our Stevie Ray Vaughan 60th-birthday blast features, the 60th anniversary of the Fender Strat, lessons, tabs and reviews of new gear from TC Electronic, Seymour Duncan, Prestige Guitars and more, <a href=";utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=John5Excerpt">check out the October 2014 issue at the Guitar World Online Store.</a></em></p> <p><strong>As Yes take their classic <em>Fragile</em> and <em>Close to the Edge</em> albums on the road, guitar virtuoso Steve Howe sits down for a talk about the making of those groundbreaking prog productions.</strong></p> <p>“Somebody called me the granddaddy of prog-rock,” Steve Howe says with a laugh. </p> <p>“I’m not ashamed to be called that. But the thing that matters most to me is musicality. I don’t think prog is all about technical playing. Much more important are your musical ideas. What choices and decisions are you making in the music? If that’s still an intelligent force within the music, then I like being considered a part of prog.”</p> <p>More than just a part of progressive rock, Howe is one of the music’s great originators. From the moment he joined Yes in 1970, he staked out a bold and vast territorial range for the guitar in a musical form often dominated by keyboard virtuosos like Keith Emerson and his former Yes bandmate Rick Wakeman. What those guys needed banks of pianos, organs and synthesizers to achieve Howe could often attain with just six strings and a boundless imagination. </p> <p>His contribution, moreover, transcends prog-rock or any single musical genre. Steve Howe is one of the most distinctive and original guitarists in all of rock, a brilliant musical colorist whose evocative volume pedal swells and echoey textures possess all the subtle and complex expressiveness of the human voice itself. Howe’s palette has always been incredibly broad, drafting everything from classical and flamenco fire to psychedelic expansiveness to jazzy archtop electric abstraction into the rock guitar vocabulary. </p> <p>At age 67, he’s still in top form, as can be clearly heard on the brand new Yes album, <em>Heaven &amp; Earth</em>. On the disc, Howe is joined by longtime Yes members bassist Chris Squire, drummer Alan White and keyboardist Geoff Downs, who has been an on-and-off Yes-man since 1980. </p> <p>On vocals is the group’s newest member, Jon Davison, who joined in 2012 and does a superb job of channeling the dulcet melodicism of original Yes vocalist Jon Anderson. Davison even shares Anderson’s spiritual perspective on lyric writing and fondness of Indian guru Paramahansa Yogananda. </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p>While some tracks on <em>Heaven &amp; Earth</em> evoke the prog symphonic majesty of Yes’ Seventies heyday, others skew in a lighter pop direction more in keeping with radio-friendly Eighties Yes recordings, such as their <em>90125</em> album. But in working with legendary producer Roy Thomas Baker (Queen, the Cars, Smashing Pumpkins), on <em>Heaven &amp; Earth</em>, Howe had one supreme mandate.</p> <p>“I told Roy, ‘It’s gotta be Yes.’ ” </p> <p>The prominent presence of Howe’s guitar work on the album is a sterling guarantee that the disc does indeed sound like Yes. Howe’s inventive melody lines and otherworldly textures are woven deep into the polychromatic musical fabric. Never an overtly flash player, Howe will nonetheless sometimes conclude a tuneful guitar passage with a brief burst of sheer incandescent brilliance. The effortlessness with which he executes these dazzling little interludes offers understated testimony to his mastery of his instrument.</p> <p>“I don’t think guitarists should concentrate on being guitarists,” he says. “They should concentrate on being musicians. Being a guitarist can be a dangerous thing if you just want to race off and steal the show all the time on bended knees with your tiddly tiddly tiddly. I think that’s pretty dead in the water. I daresay most people agree.” </p> <p>Once famed for bringing a vast arsenal of guitars with him onstage and in the studio, Howe has taken a more streamlined approach in recent years. His rig is based largely around his Line 6 Variax guitar and Line 6 HD500/Bogner DT50 digital modeling amp and pedal board, which allow him to cover a wide range of traditional guitar and amp tones. </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p>“I think the Variax is one of the most overlooked instruments in the guitar universe,” he says. “The first time I saw it, I knew it was made for me. I like affordable guitars that can make lots of sounds and textures. I’ve got to tell you, the Strat, ’58 Les Paul and [Gibson] ES-175 models, in particular, are sensational on the Variax. Okay, it doesn’t feel like a Les Paul. But when you plug it in and it sounds like one, what’s the problem?”</p> <p>Howe does augment this digital setup with several “real” guitars in his live rig, however, all of which made it into the studio for the Heaven &amp; Earth sessions. These include his mid-Eighties red Fender Stratocaster; a 1955 Fender Telecaster which he has modified with a humbucker in the neck position, six-saddle bridge and Gibson-style toggle switch; a Martin MC-38 Steve Howe signature model acoustic; a Fender dual-neck steel guitar; and a Gibson Steve Howe signature model ES-175 electric archtop. </p> <p>“That one is actually Number One—the first-ever Steve Howe production model 175,” he says. “And I added a third pickup to it, because at the time I was using it cover the sound of the [Gibson] ES-5 Switchmaster that I used on Yes’ <em>Fragile</em> album.”</p> <p>This signature model 175 is based on Howe’s 1964 ES-175D, his first serious electric guitar, purchased new when he was just 17 and an instrument with which he has been closely associated ever since. These days he uses the guitar only in the U.K. where he lives, “because the airlines have been such an effing pain in the butt over the years,” he says. “But I have actually got a ’63 175 as well, which a friend of mine in Fort Wayne [Indiana] found for me. That was there with me in the studio as well.” </p> <p>Another key instrument for Howe onstage and in the studio is his guitarra portuguesa, or Portuguese guitar. Heard on the track “To Ascend” from <em>Heaven &amp; Earth</em>, it is also featured prominently on classic Yes tracks like “Your Move/All Good People” and “The Preacher The Teacher” and “Wonderous Stories.” Strung in six double-string courses, the instrument is tuned unconventionally by Howe: [low to high] E B E B E Ab. </p> <p><em>This is an excerpt from the October 2014 issue of </em>Guitar World<em>. For the rest of this story, plus the rest of our Stevie Ray Vaughan Top 30 feature, the 60th anniversary of the Fender Strat, columns, tabs and reviews of new gear from TC Electronic, Seymour Duncan, Prestige Guitars and more, <a href=";utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=John5Excerpt">check out the October 2014 issue at the Guitar World Online Store.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/steve-howe">Steve Howe</a> </div> <div class="field-item even"> <a href="/yes">Yes</a> </div> </div> </div> </fieldset> October 2014 Steve Howe Yes Interviews News Features Magazine Tue, 26 Aug 2014 14:45:09 +0000 Alan di Perna Living Colour's Vernon Reid Shows How to Play "Cult of Personality" and More <!--paging_filter--><p>In this exclusive <em>Guitar World</em> lesson, watch Living Colour guitarist Vernon Reid talk about the band's <em>The Chair in the Doorway</em> album and teach you how to play their classic 1988 hit "Cult of Personality."</p> <p>Speaking of 1988, here's a piece of <em>Guitar World's</em> interview with Reid from 1988, where he discusses "Cult of Personality" and more.</p> <p><strong>GUITAR WORLD: How were your solos recorded, and is there a personal favorite?</strong></p> <p>"Cult Of Personality" was a first take, as was "Funny Vibe." "Desperate People" wasn't a first take, but none of the solos were stitched together. I purposely had our producer turn off my rhythm tracks and just send bass and drums when I recorded my solos. I wanted to keep a raw edge. </p> <p>I like the "Cult" solo because I felt I was able to connect with the lyrics and feel of the song. I like "Funny Vibe," "Memories Can't Wait" and "Which Way To America" because there's something out of control about them. I'm not an every-hair-in-place kind of player.</p> <p><strong>How have non-guitar influences like Eric Dolphy affected your style?</strong></p> <p>Well, I don't play like Eric Dolphy, but technically, his incredible use of interval skips is something I try to apply, specifically in the "Cult Of Personality" solo. I have a book by Joe Diorio called Intervallic Design which addresses how to use interval skips smoothly.</p> <p>When I studied with Rodney Jones, Bruce Johnson and Ted Dunbar, they had me play with a metronome on 2 and 4, which exposed me to the concept of swinging. I still practice with a metronome. Right now, a lot of people are playing very diatonically and modally. Even the arpeggios sound diatonic. I incorporate that, as well as pentatonic, chromatic and whole-tone ideas, and I like to experiment with moving tonal centers which I learned about while working with the Decoding Society.</p> <p><strong>How do you approach soloing?</strong></p> <p>My best solos come when I get into a stream of consciousness and there are no stylistic considerations like, "Now I'm going to use some two-handed tapping technique or play a hip bebop phrase."</p> <p>There are times when you can feel yourself thinking things out, but for the most part, if you're in touch with your capabilities, ideas will begin to flow. What musicians don't realize is that as you play over a long period of time, you pick up a lot of things. If you could unlock what you've learned from the time you started playing, you would be amazed.</p> <p>To read the rest of this 1988 <em>Guitar World</em> interview, <a href="">head here.</a></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/living-colour">Living Colour</a> </div> <div class="field-item even"> <a href="/vernon-reid">Vernon Reid</a> </div> </div> </div> </fieldset> Living Colour Vernon Reid Artist Lessons Videos Interviews News Features Lessons Magazine Fri, 22 Aug 2014 17:20:07 +0000 Guitar World Staff Richie Kotzen Discusses New 'Essential' Package and Memorable Moments from His Career <!--paging_filter--><p>With styles ranging from rock and blues to jazz and soul, Richie Kotzen has built an eclectic career as guitarist, singer and songwriter. </p> <p>Over a period of 20 years, Kotzen has accumulated a loyal fan base and has consistently sold out shows throughout the world. </p> <p>Still, there are many who question what Kotzen is capable of musically. Kotzen’s new <em>Essential</em> package is sure to answer that question.</p> <p><em>The Essential Richie Kotzen</em> — which is slated to be released September 2 — contains material curated from Kotzen’s entire career (which has spawned 18 solo albums), not including his work with Poison and the Winery Dogs. </p> <p>The new package was purposely designed to give listeners the most comprehensive, concise introduction to Kotzen’s extensive body of work. </p> <p><em>The Essential Richie Kotzen</em> includes two CDs of classic Kotzen material as well as two new songs, along with a DVD of music videos, acoustic performances and bootleg material. It’s the ultimate collection of music for Kotzen fans.</p> <p>I recently spoke with Kotzen about the <em>Essential</em> package, his upcoming solo album and some of the most memorable moments of his career.</p> <p><strong>GUITAR WORLD: What spawned your new <em>Essential</em> package?</strong></p> <p>It was an idea that actually came from the record label. I have a very nice fan base that's been great to me over the years and has allowed me to tour around the world. But there's also a huge community in the rock world that knows my name but has no idea what it is that I do musically. I remember when I was on tour with the Winery Dogs, people would often come up to me and say, "Man, I didn't know you sang like that and I just found out that you also have a solo career. What record should I get?" </p> <p>I never knew what to say. I wrote my first record when I was 17 (and recorded it at 18), so a lot of time has passed. What we decided to do was make one package that would answer the question. I went through and picked out songs I like to play live and still represent who I am today. So for someone who is curious about what it is that I do, now there's an answer.</p> <p><strong>The package also includes two new tracks (“War Paint” and “Walk With Me”). What can you tell me about them?</strong></p> <p>Those were songs that would have eventually ended up on a solo album or maybe a Winery Dogs record. When I made this package, I knew I wanted to include two new songs, so I decided to put them on. </p> <p><strong>What made you decide to use a Theremin on “Walk With Me”?</strong></p> <p>When I was writing the song, I literally heard the sound of a Theremin playing in my head. So I went online and I bought one. At first, I couldn't do anything with it musically and it was the noisiest two weeks at my house [laughs]. Eventually, it got to a point to where I could play some melodies, so I set it up and ultimately got out what I was hearing in my head.</p> <p><strong>“Fooled Again” has always been one of my favorites. Can you give me a little back story on it?</strong></p> <p>That song definitely came from the riff. I know that when I recorded it, I really wanted that Curtis Mayfield kind of feeling. I love the way it turned out. It exceeded my expectations and a big part of it was because of Franklin Vanderbilt’s drumming and Arlan Schierbaum’s keyboard performance. They really brought the song to life. </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><strong>Another cool thing about the package are the demo and acoustic performances. Particularly, the track “Until You Suffer Some (Fire and Ice)." Not many people realize your contribution to Poison. What can you tell me about that experience?</strong></p> <p>It was such a sideways move for me. Two years before I joined the band, my contract with Shrapnel was bought out by Interscope. That’s what brought me to California, and I spent about a year writing songs for what I thought was going to be my solo record. We really wanted to make this R&amp;B, soul/rock record and even got the budget approved. Then at the last minute, the label said, "Wait a minute. I didn't sign you to do this kind of music. I need you to be a hard rock guy." I remember just losing my mind and insisted on being dropped — which they did. </p> <p>At the same time they were dropping me, the A&amp;R guy said, "You know, Bret Michaels just called me. They're interested in you. I think you should do it and then circle back after the album cycle." So I went out and met Bret and really liked what he had to say. They brought me in as a band member and writer and that song that you mentioned was one of the songs I brought in that would have been on that solo record. I never really played the song live and thought it made sense to do a version of me singing it. That's what's on the record.</p> <p><strong>Can you give me an update on your tour plans?</strong></p> <p>I'm going to Europe in September and then to South America and will spend the rest of the year touring the U.S.</p> <p><strong>What do you remember most about your Shrapnel experience?</strong></p> <p>As a teenager, getting into Mike Varney’s column became an obsession for me [laughs]. I had a four-song demo that I sent in a few times but never heard anything back. Then I thought maybe it was because Mike was listening to it for only 30 seconds and didn't hear anything that he liked. So I kept sending it to him but changing up the order of the songs.</p> <p>I still never heard anything until finally one day my friend called me up and said, "Dude, what's wrong with you? You're in the column and you didn't tell me?" I was convinced he was lying until I ran to the newsstand. Sure enough, there was my picture along with a profile.</p> <p>Shortly after that, I got a call from Mike saying that he wanted to do a record with me. Originally, the thought was to do an album with me and another guitar player, similar to what Jason Becker and Marty Friedman had done.</p> <p>During the process, I started writing a lot and for every song that I would write with my partner, there would be five I would send to Mike that I had done on my own. Eventually, it got to the point where Mike started liking my own material and signed me.</p> <p><strong>What was it like opening for the Rolling Stones in 2006?</strong></p> <p>It was pretty surreal. There were six shows on that run and I remember purposely not telling anyone about it at first because in Japan, it’s not normal to have an opening act and from what I was told the Stones never had an opening act when they toured Japan. So I knew there might be a chance that it wouldn’t happen — but it did! After that first show I could say I opened for the Rolling Stones! It was an amazing experience!</p> <p><strong>What can you tell me about your new solo album?</strong></p> <p>It will be out by the end of January. The new CD is called <em>Cannibals</em> and will have 10 songs. One of the ones I'm really excited about is one I wrote with my daughter called "You." It’s a piano/voice piece where I actually play a little bit of Theremin again as well. </p> <p>The song came about in a very interesting way. My daughter is 17 now but back when she was 14 she would often play this piece over and over at the piano. Finally, I asked her what it was she was playing and she said, "I don't know. It’s just something I wrote." It sounded really cool so we recorded a version of it and I filed it away. When I went back and started looking into the archives, I found it and decided to sing something over it. I wrote some words, sang it and it came out really cool. It’s something we did together and one of my favorite tracks on the album. </p> <p><strong>We’ve already mentioned a few memorable moments of your career. Are there any others that really stand out for you?</strong></p> <p>It would have to be the moment when I auditioned to join Stanley Clarke's band. I remember he put a sheet of music in front of me and I just started laughing. It was a funny moment. He asked me what I was laughing at and I told him that I hadn't read since I was a teenager. But then he sat down at the piano and proceeded to show me one of his songs and we spent the better part of the next three hours jamming together. </p> <p>Afterwards, I remember saying, "I know that there's no way I'm going to get this gig but it's been an honor to play with you and I just wanted to thank you for your time." I left and went to a concert that night and when I got home there was a message on my answering machine saying that I got the gig. </p> <p>That's a strong memory for me because it was so outside the realm of what I normally do. It educated me musically and I was really able to grow from the experience. </p> <p><strong><em>For more about Kotzen, visit <a href=""></a>.</em></strong></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href=""></a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="">Twitter @JimEWood.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/richie-kotzen">Richie Kotzen</a> </div> </div> </div> </fieldset> James Wood Richie Kotzen Interviews News Features Fri, 22 Aug 2014 14:52:06 +0000 James Wood John 5 Shows Off His Telecaster Collection and Discusses New Album, 'Careful with That Axe' <!--paging_filter--><p><em>This is an excerpt from the October 2014 issue of </em>Guitar World<em>. For the rest of this story, plus features on Stevie Ray Vaughan (a 60th-birthday bash!), Yes, the 60th anniversary of the Fender Strat, columns, tabs and reviews of new gear from TC Electronic, PureSalem Guitars, Martin, Seymour Duncan, Prestige Guitars and more, <a href=";utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=John5Excerpt">check out the October 2014 issue at the Guitar World Online Store.</a></em></p> <p>“It all starts when you get your first guitar for Christmas or your birthday,” John 5 explains. “You never know what that guitar is going to bring you. Is it going to bring you happiness or sadness, fortune or poverty?”</p> <p>In John’s case, that first guitar, acquired at the tender age of seven, has led to a stellar career as one of recent rock’s most admired and sought-after guitarslingers. He’s enjoyed high-profile stints with everyone from Marilyn Manson to David Lee Roth to k.d. lang to Lynyrd Skynyrd. </p> <p>Since 2005, he’s been guitarist-in-chief for Rob Zombie and is currently working on the score for Zombie’s newest horror flick, <em>31</em>. In the past decade, the man born John William Lowery has also emerged as a solo artist and all-around virtuoso guitar hero in his own right. He pioneered the now-popular, if unlikely, hybrid of shred guitar and wild country pickin’, and serves it up with his own twisted sense of campy goth panache. </p> <p>John’s newest solo album, his eighth to date, is called <em>Careful with That Axe</em> and features bassist Matt Bissonette (Joe Satriani, David Lee Roth, Elton John) and drummer Rodger Carter (Lita Ford, Gene Simmons, Glen Campbell). The album is packed with all the speed-demon riffology and feats of fretboard acrobatics that his fans have come to expect. “I wanted to make this record so intense,” he says. “You know, it’s a guitar record. It’s not like anything else. So I just wanted to make it absolutely insane. Really crazy playing.”</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p>The album’s title is a nod to Pink Floyd’s 1968 tour de force psychedelic jam “Careful with that Axe, Eugene.” But given the macabre side of John’s persona, he feels that the name has a special resonance in his case. “An axe is a guitar, obviously,” he says. “But the phrase ‘careful with that axe’ could also be about ax murders, and some of the song titles revolve around ax murders.”</p> <p>While his over-the-top playing style is always reckless and daring, John has indeed been careful with his ax, steering it from triumph to triumph amid the meltdown vicissitudes of the music business. And he’s especially careful with the axes in his legendary collection of mint-condition vintage Telecasters. </p> <p>“I’m a Telecaster connoisseur, and I love my Teles,” he says. “I have one from almost every year since the very beginning, in 1950. I’m so obsessed with them. I just really enjoy the history of Fender—the story of Fender and how it all came about. I have a collector’s soul.” </p> <p>For <em>Careful with That Axe</em>, John mainly stuck with his favorite contemporary Fender, a gold John 5 signature model Tele. “I’ve had that guitar for about six years now, and it’s just worn in beautifully,” he says. “I play it all the time. I didn’t use a lot of other guitars on the album just because we were playing everything live in the studio and just this one guitar gave me pretty much everything I needed. </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p>"I only used one Marshall JVM combo amp with a Boss Super Overdrive, Boss Noise Supressor and Boss Chorus. That’s pretty much what I use live too, when I’m playing with Zombie, and I wanted to have that vibe in the studio. I didn’t use a lot of gear this time because I just wanted to do everything with my hands. I went into this kind of like a boxer. I trained and trained, and I rehearsed quite a bit with Rodger and Matt. I think they both did a phenomenal job with this, just sounding out of control at times, but then pulling back on the songs that called for that.”</p> <p>The album reflects on John’s formative years as a guitar monster in training, starting with the opening track, “We Need to Have a Talk About John.” A chaotic collage of wild sounds and spoken-voice snippets, it sets the mood for what’s to come. “When my parents gave me that first guitar, I became totally obsessed,” John says. </p> <p><em>Photo: Sean Murphy</em></p> <p><em>This is an excerpt from the October 2014 issue of </em>Guitar World<em>. For the rest of this story, plus features on Stevie Ray Vaughan (a 60th-birthday bash!), Yes, the 60th anniversary of the Fender Strat, columns, tabs and reviews of new gear from TC Electronic, PureSalem Guitars, Martin, Seymour Duncan, Prestige Guitars and more, <a href=";utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=John5Excerpt">check out the October 2014 issue at the Guitar World Online Store.</a></em></p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-12%20at%203.40.45%20PM_1.png" width="620" height="806" alt="Screen Shot 2014-08-12 at 3.40.45 PM_1.png" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john5">John5</a> </div> </div> </div> </fieldset> John 5 October 2014 Interviews News Features Magazine Mon, 18 Aug 2014 16:28:08 +0000 Alan di Perna Dear Guitar Hero: Former Kiss Guitarist Bruce Kulick Talks Getting Shot, His Proudest Guitar Moments, Signature Guitar and More <!--paging_filter--><p><em>He’s a former Kiss guitarist from their makeup-free era in the late Eighties and early Nineties. But what </em>Guitar World<em> readers really want to know is…</em></p> <p><strong>What is the story behind your new Rock N’ Roll Relics guitar? — Michael Steadman</strong></p> <p>I was first introduced to Billy Rowe, the owner of Rock N’ Roll Relics, at the NAMM show, and I saw that he was very talented at taking vintage Gibson-style guitars and reliquing them. </p> <p>And it made me think immediately of my Les Paul Junior from the [1992] Revenge/Alive III tour. It was one of the most beat-up Les Paul Juniors ever. I got it at Guitars R Us on Sunset Boulevard, and we recorded with it a lot. Gene [Simmons] loved it. Kiss even rented it for [1998’s] <em>Psycho Circus</em>, because they wanted that sound. It had a humbucker in it—a Seymour Duncan JB—but there was just something about the mahogany body. </p> <p>It had “that sound.” So Billy from Rock N’ Roll Relics was the perfect person to make a copy of it. The new model has all the elements: a mahogany flat body and rosewood neck and a humbucker—an Antiquity JB, because obviously a new JB wouldn’t look really good in a reliqued guitar. Because this is a small company, we’re just doing this limited run of 25, and it’s available online [<a href=""></a>]. We’ve sold half of them already.</p> <p><strong>What do you consider your proudest guitar moment on record? — Chris</strong></p> <p>With Kiss, I think the solo in “Tears Are Falling” [from <em>Asylum</em>, 1985], which is melodic and tricky, and the acoustic solo on “Forever” [from <em>Hot in the Shade</em>, 1989], which shows another side of my style. And then something like “Unholy” [from <em>Revenge</em>, 1992], where I’m really balls to the wall in your face, using a wah-wah and distortion. I really got a chance to show the range of my playing during my Kiss years.</p> <p><strong>Do you think you, Vinnie [Vincent], Tommy [Thayer], Mark [St. John], Eric [Carr] and Eric [Singer] were cheated by not being inducted into the Rock and Roll Hall of Fame? — SFC Damion Thompson, U.S. Army</strong></p> <p>I’m totally unhappy with how the Hall of Fame handled this. We deserved to be inducted, and I know Gene and Paul’s intention was to present that argument to them, which according to Paul was a non-starter. I’m still extremely flattered that I’m related to a band that’s been inducted, and I certainly don’t have any issue with the fact that without the original four there would be no Kiss. But Kiss survived successfully for 40 years, and I know at least seven million records were sold with my name on them. So for the Hall to ignore that, I think that’s a travesty. </p> <p><strong>I saw you were recently married. Congratulations! I also saw that Gene and Paul were at your wedding. What do Gene Simmons and Paul Stanley give as wedding presents? — Henry McGee</strong></p> <p>I didn’t get an envelope or any gift from them that night, but technically, you have up to a year to give a gift. I kind of feel like there is something coming up that’s going to be a gift to me. Lisa and I, we’ve talked about it a few times, and them being there was a huge gift to me, and she felt the same way. </p> <p>Our history is very unusual: We fell in love four and a half years ago, but I did actually meet her backstage in 1986. She was there for a meet and greet, to see Paul Stanley, you know? I wasn’t involved with anybody, but I wasn’t necessarily looking to hit on any girl in a meet and greet that day. I find it kind of ironic that things have always centered around this Kiss connection, even with Lisa. So I’m just looking at the big picture of things. Gene and Paul’s gift is related to the respect that they show me. You can’t put a price tag on that. </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><strong>What was it like getting shot? — Billy Sing</strong></p> <p>One of the songs on BK3, the last solo record I put out four years ago, is called “I’ll Survive,” and it’s about that event. It was surreal. I was leaving the Key Club on Sunset Boulevard after seeing my buddy Brent Fitz, the drummer with Slash, who is playing with Vince Neil. It was about 1:20 in the morning. </p> <p>The shots came from a block and a half away, in front of the Rainbow Club. I couldn’t tell if it was a car backfiring or a gun shot. And then I got hit in the leg. It was as if someone was taking a hot poker and sticking it through your leg, but it happens so fast that you don’t know what the hell happened. My knee buckled, and I went down. What was weirder was that a ricochet bullet whizzed right by my ear and actually grazed my head. I heard the whistle from it as it went past. That was even more bizarre than having a bullet pass through my leg. </p> <p>But I was lucky. The bullet could have shattered my kneecap; instead, it went completely through muscle. The paramedics showed up über fast, and the guy asked me to move my toes, which I did. And he says to me, “You’re going to be fine.”</p> <p><strong>I read that your brother Bob tried out for Kiss before Ace got the gig. Did he help advise you on your audition process? — Chip Douglas</strong></p> <p>My brother’s acquaintance with the guys was a good thing, but I think it also took other people to mention my name to Gene and Paul. I actually wound up doing a little ghost guitar work for Kiss on Animalize, but I’m not credited. At the time, Mark St. John was playing lead. Paul asked me to play a solo, and he happened to say, “Don’t cut your hair.” </p> <p>I wasn’t aware that Mark was not going to be able to tour. [St. John was diagnosed with the arthritic condition Reiter’s Syndrome.] Then they asked me to kind of fill in on the tour, and that wound up becoming a 12-year stint in the band. Those people who go back and think, “Well, the first time I saw Kiss was in 1985”—if they’re not sure who it was, now it’s a matter of record: they saw me. Yay! </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><strong>When did you become aware that Ace and Peter would be rejoining the band? Were you nervous when they guested on Unplugged? — Lazlo Kovacs</strong></p> <p>I actually was happily ignorant to any behind-the-scenes talk of a reunion. I certainly didn’t think that <em>Kiss Unplugged</em> [1996] would be the catalyst to make it happen. We had recorded probably 75 to 80 percent of <em>Carnival of Souls</em> [released in 1997], and that’s when Gene and Paul had a meeting with Eric and me explaining that it was time for them to try this reunion and that it would only be for a year, but that they were going to take care of us—which they did. Kiss had to lose the makeup in the Eighties, because it just didn’t seem cool anymore. When they brought it back in 1996, it was the right time for it. But I didn’t really think anything like that was brewing behind the scenes. </p> <p><strong>Was the period after you left Kiss difficult for you, or were you ready to move on? — Phil Leech</strong></p> <p>It was difficult. To see the hoopla surrounding them putting the makeup on, and then hearing, “First concert, sold out, stadium in Detroit…” I was like, That’s it, no more Kiss for me! That reality was hard, and then it got even worse. Because by the time Carnival of Souls came out, it had already been bootlegged, and the copies were terrible. I was doing a clinic tour in Europe, and some friends of mine from the Kiss world were like, “Check it out, I got a bootleg of Carnival of Souls”—which obviously hurt. </p> <p>I had nine co-writes on it, so I didn’t want to hear about bootlegs. I think having <em>Carnival of Souls</em> kind of raped was more painful even than not being in Kiss. But from tough things in life, you hopefully really strap up your boots tightly and get going. And that’s what I did. I had my own band with John Corabi called Union, and I just forged on and never looked back really.</p> <p><strong>How did you get the gig in Grand Funk? You’ve been in the band for, like, 14 years now. — Dennis Maloney</strong></p> <p>I met [Grand Funk drummer] Don Brewer back in the days when I worked with Michael Bolton. Michael had just put out his first solo record [1983’s self-titled release], and we opened for Bob Seger. [At the time, Brewer was drumming for Seger’s Silver Bullet Band.] We got to party with the Seger guys and hang out with everybody. And I was always a Grand Funk fan, so it was like, Oh, my god, Don Brewer! So when Grand Funk went through its changes again after 1998, after the last time [guitarist] Mark Farner was involved, I was on the short list. You never know who you’re working with that even 20 years down the line could be relevant to your career.</p> <p><em>Photo: Angela Boatwright</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/kiss">Kiss</a> </div> </div> </div> </fieldset> Bruce Kulick Dear Guitar Hero Grand Funk Railroad Kiss September 2014 Interviews News Features Magazine Mon, 18 Aug 2014 15:43:56 +0000 Brad Angle Shut Up & Jam! Ted Nugent Talks New Album, Musical Influences, Gear and More <!--paging_filter--><p>Ted Nugent isn't one to keep his opinions to himself. </p> <p>His persona has made him a larger-than-life and polarizing media figure. Peel away the political opinions and you find the “Motor City Madman” who has been cranking out hits since his debut with the Amboy Dukes in 1967. </p> <p>The title of Nugent’s latest album, <em>Shut Up &amp; Jam!</em>, is more than just an album title. It's a mission statement. </p> <p><strong>GUITAR WORLD: It has been seven years since your last album, <em>Love Grenade</em>, was released. What made 2014 the right time to put out a new record?</strong> </p> <p>Wrapping up the greatest, most fun tour of my life in 2013 and then enjoying the greatest hunting season of my life with family and friends, it put me in such a wild-eyed, glowing, positive, happy place, that these songs simply erupted off my guitar neck unto themselves every time I cranked up the mighty Gibson Byrdland through my amps in the living room of our little Texas ranch house! Positive, uplifting motivation was everywhere. I am a very, very lucky guitar player. </p> <p><strong>Listening to <em>Shut Up &amp; Jam!</em>, it seems as though the album really encapsulates your personality. When you wrote for the new record, was that a conscious effort? </strong></p> <p>My musical adventure has a life of its own, mostly an out-of-body experience every time I grab a guitar. Because of the earthly lifestyle of my hunting, fishing, trapping, ranching, outdoor fun, I believe I escape the music totally when not actually playing it. I've never planned any song or any record. Being an addict of groove-oriented R&amp;B and rock and roll, my fingers immediately start dancing on the fretboard with variations of honky-tonk, boogie-woogie and every guitar lick you can imagine that I have absorbed throughout my music-drenched life. </p> <p>Licks just come, chords just come, lyrical cadence just comes and pretty much immediately, the lyrics themselves just come. I'd call my musical creativity is more subconscious than conscious.</p> <p><strong>Your guitar sound on the record is instantly recognizable as classic Ted Nugent, but still sounds fresh. Aside from the obvious Gibson Byrdland and Les Paul, what are you using on this record in terms of gear?</strong> </p> <p>A couple of my killer PRS's show up here and there, but the Byrdlands and Les Pauls mostly dominate through a new Peavey 50W and 6505 as well as a vintage Fender Bassman. I give a lot of credit to my cohort in soul music crime, Michael Lutz (producer and founding member of Brownsville Station), who has a very capable and demanding ear for those magical, original, classic, Lonnie Mack glowing tones.</p> <p><strong>How special is it after nearly 40 years to still be going into the studio with Derek and at the same time to work with friends like Sammy Hagar?</strong></p> <p>With the soul music masters of Derek St. Holmes, Mick Brown, Greg Smith, Jon Kutz, Johnny Bee Badanjek and Sammy Hagar, as well as Michael Lutz and Tim and Andy Patalan, the mighty Funkbrothers will live on in infamy as we carry the torch of the tightest, most fun garage band in the world. All my guys were raised on the magical grinding of black American blues and R&amp;B, so it is always a soul music orgy and celebration of the sounds and grooves that we all love and crave to reproduce. These guys are the best.</p> <p><strong>At 65 years young, you show absolutely no signs of slowing down. Do you see a point with the music industry where there might come a time to walk away?</strong></p> <p>I think we can all agree that the greatest philosopher of all times, Dirty Harry, said it best when he stated the ultimate guiding force for quality of life: "A good man has to know his limitations." </p> <p>And I figured that out many years before he made that statement. I rock ferociously hard every song, every gig, every night, every year for 50-plus years. As I approach my 6,500th ultra-rockout this summer, I attribute my longevity, overall health and youthful craving for the music to the definitive balance in my life that my hunting, outdoor and quality family time I orchestrate every fall and winter between tours. </p> <p>Such a quiet, down-to-earth lifestyle literally cleanses my soul, clears my head, relieves my ears and fortifies my spirit. My life is literally perfect. So no, I don't ever consider "the end" but am more than aware of its necessity when the conditions arrive.</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/ted-nugent">Ted Nugent</a> </div> </div> </div> </fieldset> John Katic Ted Nugent Interviews News Features Wed, 13 Aug 2014 19:45:59 +0000 John Katic Allman Brothers Band: Compilation Producer Bill Levenson Talks Deluxe '1971 Fillmore East Recordings' <!--paging_filter--><p><em>The Allman Brothers Band At Fillmore East</em> has been considered rock’s best live album since its 1971 release. </p> <p>Recorded March 12 and 13, 1971, at the New York club, the album captured the original Allman Brothers Band at the peak of their powers, playing with verve, grace, intensity and seemingly telepathic communication. </p> <p>Guitarists Dickey Betts and Duane Allman finished one another’s phrases, spun beautiful leads off each other’s riffs and prodded themselves to guitar heights that have rarely, if ever, been equaled.</p> <p>Over the years, different versions have been issued, including the expanded <em>The Fillmore Concerts</em>, but the holy grail for Allmans fans has been hearing the many unreleased tracks from the shows, mostly stemming from Friday, March 12, as most of the album was culled from the final night.</p> <p>A new deluxe set, <em>The 1971 Fillmore East Recordings</em>, delivers almost all of the music played by the Allman Brothers at the Fillmore East during these shows in great, remastered sound. The set consists of six CDs or three Blu-ray discs, which are mixed for Surround Sound and bring the band’s performance to a shimmering new life. </p> <p>Duane Allman famously invited several guests, including soprano saxophonist Juicy Carter, harmonica player Thom Doucette and percussionist Bobby Caldwell (the drummer from the headlining Johnny Winter And), to sit in, much to the consternation of producer Tom Dowd. Dowd convinced the band to banish the horns for the second night and chose different versions of songs or edited out most of the guests’ contributions, which can now be heard — and mostly prove Dowd’s point.</p> <p>The final performance captured on the collection came a few months later, on June 27, 1971, the closing show of the Fillmore East. It includes promoter Bill Graham’s entire, ecstatic introduction, which concluded with “We’re going to round it out with the best of them all, the Allman Brothers Band.”</p> <p>We spoke with compilation producer Bill Levenson about the release.</p> <p><strong>GUITAR WORLD: This set has been talked about for so long. Do you think it came out the same way it would have if you had done it any time in the last 20 years?</strong></p> <p>The main difference in the last year or two was the Blu-ray and Surround Sound. I don’t think we would have done that in the Nineties when we were first talking about it. I think that’s what doing it in 2014 brought us — a Blu-ray set.</p> <p>And I’m very excited about the Surround Sound. The goal was really to put the listener in the 10th row of the Fillmore, with everything in front of you and the reflections and the audience behind you. I grew up in New York and went into the Fillmore. It had a distinct sound, a fabulous sound, and you can feel the auditorium in any album recorded there. I was trying to recreate being in the Fillmore, and I do think we were able to capture the magic of what was in that hall.</p> <p><iframe src="" width="620" height="365" frameborder="0" allowtransparency="true"></iframe>”</p> <p><strong>Among other things, you finally brought us the sax stylings of Juicy Carter, which we’ve only been able to hear dabs of before. It’s really interesting but not hard to hear why Tom Dowd was upset about his sudden appearance during a recording.</strong></p> <p>Yes. What really made it work was just to find the place in the mix where it was forward but not too forward, dissonant but not too edgy. To be honest, there are moments where we buried him because he was went off in really dissonant tangents. It’s still there; you hear if you listen, but he’s been pulled back. During these times, he was playing two saxes at once — baritone and saxophone — and some of the playing gets really out there. </p> <p>It was really the magic of the fader.</p> <p><strong>This set scratched a lot of our itches, but a big one that remains is the first show, Thursday, March 11, which Tom Dowd said he recorded and which apparently featured a full horn section.</strong></p> <p>Thursday night is the blind spot for all of us. I’ve picked through the vaults hundreds of times, and there’s not even a hint of it existing, not even a reference somewhere. The only time it’s even mentioned is in a Tom Dowd interview, and he’s no longer with us to ask. But I am certain that there’s no tape, not even a tape that’s taped over … I just used everything we had.</p> <p><em>Alan Paul is the author of the best-selling book </em><a href=";camp=211189&amp;creative=373489&amp;creativeASIN=1250040493&amp;link_code=as3&amp;tag=alanpaulinchi-20">One Way Out: The Inside History of the Allman Brothers Band</a><em>. You can read an excerpt about the recording of </em>At Fillmore East<em> <a href="">here.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/allman-brothers-band">Allman Brothers Band</a> </div> <div class="field-item even"> <a href="/duane-allman">Duane Allman</a> </div> <div class="field-item odd"> <a href="/dickey-betts">Dickey Betts</a> </div> <div class="field-item even"> <a href="/gregg-allman">Gregg Allman</a> </div> </div> </div> </fieldset> Allman Brothers Band Interviews News Features Wed, 13 Aug 2014 17:34:49 +0000 Alan Paul Buckcherry Guitarist Keith Nelson Talks New EP, 'Fuck,' and His Gibson Collector’s Choice Les Paul <!--paging_filter--><p>Never a band to play by the rules, Buckcherry have made a career out of pushing the boundaries — and buttons — of conventional rock while doing things their own way. It’s a strategy that has paid off with successful studio albums and singles over the last decade. </p> <p>Buckcherry’s boldest and perhaps most controversial release to date might be <em>Fuck</em>, a new EP that unapologetically rattles the speakers as much as it will the censors. </p> <p>The new EP, which will be released August 19, consists of six hook-laden tracks that feature guitarist Keith Nelson’s gritty riffs and vocalist Josh Todd’s sharp-tongued lyrics — including an unconventional yet tasty spin on Icona Pop’s hit song “I Love It," which the band has (naturally) renamed “Say Fuck It."</p> <p>Buckcherry — Josh Todd (lead vocals), Keith Nelson (lead guitar), Stevie D. (rhythm guitar), Xavier Muriel (drums) and Kelly Lemieux (bass) — will soon team up with Godsmack, Seether and Skillet for this year’s Uproar Festival, which kicks off August 15 in Detroit, Michigan. </p> <p>Meanwhile, Nelson has contributed “Louis,” one of his original 1959 Les Pauls, to the Gibson Custom Shop, where the staff has painstakingly analyzed every detail of the guitar's look, sound and wear to create a near-perfect replica for Collector's Choice #17. You can see a photo of Gibson's version of the guitar in the gallery below.</p> <p>We recently caught up with Nelson to discuss the new EP and the process behind the making of his “new” Les Paul.</p> <p><strong>GUITAR WORLD: How does a project like <em>Fuck</em> begin?</strong></p> <p>Even before our last record [<em>Confessions</em>], we had been toying around with the idea of doing an EP. It just kept creeping back, and this was finally the right time to do it. The concept was pretty straightforward. It started out with just a bunch of guys sitting on the tour bus saying, "Hey, wouldn't it be cool to do an album called <em>Fuck</em> and have every song on the album have ‘fuck’ in it?” [laughs]. Then after all of the laughter died down, we just said, "Yea, why not? Let's do it!" </p> <p><strong>How would you describe the sound of the EP?</strong></p> <p>It’s raw, guitar-driven rock and roll. We recorded most of it live to tape in my living room studio, so it’s very analog. All of these songs were written with the five of us standing around in a circle looking at each other, and I really wanted the recordings to convey that live-sounding vibe.</p> <p><iframe src=";auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true" height="450" width="100%" frameborder="no" scrolling="no"></iframe></p> <p><strong>Can you tell me a little about the writing process?</strong></p> <p>After we had finished working on <em>Confessions,</em> I was still writing and collecting ideas. Then as the tour began to wind down, I started demoing up those ideas and gave them to Josh. Whenever we found ourselves having a few days off, we would all get together in a room and work out the songs. Lyrically, the responsibility for injecting "fuck" into every song came down to Josh. And, of course, he was up to the task! [laughs]. </p> <p><strong>What made you decide to do a take on Icona Pop’s “I Love It”?</strong></p> <p>That was Josh’s idea and was actually the first song we did. Josh listens to a lot of pop radio and when he heard that song, he said "Man, we could really put our own spin on that thing!” He then put it to me to make it sound more like us. So I made it a bit more exciting for guitar players.</p> <p><strong>What can you tell me about the song “The Motherfucker”?</strong></p> <p>That one is straight-up, vintage Buckcherry. As a guitar player, it's a riff in "A." It happened more out of a jam. Once Josh started singing, we all just started jamming on it.</p> <p><strong>How did your recent relationship with Gibson come about?</strong></p> <p>Gibson’s been doing what's known as a Collector's Choice Series. It’s where they find the owner of an original 1959 Les Paul and then go to great lengths to recreate the guitar. I'm fortunate enough to be the owner and player of one of those guitars, so when my name came up, Gibson asked me if they could do it. I supplied my guitar, and they put it through a series of intensive scannings and 3D computer imaging. Basically, they made a replica of the real thing. It's crazy how accurate they got most of it.</p> <p><strong>What first attracted you to vintage guitars?</strong></p> <p>From the moment I started playing guitar, I’ve known that used ones were always less expensive than the new ones. But one day, I happened across a music store where the guy behind the counter was telling me all about how much better the older guitars sounded. Then I started looking around at all of my heroes — Jimmy Page, Paul Kossoff and Joe Perry. All of them were playing the old ones. I got the bug early on and have been collecting for more than 20 years. </p> <p>At one point, I traded the majority of my collection for my first real 1959 Sunburst Les Paul. Then once I got that first one, I had to find one that was a little bit better. Eventually, I found the one that was perfect for me. I've had the guitar for a number of years now. It's called "Louis," and it's the one Gibson recreated.</p> <p><strong>In your opinion, what makes vintage instruments so much better?</strong></p> <p>“Better” is in the eye of the beholder but for me, there’s something magical going on with the age of the wood, the magnets, the wires and the finish. All of that goes together in a way that you really can't explain. When you're got it in your hands, you just know it. I still take Louis on the road with me and play him every night. I can actually play the entire set with it and it will not go out of tune. It's crazy how great that guitar is.</p> <p><strong>Besides Louis, what else is in your live setup?</strong></p> <p>I've got a few other vintage guitars out here with me now. I've got a 1957 Les Paul Junior that I use for all of the open-tuning stuff I do. I’ve also got a '54 Jeff Beck Les Paul Oxblood re-issue from Gibson, which is another phenomenal guitar. Amp-wise, I'm using a 1971 50-watt Marshall. I use the newer Marshall stuff when we travel abroad, but here in North America, I'm driving around with a couple of old heads and guitars. You know, just some old junk! [laughs].</p> <p><strong>Growing up, what inspired you to start playing?</strong></p> <p>I started out as a drummer and around age 17 made the switch to guitar. I got a little bit of a late start, but my original goal was to play guitar to write songs.</p> <p><strong>Speaking of songs, can you tell me the origin of “Crazy Bitch”?</strong></p> <p>Writing "Crazy Bitch" was the best five minutes of my life [laughs]. I remember Josh called me up one day and said, "Hey, I've got this song idea!” So he sings the chorus to me and says, "It just needs to have some funky music with some space in it. Do your thing!" So I sat down with a drum machine and a four-track recorder and came up with the music. The next day, Josh came in and I said, "Sing it over this!" He listened to what I wrote and said, "That's fucking awesome!" Then he sang the lyrics on the spot. Literally, it took five minutes. You can't plan for stuff like that. It just kind of happens — and I'm glad it did.</p> <p><strong><em>For more about Buckcherry, visit <a href=""></a> and follow them on <a href="">Facebook.</a></em></strong></p> <p><strong><em>For more about Gibson's Collector’s Choice #17 guitar, visit <a href=""></a></em></strong></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href=""></a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="">Twitter @JimEWood.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/buckcherry">Buckcherry</a> </div> </div> </div> </fieldset> Buckcherry Gibson James Wood Keith Nelson Interviews News Features Tue, 12 Aug 2014 17:09:56 +0000 James Wood Graham Nash on 'CSNY 1974' and Watching Stephen Stills and Neil Young Battle <!--paging_filter--><p>Between July 9 and September 14, 1974, David Crosby, Stephen Stills, Graham Nash and Neil Young played 31 shows on a tour that took them through the U.S. and up into Canada, touching down for a grand finale at London’s Wembley Stadium. </p> <p>Over the 40 years since then, it’s been the over-the-top excesses of what Crosby dubbed “The Doom Tour” that made up most of the memories of those shows. Mention “CSNY” and “summer of 1974” and you would get wild tales of prodigious quantities of dope, Learjets and hotel pillowcases across the continent embroidered with the band’s logo … and not a whole lot about the music.</p> <p>But now we have <em>CSNY 1974</em>, a 3CD/1DVD set (co-produced by Graham Nash and über-archivist Joel Bernstein) that serves as a powerful reminder, all the weirdness aside, of the amazing music this quartet created. Backed by Tim Drummond (bass), Russ Kunkel (drums) and the late Joe Lala on percussion, Crosby, Stills, Nash &amp; Young played their asses off that summer — and <em>CSNY 1974</em> is the proof. </p> <p>I recently had a chance to spend some time with Nash in New York City, talking about the new box set and standing in the line of fire of some epic Young/Stills guitar battles.</p> <p><strong>GUITAR WORLD: As a guitarist, what’s it like to play alongside Neil Young and Stephen Stills?</strong></p> <p>I’m constantly reminded that I’m no Neil Young or Stephen Stills. [laughs]</p> <p><strong>Who is? [laughter] How have they influenced you?</strong></p> <p>Not much, really. I still play the same basic three chords, you know. And there’s David Crosby: When we rehearse my songs, it only takes about 10 seconds; when you’re rehearsing one of David’s songs, you’re there for days. He’s much more jazz-influenced than I was.</p> <p>I enjoy jazz. I came here in 1966 and went to the Village Gate to watch Miles Davis. I saw Gerry Mulligan and Mingus, you know, but … I’m a very simple man. I know, I wrote that song and it’s true. I want to get your attention right from the beginning. I’m not interested in you trying to figure out four choruses later what the fuck I’m talking about. I want to get you from the first line.</p> <p><strong>How would you describe Stephen’s guitar playing compared to Neil’s?</strong></p> <p>They're very different, not only sonically, but different in style, as well. Stephen is much more blues-based and Neil is more … “experimental” isn't the right word … “futuristic” isn't the right word …</p> <p><strong>I’ve used the word “angular” at times to describe Neil’s playing</strong></p> <p>That’s a good word, yeah. To me, Neil’s one of the great guitar players in the world. They both are, and to stand in the middle of that shit and watch these two longhorn stags — “Hey, I’m playing this.” “Oh, yeah, motherfucker? Well check this out!” “Oh, really?” — it’s very interesting as a musician. I can't look at them from the point of view of being a guitarist as I’m an incredibly simple guitar player. I hardly know what I’m doing. </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><strong>Stop it.</strong></p> <p>I’m not kidding. I know enough to write for myself and express myself in my songs, but it's not like anyone’s going to look to me to learn how to play guitar. But Stephen and Neil are really geniuses at what they do.</p> <p><strong>Well, you’ve had the best seat in the house to observe them for 45 years. Have you ever been in the middle of one of those longhorn stag moments you just described and felt … concerned by the aggressiveness?</strong></p> <p>Oh, yeah. Not concerned physically for them, but just concerned for, “Where the fuck does it go from here?” There are always crests and shallow parts of the wave — there should be in a solo — but there have been times when I’ve thought, “How do we get out of this? This is interesting …” But something happens, and they’re able — with body language and looks in the eyes — to convey exactly where we’re supposed to be going.</p> <p><strong>Convey to everybody.</strong></p> <p>Yeah, and then apply that to, say, Russell Kunkel, back behind the drums on that tour in ‘74. Russell couldn’t see our eyes; he simply knew where it was going. I think that’s one of the things the <em>CSNY 1974</em> box set shows: just how good those musicians were to follow someone they weren’t looking at. </p> <p><strong>Knowing that you might have played the same song last night, but tonight’s arrangement is something totally different.</strong></p> <p>That’s right. Very often it was. But on the other hand, it's just music. And if you’re listening, you can figure it out, you know?</p> <p><strong>You keep making things sound simple...</strong></p> <p>It's stood me well so far. [laughter]</p> <p><em>A former offshore lobsterman, Brian Robbins had to wait a good four decades or so to write about the stuff he wanted to when he was 15. Today he’s a freelance scribe, cartoonist, photographer and musician. His home on the worldwide inner tube is at <a href=""></a> (And there’s that <a href="">Facebook</a> thing too.)</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/neil-young">Neil Young</a> </div> </div> </div> </fieldset> Brian Robbins CSNY Graham Nash Neil Young Stephen Stills Interviews News Features Mon, 11 Aug 2014 21:15:36 +0000 Brian Robbins Buzz Osborne of The Melvins Discusses 'The Who Sell Out' — The Record That Changed My Life <!--paging_filter--><p><strong>The Who</strong><br /> <em>The Who Sell Out</em> (1967)</p> <p>The band that changed my life was the Who. </p> <p>It’s hard to pick just one album, but if I had to pick the one that really showed me how things could be done, it’s <em>The Who Sell Out</em>. They really went to town on that, doing something that no one had ever done before. </p> <p>That album has the song ‘I Can See for Miles,’ which really put the hooks in me. <em>The Who Sell Out</em> is still weird now! Nobody does anything that cool today. It’s great and goes all over the map, musically speaking. And I don’t even think it was a big hit back then, unfortunately.</p> <p>I remember talking to the guitar player in the Stooges, Ron Asheton, about what bands he liked as a kid, and he said one of the main things for him was seeing the Who open for Herman’s Hermits in the mid Sixties when they destroyed all their gear. In order to be that weird now to middle America, I don’t know what you’d have to do. </p> <p>The Who really opened my eyes, and I’ve continued to love their stuff ever since.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/who">The Who</a> </div> </div> </div> </fieldset> Buzz Osborne July 2014 The Melvins The Record that Changed My Life The Who Interviews News Features Magazine Mon, 11 Aug 2014 20:09:14 +0000 Buzz Osborne Josh McClorey of The Strypes Discusses Elvis Costello's 'My Aim Is True' — The Record That Changed My Life <!--paging_filter--><p><strong>Elvis Costello</strong><br /> <em>My Aim Is True</em> (1977)</p> <p>I chose this record not so much for the guitar playing—well, a little bit for the guitar playing—but just for the songwriting, and how you can really write punk rock and roll tunes while still being intelligent about it. </p> <p>Costello just hit me like a ton of bricks when I got into him. His lyrics blew my mind when I first heard them. And that record is so great because it’s so raw; it’s like a real snapshot of where he was at the time. </p> <p>There’s not a bad tune on there, not even a mediocre one. They’re very catchy tunes, but very punky and just really angry, but also with really intelligent lyrics. </p> <p><em>My Aim Is True</em> was a huge influence on our first record. We all really love rhythm and blues and the immediacy of it—that sort of ballsy thing—but I also really love melodies; I’m a huge fan of Scott Walker and all those big-sounding Sixties records with beautiful melodies. Costello seemed to just get it right in the middle.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Elvis Costello Josh McClorey July 2014 The Record that Changed My Life the Strypes Interviews News Features Magazine Mon, 11 Aug 2014 20:00:18 +0000 Josh McClorey Guitar World's 2014 Summer Tour Survival Guide — with Avenged Sevenfold, Trivium, Morbid Angel and More <!--paging_filter--><p><em>In this feature from the August 2014 issue of <em>Guitar World</em>, the guitarists of Avenged Sevenfold, Morbid Angel, Trivium and other metal acts tell how they'll beat the heat and tame the crowds on the season's biggest tours.</em></p> <p><strong>For the entire story and more, <a href=";utm_medium=article&amp;utm_campaign=MayVideosPage">check out the August 2014 issue of Guitar World at our online store.</a> The issue also is available at newsstands everywhere.</strong></p> <hr /> <p><em><strong><a href="">Stray From The Path Guitarist Tom Williams — WARPED TOUR</a></strong></em></p> <p><strong>Your sweatiest concert ever?</strong> </p> <p>It was at this place called the Nile Underground in Arizona. It was a room that holds about 250 people, but there were about 400 people there. It was so hot that I sweated into my pickups and they shorted out. Back then I didn’t have a backup guitar, because I couldn’t afford one. </p> <p><strong><a href="">Read the full interview here.</a></strong></p> <hr /> <p><em><strong><a href="">Avenged Sevenfold Guitarist Synyster Gates — MAYHEM FEST</a></strong></em></p> <p><strong>Considerations when playing an outdoor show versus an indoor show?</strong></p> <p>Nothing at all. We just go out there and have a lot of fun. I mean, the only time you’re ever worried about anything is if there are extreme elements, like rain or crazy wind. </p> <p><strong><a href="">Read the full interview here.</a></strong></p> <hr /> <p><em><strong><a href="">Trivium Guitarist Matt Heafy — MAYHEM FEST</a></strong></em></p> <p><strong>One item you’ll carry with you at all times this summer?</strong></p> <p>Me and some of our crew guys have trained and learned jiu-jitsu. So my 10-by-10 jiu-jitsu mats, my gi and my yoga mat—those are the essentials. </p> <p><strong><a href="">Read the full interview here.</a></strong></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><em><strong><a href="">The Faceless Guitarist Michael Keene — SUMMER SLAUGHTER</a></strong></em></p> <p><strong>Your sweatiest concert ever?</strong></p> <p>Two shows come to mind. The first one was in Paris, France. I have no idea why it was so hot in this venue, but it was a sold-out show and we were headlining, so we had a long set to play. It was just miserable. The other one was Emo’s outdoor stage in Austin, Texas. It just traps heat. It was so hot, I thought I was going to pass out, and at one point my vision starting blurring. It was tough.</p> <p><strong><a href="">Read the full interview here.</a></strong></p> <hr /> <p><em><strong><a href="">Stray From The Path Guitarist Tom Williams — WARPED TOUR</a></strong></em></p> <p><strong>Considerations when playing an outdoor show versus an indoor show?</strong></p> <p>Sound good, obviously. We ended up going out and hiring a sound guy for this tour, because we know from playing a couple of festivals that performing outside is completely different from playing in clubs. You definitely have to make some adjustments. </p> <hr /> <p><strong><em><a href="">Darkest Hour Guitarist Mike Schliebaum — LOLLAPALOOZA</a></em></strong></p> <p><strong>Your sweatiest concert ever?</strong></p> <p>The hottest I remember it being onstage was at the 2004 Ozzfest in Albuquerque, New Mexico. I think it may have been 106 or 107 degrees. All I know was it felt like playing on the surface of the sun. We were new to outdoor touring at that time and totally unprepared. I remember after that show, all the white ink in my tattoos raised up because of the sunburn I got that day. </p> <p><strong><a href="">Read the full interview here.</a></strong></p> <p><strong>More interviews coming soon! Stay tuned!</strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-06-18%20at%209.59.57%20AM.png" width="620" height="806" alt="Screen Shot 2014-06-18 at 9.59.57 AM.png" /></p> 2014 Summer Tour Survival Guide August 2014 Interviews News Features Magazine Fri, 08 Aug 2014 15:36:16 +0000 Sammi Chichester, Jeff Kitts