Jimi Hendrix http://www.guitarworld.com/taxonomy/term/313/all en LA Sessions: 14-Year-Old Guitarist Ray Goren Talks New EP and Working with Jimi Hendrix Producer Eddie Kramer http://www.guitarworld.com/la-sessions-14-year-old-guitarist-ray-goren-talks-new-ep-and-working-jimi-hendrix-producer-eddie-kramer <!--paging_filter--><p>Fourteen-year-old guitarist Ray Goren describes <em>LA Sessions</em>, his new EP, as a unique mixture of everything from Jimi Hendrix to Stevie Wonder. Considering the fact that Hendrix’s producer, Eddie Kramer, worked on the EP, it’s hard to argue.</p> <p>Goren’s guitar journey is slightly different from that of most players. He started out on keyboards, playing songs by Thelonious Monk, J.J. Johnson and Miles Davis as early as age 5. </p> <p>But it wasn’t until a few years later while searching YouTube that he stumbled upon a video clip of B.B. King, Eric Clapton, Jeff Beck, Buddy Guy and Albert Collins performing together. That’s when the fuse was lit, and Goren has never looked back.</p> <p>Kramer, who "discovered" Goren, has a resume that includes such giants as Led Zeppelin and Kiss. The legendary producer/engineer was so impressed with Goren that he produced <em>LA Sessions</em> himself and even enlisted some other musical heavyweights, including drummer Able Laboriel, Jr. (Paul McCartney) and bassist Paul Bushnell (Tim McGraw) to lend a hand.</p> <p>With guitar prowess that extends well beyond his 14 years, Goren is an explosive live performer. I recently got the chance to speak with Goren about his new album. </p> <p><strong>GUITAR WORLD: How exciting was it for you to get to work with Eddie Kramer?</strong></p> <p>Oh man, where do I even begin? [laughs]. Eddie is just unbelievable at what he does. He’s truly a master of sound and a very down-to-earth, humble guy.</p> <p><strong>How did you meet Eddie?</strong></p> <p>I was playing at a club and Eddie just happened to be there. I remember when I got off the stage he came up to me and we started to talk. At first, I didn’t even realize who I was talking to. Turns out, he was Eddie Kramer and I was like, “Oh, wow!” [laughs]. We ended up talking about music for a while and things just blew up from there.</p> <p><strong>Did he let you in on any Jimi Hendrix secrets?</strong></p> <p>He told me a few Jimi stories but nothing I can tell out loud [laughs]. It’s all kind of secretive. He did show me some pictures he had of Jimi, the Beatles, the Rolling Stones and Kiss, and for each picture he had a little story to go along with it. It was a really cool music history lesson.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/_D6iIaE-dTU" frameborder="0" allowfullscreen></iframe></p> <p><strong>What’s your songwriting method?</strong></p> <p>I don’t write by riffs at all. Usually I’ll write on piano. When I write, I’ll write chords first and then a melody and then the lyrics come last. For the song “Memories,” I had these chords I had worked out on the keyboard. As I was sitting there writing the melody, the lyrics just sort of flowed out of my mouth, and that’s what I ended up singing. It just kind of happened. Most of my songs just come spontaneously.</p> <p><strong>Can you tell me a little about the message behind your video for “Stop Waiting”?</strong></p> <p>I normally don’t like to talk about what my songs are about, but there was a teen who was shot and killed and I just remember thinking to myself, “Dang, what’s his mom going to think when she finds out that her son got killed by a gun?” I wondered if there was something I could do about it, other than just sitting down and shaking my head. </p> <p><strong>What was the moment you realized you wanted to be a guitarist?</strong></p> <p>I grew up playing piano and a few other instruments. But then I saw a video of B.B. King, Buddy Guy, Albert Collins and Eric Clapton — all playing together on the same stage! Man, from that point on I just remember thinking, “OK, forget about all of these other instruments. I’m a guitar player now!” [laughs].</p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href="http://gojimmygo.net/">GoJimmyGo.net</a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="https://twitter.com/JimEWood">Twitter @JimEWood.</a></em></p> http://www.guitarworld.com/la-sessions-14-year-old-guitarist-ray-goren-talks-new-ep-and-working-jimi-hendrix-producer-eddie-kramer#comments Eddie Kramer James Wood Jimi Hendrix Ray Goren Interviews News Features Mon, 14 Jul 2014 18:03:59 +0000 James Wood http://www.guitarworld.com/article/21820 Andre Benjamin Stars as Hendrix in 'Jimi: All Is By My Side' Trailer — Video http://www.guitarworld.com/andre-benjamin-stars-hendrix-jimi-all-my-side-trailer-video <!--paging_filter--><p>As we've reported several times, Outkast's André Benjamin (a.k.a. André 3000) will star in a new Jimi Hendrix biopic called <em>Jimi: All Is By My Side</em>.</p> <p>Even though the film won't hit theaters till the fall, you can check out the film's first official trailer below.</p> <p>The film, which was written and directed by <em>12 Years a Slave's</em> John Ridley, focuses on the period from 1966 to '67, leading up to Hendrix's performance at the Monterey Pop Festival.</p> <p>The trailer clearly shows Benjamin playing guitar, and the film's soundtrack album will include Benjamin's own versions of songs Hendrix covered during his career. However, as you'll notice, the film doesn't feature any actual Hendrix music (which seems like a major snag to us).</p> <p>In an interview with <em>Rolling Stone</em> earlier this year, Ridley discussed Benjamin's preparation for the role.</p> <p>"André came out to L.A. in January 2012 and worked with me through April on all aspects of Jimi, from watching video of him to working with a vocal coach to getting as slim and slender as Jimi was at that time period," Ridley said. "He didn't just work on playing the guitar, but playing the guitar left-handed. . . . He gave that performance because he wanted it. It was never going to be a Vegas lounge act. It was always going to be about getting to an emotional honesty with this character, and I cannot say enough about what André did."</p> <p>Be sure to let us know what you think in the comments or on Facebook!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/S-KPOxqMazI" 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="/jimi-hendrix">Jimi Hendrix</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/andre-benjamin-stars-hendrix-jimi-all-my-side-trailer-video#comments Andre 3000 Jimi Hendrix Videos News Mon, 07 Jul 2014 15:50:39 +0000 Damian Fanelli http://www.guitarworld.com/article/21740 Stevie Ray Vaughan, Steve Vai, Yngwie Malmsteen, Slash and More Play "The Star-Spangled Banner" — Video http://www.guitarworld.com/video-eight-solo-guitar-versions-star-spangled-banner <!--paging_filter--><p>Happy Independence Day, everyone!</p> <p>In honor of this week's holiday, I originally — and simply — wanted to share a grainy, vintage video of my all-time favorite guitarist, Stevie Ray Vaughan, performing "The Star-Spangled Banner" in ancient times. </p> <p>But then I noticed Steve Vai's particularly awesome version of the song ... and Yngwie Malmsteen's recent version ... and Eric Johnson's version — and then I found versions by Slash and Dave Mustaine ... and, of course, there's the granddaddy of them all, Jimi Hendrix at Woodstock.</p> <p>So I figured the more, the merrier! I could've kept on going (There's always Cliff Burton's version, and a commenter mentioned Neal Schon), but I think eight versions of the same song gets the point across, and this represents a nice mix of styles. </p> <p>Feel free to compare and contrast!</p> <p>Happy holiday! </p> <p><strong>TED NUGENT</strong></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/NepNJO2nwU0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>STEVE VAI</strong></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/tyCRSZjtYBI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>YNGWIE MALMSTEEN</strong></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/anWu1WUwnSk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>SLASH</strong></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/hKco_PvmUHw" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>DAVE MUSTAINE</strong></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/D8GHCpjlpwY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>ERIC JOHNSON</strong></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/rCKCbdLxBoQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>STEVIE RAY VAUGHAN</strong> <em>NOTE: This one needs to be edited!</em></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/UnyvPZSvLW8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>JIMI HENDRIX</strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/i0WG-ZUUOsg" frameborder="0" allowfullscreen></iframe></p> <p><em>Damian Fanelli is the online managing editor at Guitar World.</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="/ted-nugent">Ted Nugent</a> </div> <div class="field-item even"> <a href="/eric-johnson">Eric Johnson</a> </div> <div class="field-item odd"> <a href="/jimi-hendrix">Jimi Hendrix</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/video-eight-solo-guitar-versions-star-spangled-banner#comments Damian Fanelli Dave Mustaine Eric Johnson Jimi Hendrix Slash Steve Vai Stevie Ray Vaughan Ted Nugent Zakk Wylde Blogs News Thu, 03 Jul 2014 15:47:11 +0000 Damian Fanelli http://www.guitarworld.com/article/11505 Essential Listening: 10 Great Fuzz Guitar Songs http://www.guitarworld.com/essential-listening-10-great-fuzz-guitar-songs <!--paging_filter--><p>Musicians can still be a little fuzzy when it comes to describing the sound of fuzz. </p> <p>Some guitarists will tell you it sounds like a 2,000-pound bee trapped in a sturdy metal box — perhaps with a potentiometer installed somewhere behind the wings. And while many fuzz guitar tunes and tones did (and do) make the most of the original fuzz "buzz" sound, fuzz actually has many facets, many sides, many fuzz faces, if you will.</p> <p>Here are 10 songs — compiled by several members of the <em>Guitar World</em> staff — that we feel represent a wide spectrum of fuzz sounds and cover a lot of stomping ground. These songs are presented in no particular order. I repeat: These songs are presented in no particular order!</p> <p>If you want to track down any of these tracks, you'll find all 10 original album covers in the photo gallery below.</p> <p>For more fuzz box info, check out Chris Gill's <em>Guitar World</em> feature on <a href="http://www.guitarworld.com/how-buy-fuzz-box-guide-first-time-buyer">"How to Buy a Fuzz Box: A Guide for the First-Time Buyer."</a> And if you've still got stompbox fever, check out our guide to <a href="http://www.guitarworld.com/mass-effect-top-50-stomp-boxes-devices-and-processors-all-time">"The Top 50 Stomp Boxes, Devices and Processors of All Time."</a> Enjoy!</p> <p><strong>The Ventures, "The 2000 Pound Bee"</strong></p> <p>Let's start at the beginning, namely "The 2000 Pound Bee," a 1962 track by the Ventures, the best-selling instrumental band of all time. While no one (including us) wants to make the claim that this is <em>the</em> first song to feature intentional fuzz guitar (as in, fuzz as the result of an effect pedal, as opposed to a busted speaker cone), it is commonly accepted to be exactly that (Although we must mention that it's not necessarily true). The Ventures were always ahead of the curve when it came to weird effects, as best demonstrated by their very "out there" 1964 album, <em>The Ventures In Space</em>. That's Nokie Edwards playing the fun, fuzzy riff, by the way. </p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/U9UI92m77bY" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>The Yardbirds, "Heart Full of Soul"</strong></p> <p>And to think these guys originally tried to play this classic guitar riff on a sitar! Seriously, why bother? Jeff Beck's tone on this mid-1965 hit single pretty much exemplifies the still-much-sought-after mid-'60s "fuzz" and/or "buzz" tone. Oddly enough, Beck used a fuzz box to recreate the tone of a sitar, the very instrument that didn't cut it in the first place. Beck is playing an MKI Tone Bender pedal on this track. </p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/HXKE13PZz6c" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>The Doors, "When the Music's Over"</strong></p> <p>Back to California we go, with the Doors' 11-minute-long "When the Music's Over," a standout track from 1967's <em>Stange Days</em>. "Fuzz distortion was all we had," Doors guitarist Robby Krieger has said in past interviews. "We didn't have overdrive on our amps." In a <em>Guitar Player</em> magazine interview, he added that the fuzz was created by recording direct and cranking the gain/overdriving tube input on the mixing board. Regardless of how he achieved the fuzz tone on this track, it is beautiful, bizarre and creepy all at once!</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/YkKRU1ajKFA" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>Iron Butterfly, "In-A-Gadda-Da-Vida"</strong></p> <p>Let's stay in the '60s a bit longer with an extended visit to the garden of life, aka "In-A-Gadda-Da-Vida" from Iron Butterfly's super-psycho 1968 album of the same bizarre name. Yes, that sentence was a mouthful — and this 17-minute-long track is an earful of pretty much every late-'60s psychedelic-rock cliche. You have the lengthy drum solo, the spooky church-organ-style keyboards, the arguably meaningless lyrics and, of course, the fuzz guitar. This time, the fuzz is courtesy of an original Mosrite Fuzzrite — and teenage guitarist Erik Braunn. For more about the Fuzzrite, <a href="http://www.generalguitargadgets.com/projects/73-fuzz-tones/257-mosrite-fuzzrite">check out this site.</a></p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/UIVe-rZBcm4" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>The Guess Who, "American Woman"</strong></p> <p>Don't worry — we'll return to '60s (We have to; we haven't mentioned Jimi Hendrix and his Fuzz Face yet). However, let's take a brief detour to early 1970, and up north to lovely Canada, home of the Guess Who, a band that scored a major hit with this tune about women from "south of the border." The song is noteworthy for Randy Bachman's unique, creamy, sustaining, neck-pickup tone (or "cow tone," as Ozzy Osbourne might say). For more about Bachman's adjective-laden "American Woman" tone (and how it came to be that way), <a href="http://randysvinyltap.com/phpBB3/viewtopic.php?f=5&amp;t=29">check out this website.</a> </p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/gkqfpkTTy2w" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>Jimi Hendrix, "Foxy Lady"</strong></p> <p>You knew this was coming! "Foxy Lady" — or pretty much any track from Jimi Hendrix's debut album, <em>Are You Experienced?</em> — is a prime example of Hendrix playing his Fender Strat through a <a href="http://en.wikipedia.org/wiki/Fuzz_Face">germanium Fuzz Face pedal</a> (a Fuzz Face using germanium transistors.) Most germanium pedals simply reflect the qualities of a vintage tube amp, but in super-cranked mode, providing a warm sound when the speaker breaks up. It's a "rounder" distortion, as heard on "Foxy Lady." It's not at all what you hear on the Yardbirds' "Heart Full of Soul" or "Over Under Sideways Down." These days, Jim Dunlop makes a faithful reproduction of a slightly-later Hendrix pedal — his 1969/'70 <a href="http://en.wikipedia.org/wiki/Dallas_Arbiter">Dallas Arbiter</a> Fuzz Face, which was built around a BC108 silicon transistor. For more about the new Hendrix Fuzz Face, <a href="http://www.jimdunlop.com/product/jhf1-jimi-hendrix-fuzz-face">head here.</a></p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/2SXVOkJTSTs" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>Jeff Beck, "Beck's Bolero"</strong></p> <p>Yes, it's Jeff Beck again, this time as a solo act, still fuzzing away. "Beck's Bolero" — released in March 1967 — was the B-side of Beck's first single, "Hi Ho Silver Lining" (which features the mop-topped guitarist on vocals — a true rarity). The brief but powerful instrumental features Beck and Jimmy Page on guitar (Beck on lead, of course), John Paul Jones on bass, Nicky Hopkins on piano and Keith Moon on drums. It was recorded in mid-1966, before there was a Led Zeppelin — and before Beck had even left the Yardbirds. Although we'll try to verify this the next time we speak to Beck, it is widely believed he used a Mk.II/Supa Fuzz pedal on this song. </p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/nmO0OZC6Ifk" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>Smashing Pumpkins, "Cherub Rock"</strong></p> <p>We haven't mentioned the Big Muff yet! Enter "Cherub Rock" by Smashing Pumpkins, a killer song in general and a perfect example of the sound of an early Big Muff. The rest of the Billy Corgan's recording chain is most likely a Strat and a Marshall amp; but the Big Muff is doing the talking here.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/q-KE9lvU810" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>Beastie Boys, "Sabotage"</strong></p> <p>Here's a curve ball for you, direct from New York City! It's "Sabotage" by the Beastie Boys, which makes this list on the merits of its fuzz bass sound, which is absolutely killer — and nearly as cool as the song's mustache-heavy music video. As heard in other fuzz-bass-centric tunes, including the Beatles' "Think for Yourself," the bottom end gets a bit lost, but the gains (no pun intended) are many. The bass was played through a Black Cat Superfuzz unit, which was based (again, no pun ...) on a 1970s Univox Superfuzz. Like its inspiration, the Black Cat truly pounces and shrieks! Insert your own cat-related puns here. </p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/z5rRZdiu1UE" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>The Rolling Stones, "(I Can't Get No) Satisfaction"</strong></p> <p>We'll wrap things up with a classic from 1965: "(I Can't Get No) Satisfaction" by the Rolling Stones. The famous fuzz riff with the almost-trombone-like tone is played by the maestro, Keith Richards, who happens to be playing through a Maestro Fuzztone FZ-1, a pedal made by Gibson/Norlin. The Maestro, which had a tone and fuzz potentiometer, plus a push on/off footswitch, was probably the best-known early commercial distortion circuit. The massive success of "Satisfaction" led to increased interest in fuzz pedals and sound research — not to mention stories like the one you're just finishing reading now.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/3a7cHPy04s8" frameborder="0" allowfullscreen></iframe></p> <p><em>Damian Fanelli is the online managing editor at </em>Guitar World<em>. <a href="https://soundcloud.com/damian-fanelli/the-blue-meanies-heart-full-of">Here he is playing a Tele through a Tone Bender clone on the Blue Meanies' version of "Heart Full of Soul."</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="/doors-0">The Doors</a> </div> <div class="field-item even"> <a href="/jeff-beck">Jeff Beck</a> </div> <div class="field-item odd"> <a href="/jimi-hendrix">Jimi Hendrix</a> </div> <div class="field-item even"> <a href="/billy-corgan">Billy Corgan</a> </div> <div class="field-item odd"> <a href="/keith-richards">Keith Richards</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/essential-listening-10-great-fuzz-guitar-songs#comments Beastie Boys Damian Fanelli Essential Listening Jimi Hendrix The Doors The Yardbirds Guitar World Lists News Features Tue, 13 May 2014 15:18:53 +0000 Damian Fanelli http://www.guitarworld.com/article/18286 Thirty Great Guitarists — Including Steve Vai, David Gilmour and Eddie Van Halen — Pick the Greatest Guitarists of All Time http://www.guitarworld.com/30-30-greatest-guitarists-picked-greatest-guitarists <!--paging_filter--><p>Who is the greatest guitarist on the planet?</p> <p>On the face of it, that question is a no-brainer: It's Hendrix. Or Clapton. Or Page. Or Beck. Or ... is it? </p> <p>In 2010, as <em>Guitar World</em> was celebrating its 30th anniversary, we picked 30 guitarists and asked them to name their guitar heroes — and the results will surprise you. </p> <p><strong>ANGUS YOUNG by Joe Perry</strong> </p> <p> Apart from the usual suspects—Page, Clapton, Beck, Hendrix and Peter Green—one of my favorite guitarists is Angus Young. I first saw him when AC/DC opened up for Aerosmith in the Seventies. </p> <p>They played about 25 dates with us, and I was just overwhelmed by his energy and ability to do his acrobatics without missing a note. He definitely had an influence on me inasmuch as his solos always had a purpose. Instead of using all the traditional tricks, he found a way to get inside those licks and be inventive. My favorite AC/DC song is probably “Sin City.” </p> <p> For me, the essence of a good guitarist is someone who plays what the song calls for. It’s about listening to the music as a whole and then doing what you need to do. Sometimes it’s not even what you play; it’s what you don’t play. Which brings us back to Angus Young. </p> <p> <strong>CHUCK BERRY by Angus Young</strong> </p> <p> When I was growing up, everyone used to rave about Clapton, saying he was a guitar genius and stuff like that. Well, even on a bad night, Chuck Berry is a lot better than Clapton will ever be. </p> <p> Rock music has been around since the days when Chuck Berry put it all together. He combined the blues, country and rockabilly, and put his own poetry on top, and that became rock and roll. And it’s been hanging in there. </p> <p> AC/DC’s whole career has been playing rock and roll, and I’m sure you still get a lot of people tuning in to bands like us and the Stones. Younger bands will be plugging into it and taking it into the next realm. There’s always going to be another generation that will take it and give it to a new, younger audience, so I think it will just keep going on. </p> <p> <strong>STEVE VAI by Tom Morello</strong> </p> <p> Some instrumental guitar players are lost in a muso fog. Steve Vai is not one of them. He’s an artist, and one of the greats. </p> <p> I’ve certainly learned from him, especially from his work ethic. I started playing guitar very late, when I was 17 years old. I felt really behind, and when I read about Steve’s practice regimen it really encouraged me. It also nearly killed me! While doing my college studies I was also practicing eight hours a day to amass the kind of technique that I admired in players like him and Randy Rhoads. </p> <p> Once, Steve was doing a presentation at GIT, and he asked me to do it with him. He told me he’d also invited Steve Lukather, Stanley Jordan, Joe Satriani. I said, “No, bro, it sounds like it’s gonna be a shred-off.” But he said, “We’re not even gonna play; we’re just gonna discuss our craft.” So I said, “Okay, I’ll do it.” </p> <p> A couple of days before the event, he says to me, “Just bring your amp and guitar along in case we have to demonstrate techniques.” So of course, I get there for soundcheck, and my worst nightmare has come true: it was six of us in a row with our guitars, and it was nonstop shredding the whole time. </p> <hr /> <p> <strong>TONY IOMMI by James Hetfield</strong> </p> <p> As far as being a riff-and-rhythm guy, my favorite guitarist is Tony Iommi. He inspired me to want to play heavy. </p> <p>I admired other rhythm players, like AC/DC’s Malcolm Young, who’d just stay in the back and hold it down, and the Scorpions’ Rudy Schenker, who has a lot of percussiveness in his playing. I also liked Rush’s Alex Lifeson—people wouldn’t think of him as a rhythm player, but he comes up with some pretty amazing offbeat things. </p> <p> But Iommi is the main man. To me, he seemed like one of those quiet geniuses. At one time he was the frontman of Black Sabbath, and Ozzy was off to one side; at that time, the riff was more important than the vocals. Tony can go from the heaviest minor-key doom riff to a happy mode, and it will still sound heavy. Metallica can’t do happy, but Tony can pull it off. My favorite Black Sabbath track is “Into the Void.” </p> <p> <strong>ERIC CLAPTON by Eddie Van Halen</strong> </p> <p> Clapton was it. I knew every note he played. Mammoth—me, Alex Van Halen and a bass player we knew—were the junior Cream. </p> <p> Being limited gear-wise forced me to find my own voice on the guitar. That’s why Eric Clapton’s live jams with Cream were such an influence on me. Back in ’68, he was pretty much just using natural distortion on those live tracks on <em>Wheels of Fire and Goodbye</em>. </p> <p>I had no money and couldn’t afford a fuzz box or a wah-wah or a ring modulator, or whatever Hendrix had in his whole rig. I just plugged straight into an amp and turned it up to 11. So in order to get a different or unique sound, I had to learn to squeeze it out of the strings with just my fingers. I never had a guitar lesson in my life, except from listening to Eric Clapton records. </p> <p> <strong>JIM McCARTY by Ted Nugent</strong> </p> <p> I discovered the most powerful musical influence of my entire life when I played the Walled Lake Casino outside of Detroit. It was either 1959 or 1960. My band the Lourdes opened up for Martha &amp; the Vandellas, Gene Pitney, and Billy Lee &amp; the Rivieras, who went on to become Mitch Ryder &amp; the Detroit Wheels. Their guitarist was Jim McCarty, who played a Gibson Byrdland through a Fender Twin. </p> <p> Standing there watching McCarty rip into his leads, I thought, Dear god in heaven, what is <em>that</em>? It was so outrageous, so noisy, yet so musical and so rhythmical. I realized that simply playing a song would never do again. </p> <p> After I heard him play, I went on a gee-hah to get a Byrdland and a Fender Twin amp—because of the crispness, the thickness, the style of his playing. It was about using all the fingers, all the strings, all the time. </p> <p>That’s where the multi-rhythmic patterns on my song “Stranglehold” come from, with all the grace rhythms, all the counter-rhythms, all the pedal tones that never stop. I’m playing multiple parts on the guitar by using various incremental touches to each string. And that’s because of McCarty. </p> <p> <strong>KEITH RICHARDS by Steven Van Zandt</strong> </p> <p> The British invasion of 1964 to 1966 turned Americans on to our own rock and roll pioneers and blues players. I grew up on Keith Richards, and his lead on the Stones’ versions of Chuck Berry songs helped reinvent the guitar for Beck, Clapton and Jimmy Page. </p> <p>I always felt that you go through that muso phase and stay there or get out. I went out the other end. I didn’t want to be a virtuoso for a minute. So I came full circle to the fact that the guitar solo must serve the song—that’s more important. </p> <hr /> <p> <strong>JIMMY HERRING by Alex Skolnick</strong> </p> <p> Some may not know Jimmy Herring’s name, but they will know the bands that he’s played with: the Allman Brothers, the Grateful Dead, Widespread Panic, and Jazz Is Dead. He’s a hero of the jam-band scene, which is kind of funny, as stylistically he’s very influenced by jazz. </p> <p> Jimmy has his own band called Aquarium Rescue Unit, who operate on a level similar to [<em>jazz-fusion group</em>] Weather Report. Having said that, although people like the Dave Matthews Band and Bruce Hornsby took them out on tour and begged their own label to sign them, Aquarium Rescue Unit never got a decent record deal and eventually disbanded [<em>in 1997</em>]. They reunited in 2005 and have played somewhat sporadically since then. </p> <p> Jimmy is an incredible player. He has the bluesiness of Warren Haynes or Johnny Winter and the vocabulary of John Scofield, with an element of Steve Morse thrown in. If that sounds appealing, then track down a copy of Aquarium Rescue Unit’s 1993 album, <em>Mirrors of Embarrassment</em>. Play it, and you’ll wonder why you’ve never heard of him until now. </p> <p> <strong>RITCHIE BLACKMORE by Phil Collen</strong> </p> <p> The first gig I ever went to was Deep Purple, during their <em>Machine Head</em> period. They played “Highway Star,” and it blew me away. And that’s when I decided to start playing guitar. </p> <p> Ritchie Blackmore was a huge influence because he was flashy. I love really flashy lead guitar playing, and Blackmore’s technique is great. It’s aggressive. When he hit a chord, it was like being punched in the face. I don’t really care about finger picking, and acoustic doesn’t satisfy me. It’s electric, screaming loud rock that I love. </p> <p> As far as what he’s doing now [<em>playing Renaissance-style music with Blackmore’s Night</em>], I honestly respect him. The fact that he’s still playing and is passionate about it is great, even if it is a bit wonky and weird. He can take liberties. He’s Ritchie Blackmore. </p> <p> <strong>GLENN TIPTON &amp; K.K. DOWNING by Zakk Wylde</strong> </p> <p> When I think of underrated guitarists, I go for some of the guys in really big bands, the ones who get overshadowed by the achievements of their band act. For instance, when Journey is mentioned, you think of great songs and amazing vocals. But who ever praises Neal Schon? And that guy can play up a storm. </p> <p> That’s why I pick Glenn Tipton and K.K. Downing from Judas Priest. It’s two guitarists, yes, but you always think of them as one. They are the ultimate twin guitarists in metal—they go together. Just listen to the amazing riffs they’ve come up with over the years. And these guys can shred with the best. </p> <p> Tipton and Downing have influenced generations of young guitarists, but a lot of the time these kids don’t even realize that what they’re playing all started with Judas Priest. Tipton and Downing have also given metal a subtlety that’s often overlooked. Both appreciate that sometimes you are most effective when you back off the pedal a little. You don’t need to be blazing all the time. </p> <p> They’ve worked together for so long that each immediately understands what to do in a song. Sometimes Tipton is soloing and Downing is riffing, and then they’ll change over—it’s not like one does the lead work and the other does the rhythm. This is also what they introduced into metal: the idea of not only being a great lead player but also being prepared to let the other man have the spotlight when it matters to the music. </p> <p> Without Tipton and Downing, metal would be very different. That’s why I have such a high regard for them. In my book, they rule. </p> <hr /> <p> <strong>LESLIE WEST by Martin Barre</strong> </p> <p> Leslie West made a big impression on me when Mountain supported Jethro Tull on a long U.S. tour during the early Seventies. In those days, opening acts weren’t too friendly, and it all became a bit competitive, but Mountain were lovely guys, and we really hit it off. They were such a great band. I loved Leslie’s larger-than-life style, they had great songs, and they were so incredibly tight. In that last respect, they taught Jethro Tull a lot about being a band. </p> <p> I know of at least three people that were affected by Leslie’s playing style—myself, John McLaughlin and Mick Ralphs [<em>of Mott the Hoople and Bad Company</em>]—but I’m sure there are plenty more. Leslie has such recognizable tone, and I love the melodic way he plays; every note counts. He never resorts to the pyrotechnic approach or feels the need to be overly clever. </p> <p>If you want a good starting off point for a beginner, go with <em>Climbing! </em>[<em>1970</em>] or <em>Nantucket Sleighride </em>[<em>1971</em>]. I still love what Mountain did with “Theme from an Imaginary Western.” My goodness, they brought that to life, especially onstage. </p> <p> <strong>JEFF BECK by David Gilmour</strong> </p> <p> I’m sort of horribly, pathetically fannish about Jeff. Ever since “Hi Ho Silver Lining” came out [<em>in 1967</em>] when I was 20-odd years old, I’ve revered him and his playing. In many ways he is just the best guitar player. And 40-something years since he came to prominence in the Yardbirds, he is still the only person pushing forward in that way. He’s never retreading old ground; he’s always looking for a new challenge. </p> <p> Jeff’s scarily brilliant. He’s a tightrope walker. I’m not. I like to cover all my bases and make myself secure with a great band, with the music all rehearsed. I just walk out there, and if I didn’t even play anything it would still sound great. Jeff’s different. He’s out there mining that seam. </p> <p> <strong>JIMI HENDRIX by Joe Satriani</strong> </p> <p> The first thing that really flipped me out was hearing “The Wind Cries Mary” on the radio. Before that, I was a drummer, and I started from watching the Rolling Stones and the Beatles on <em>The Ed Sullivan Show</em>. But as soon as I heard Hendrix, that was it. </p> <p> What made him great was his choice of notes. When you hear “Machine Gun” from <em>Live at the Fillmor</em>e, you have no idea what’s going to happen in the next few minutes. You’re totally unprepared. With “Voodoo Chile (Slight Return),” you can’t believe how perfect a performance it is, and it’s just a blues thing in E. </p> <p> Unfortunately, the Seventies were a hellish period for many great players, if you look at Hendrix’s comrades, it was a rough road. But look at someone like Jeff Beck—he just gets better and better. </p> <p>I saw him a month ago in Oakland, and I was just in tears standing at the side of the stage listening to him playing “Where Were You.” Nowadays, as a guitarist you want to celebrate what you’ve been able to play, which goes back to quoting other great players, but you also feel a responsibility not to copy those people. In my mind, when I’m playing, my heroes are sitting on my shoulders. </p> <hr /> <p> <strong>BRIAN MAY by Steve Vai</strong> </p> <p> I don’t think enough is really said about the brilliance of Brian May’s guitar playing, in the sense that it’s overshadowed by the greatness of the music itself. The <em>Queen II</em> album was one of those pivotal moments that just nailed me to the wall. </p> <p> He’s probably one of the top identifiable guitar players, even more so than Beck, Page and Clapton. They’re all so identifiable, but Brian May had such a tone in his head and in his fingers. It speaks volumes. His contribution to orchestrated guitars is unprecedented. There was nothing like it before him. </p> <p>To me, it was like when Edward Van Halen came along and reshaped the sound of electric guitar. That’s what I heard in Brian May’s playing. It’s something that’s inherent in the brain of the guitar player. </p> <p> I remember working with Frank Zappa for the first time. I had just moved out to Los Angeles, and nobody knew me. I was 21. I went to the Rainbow Bar &amp; Grill, and Brian May was there. I couldn’t believe it. I mustered up every little bit of courage and went up to him and said, “Thank you so much for everything you’ve done. I play guitar. I’m here in town with Frank Zappa.” He said, “Oh, really? Why don’t you come down to our rehearsal?” </p> <p> I went down, and he brought me up on the stage, and he let me play the guitar—the guitar that he built with his dad [<em>the “Red Special”</em>]. I couldn’t even believe that I was touching this instrument! He was so kind and so warm, and for who? This kid, you know? And I played his guitar, and it sounded like Steve Vai. Then when he played it, it sounded just like Brian May. It was very apparent to me that his tone is in his fingers and his head. </p> <p> He’s a class act from head to toe, and it shows in his playing. I can listen to any player and pantomime their sound, but I can’t do Brian May. He’s just walking on higher ground. </p> <p> <strong>MARTY FRIEDMAN by Jason Becker</strong> </p> <p> When I was 16 years old, I sent a demo tape to Mike Varney of Shrapnel Records. He called me and said I should go and meet Marty. </p> <p> I went to Marty’s tiny apartment in San Francisco. We started jamming, without amps. That moment changed my life. What he was doing was so new to me. The unique bends, vibrato, exotic scales, phrasing and timing were fascinating to me. And then it hit me: he was a lot better than I was. I started to sweat. I tried to play my best stuff, but my musical mind had already shifted. I knew I wanted to learn from this guy. </p> <p> Marty was very complimentary of my technique and the melodies on my demo tape. He started coming over to record his songs on my four-track. He taught me the second harmonies and counterpoint lines. Once he saw that I was a sponge for learning, he started incorporating some of my ideas. I feel like every day that I jammed or wrote with Marty was like taking lessons for a year. He taught by example, and with his influence I learned how to be my own unique creative artist. Even to this day, when I am composing and I get stuck, I think to myself, What would Marty do? </p> <p> <strong>EDDIE VAN HALEN by Richie Kotzen</strong> </p> <p> This is kind of embarrassing, but the first time I heard Eddie Van Halen was on the solo for Michael Jackson’s “Beat It.” I was like, “Man, that’s unbelievable. Who is this guitar player?” I asked around and found out it was Eddie Van Halen. Then I ended up getting some Van Halen records, and after that I just really wanted to play like him. </p> <p> He didn’t sound like any other guitar player, but it was more about the way that he played the notes. Everyone talks about Van Halen’s sound, but it really has to do with his timing, his rhythm style and his phrasing. It’s more about that to me than the amp or whatever guitar he’s using. </p> <p> The first time I saw Eddie play, I had the best possible seat. Because we had the same guitar tech, I was able to watch him from this little room under the stage, where he goes to change guitars or do whatever. It was pretty incredible. </p> <hr /> <p> <strong>YNGWIE MALMSTEEN by George Lynch</strong> </p> <p> Every little microevolution of the guitar that came along in the Sixties, Seventies and Eighties influenced me. The number of people I didn’t appreciate is probably a much smaller list. </p> <p> Yngwie is one of those players that had a huge impact on me. His neoclassical style was just mind-blowing to me. I was raised as a blues player and learned my chops in the late Sixties, early Seventies, so it was all incredibly new to me. Just the ferocity of it was mesmerizing. The ease with which he does it was fascinating, too. </p> <p> Ultimately, guitar-driven Eighties music had wound itself to the point of absurdity and inaccessibility. I mean, how many people can actually appreciate that kind of music? It’s just an elitist speed contest. But Yngwie created the trend. On a pure playing level, players that create music that touches people are always viable. And that’s why he’s still around and a lot of the other guys aren’t. </p> <p> <strong>MICK TAYLOR by Slash</strong> </p> <p> Mick Taylor had the biggest influence on me without me even knowing it. My favorite Stones records were <em>Beggars Banquet</em>, <em>Let It Bleed</em> and <em>Sticky Fingers</em>. Those three were major to me because I was exposed to those records as a kid when they first came out. Mick Taylor played on a couple of those records and went on to play with the Stones for a couple more. As I got older and started playing guitar, I always gravitated to his style. </p> <p> People always mention Jimmy Page, Jeff Beck, Angus Young…all the obvious ones. But there are guys like Mick Taylor and Joe Walsh that were as important. Mick Taylor had a really cool, round-toned bluesy sort of thing that I thought was really effective. </p> <p> One of the greatest Mick Taylor solos is on “Can’t You Hear Me Knocking?” from <em>Sticky Fingers</em>. It’s the kind of stuff that’s almost like old Eric Clapton—it’s very simple stuff, but it’s about how the notes are placed and how you approach them. The new guard of guitarists always forgets about doing simplistic and very effective guitar playing that speaks to you. It’s not all about two-handed tapping. </p> <p> <strong>RANDY RHOADS by Frank Hannon</strong> </p> <p> I was always a big fan of Randy. In 1980, when Ozzy’s <em>Blizzard of Ozz</em> came out, some friends of mine went to see him perform in Oakland and came back raving, saying, “Man, we saw this guitarist today, and he was better than Eddie Van Halen!” </p> <p> This was a few years before we started Tesla. I was already playing guitar and was a big fan of Eddie Van Halen. So we went down to the local record store and got the album, and I was infatuated from day one. Randy was doing everything that Van Halen did, and more. It was the classical knowledge that he was incorporating into the guitar. The arrangements on “Crazy Train” and “Mr. Crowley” were unbelievable. I think a lot of the soloing on Van Halen tracks were improvised, which is cool. Randy took it a step further. His discipline probably came from his mother who taught him at her music school [<em>Musonia School of Music in North Hollywood</em>]. When I was a kid I would read the guitar magazines, and he would always mention that his mother was a big influence. </p> <p> I went to visit the school, and I met Randy’s brother, Kelle, and his mother Delores, who is nicknamed “Dee.” “Dee” was also the title of an acoustic song on <em>Blizzard of Ozz</em>, which was a big influence on me. If you listen to my acoustic solo on “Love Song” it’s really inspired by that. I played that for Dee when I met her recently. She loves meeting fans, and she told me some stories about Randy. She said that his favorite song was [<em>the Big Band swing tune</em>] “Chattanooga Choo Choo,” how he found his first guitar in his father’s closet, and how when he was in London recording <em>Diary of a Madman</em> he would spend all his downtime studying classical music at a university. She just lit up when she talked about Randy. I have a video of that meeting on my web site. </p> <hr /> <p> <strong>ZAKK WYLDE by Ron &quot;Bumblefoot&quot; Thal</strong> </p> <p> I first heard Zakk in 1986, when he was with a New Jersey band called Zyris. The next thing I knew, he was playing with Ozzy. Like Zakk, I had been a huge Randy Rhoads fan, so I was very happy that Ozzy picked Zakk to be his guitarist. </p> <p> When you hear Zakk’s playing, you know right away that it’s him, with that distinctive use of harmonic vibrato on the lower string. Before he came along, every time you saw a blond-haired guitarist kicking a Les Paul’s ass you thought of John Sykes. Now you also think of Zakk. In addition, he’s very diverse stylistically, with the southern rock of Pride and Glory [<em>Wylde’s early Nineties group</em>], the singer-songwriter style of his <em>Book of Shadows</em> album [<em>1996</em>] and, of course, what he does with Black Label Society. </p> <p> I met Zakk for the first time about a year and a half ago; he was a guest on my friend’s TV show. His visit to the studio was supposed to last for three hours, but he ended up staying for 14. Besides being a phenomenal musician, Zakk’s as good-hearted as I expected. I hope that some day we can do it again. </p> <p> <strong>B.B. KING by Billy Gibbons</strong> </p> <p> My favorite guitarist is B.B. King. His album <em>Live at the Regal</em>, recorded in 1964, remains a classic. The electricity, the crackling atmosphere… Plus, it’s a great sound, recorded with a full band, horns and piano, and a rabid audience thrown in. </p> <p> B.B.’s distinctive one-note style, his sustain and attack, that kind of call-and-response thing between the vocals and the solos… He’s taken for granted now, which means he’s underrated. Obviously, he’s a maestro entertainer rather than a blues purist, though he can be that too. He’s a former cotton picker, but he remains so self-effacing, plus he has a great sense of humor, lyrically and in life. He’s got class. </p> <p> <strong>MALCOLM YOUNG by Scott Ian</strong> </p> <p> Malcolm Young has got to be the most unsung, underrated guitar hero of all time. He’s the backbone of AC/DC, the greatest rock band ever, and has written some of the most amazing riffs you’ll hear. This is the man responsible for more great rock moments than any other guitarist you can name. Is Malcolm Young the greatest rhythm guitarist in the world? No contest. </p> <p> I recall being given one of his guitar picks recently after a gig on the band’s current tour, and it was half worn down. But you know what’s astonishing? Apparently that pick was used on just one song during the band’s set that night. Malcolm gets through a pick for every song because he hits the strings so hard. It’s amazing. The man is truly a one-off. </p> <p> When I first started to listen to AC /DC, it was Angus who caught my attention. He was the lead guitarist and got all the glory. But in about 1979, when I began to get into guitar playing in a serious way, I gravitated toward Malcolm. I was listening to what he did, because he was the guy writing the music. I now appreciate just how incredible he is. He’s a songwriter, not a shredder, but without him what would AC /DC sound like? </p> <p> If you’ve never heard him play—and can there be anyone on the planet who hasn’t heard Malcolm Young?—then go and listen to the opening chords of “Back in Black.” If that doesn’t move you, then you have no soul. The other songs I’d strongly recommend are “Riff Raff” and “Beating Around the Bush.” The way he takes straight blues riffs and siphons them though the AC/DC sensibility is a lesson to all guitarists. </p> <hr /> <p> <strong>GEORGE HARRISON by Elliot Easton</strong> </p> <p> I was 10 years old when the Beatles played the <em>Ed Sullivan Show</em> [<em>in February 1964</em>], and I was already playing a little guitar. To see George Harrison there, standing off to the side, looking down at his guitar while he played his licks—to my impressionable mind it defined what a lead guitarist was. </p> <p> I knew right then what I wanted to do with my life: I wanted to be like the guy in the middle—the guy looking down at his guitar and playing all the little fills and solos. Harrison taught me about short solos and hooks, and what a hook is. All those mid-Sixties Beatles tracks—whether it was “Day Tripper” or “Ticket to Ride” or whatever—they all start with a guitar lick that you wait to come around again in the chorus. That’s where I learned to do that. </p> <p> <strong>ULI JON ROTH by Kirk Hammett</strong> </p> <p> Around the time of Metallica’s <em>Death Magnetic</em> sessions, I began listening again to some of the rock music of my teens, and it inspired me all over again. I’d forgotten how much those guitarists meant to me. </p> <p> Uli Jon Roth is one of those players. When I started listening to him again, I realized that I can still learn a lot from him. I love his choice of notes, the attitude behind his playing and the way his solos “up” the level of his songs. He took Scorpions to a totally different level. After his solos, you’re left there shaking your head. It’s like being sideswiped by a truck. </p> <p> The track I love the most is the one I play every night, “The Sails of Charon,” from <em>Taken by Force</em>. The opening motif is just great. It’s spooky sounding, exotic. It’s very old-school heavy metal. People in the audience who know the song recognize that I’m flying the flag for that old-school metal, and they come to me and say, “Bro, ‘Sails of Charon’ rules!” There are a lot more Uli Roth fans out there than I expected. </p> <p> <strong>NEIL YOUNG by Nancy Wilson</strong> </p> <p> Neil is identifiable whether he’s playing acoustic or electric guitar. For acoustic he has a completely unique type of tuning, detuning, attack and release. He plays a song called “Bandit,” from the <em>Greendale</em> album, and there’s a live version of it that’s incredible. He chooses a specific guitar that can be detuned on the low string down to a C and picks the particular gauge of string that will rattle in the perfect way. It sounds so wrong that it’s right. I think nobody in the world would do that on purpose except for Neil Young. </p> <p> He has a monstrous electric guitar sound, too, and on “Cinnamon Girl” he recorded what is probably the best one-note guitar solo ever. He puts more feeling into one note than anyone else. It shouldn’t work, but it does. Of course, it’s his tone that makes all the difference. Touch sensitivity accounts for about 90 percent of everything. Neil has such expressive playing that he<em> can</em> play a onenote solo and make it memorable for decades, for generations. </p> <p> <strong>FRANK ZAPPA by Dweezil Zappa</strong> </p> <p> I was never intimidated by my father’s technique. I think most guitar players are just excited to see somebody do something they didn’t think was possible. We’d sit and play together, but what Frank was doing was musical. I couldn’t grasp it at a young age—it was too sophisticated for me. He’d show me inversions of chords and composition devices—moving triads around the neck and stuff. It sounded neat, but I didn’t always understand what was happening musically. </p> <p> I do the Zappa Plays Zappa tour because I want to get Frank’s music more into the public eye. I want him to be better understood. I think there are a lot of misconceptions about his music and him as a person. First of all, Frank was really a composer who used a rock band like an orchestra. He could hear stuff in his head and just write it down. I didn’t have a musical background; I was just a guy who learned things by ear—more a guitar player than a musician. The first thing I learned was the incredibly fast passage toward the end of “The Black Page.” It took me a good five or six months, and I had to totally change my picking technique in order to play this thing. I’d have to play it really slow for hours and hours and <em>hours</em>. I definitely think Frank would enjoy that we go to such great lengths to get it right with Zappa Plays Zappa. </p> <hr /> <p> <strong>PETE TOWNSHEND by Ace Frehley</strong> </p> <p> I got all my rhythm work from listening to Pete Townshend and Keith Richards. I think Pete is a wizard when it comes to chords. He can play the same chord in, like, 20 different positions, doing inversions, suspensions… Just listen to <em>Tommy</em>. I’m a huge fan. </p> <p> Pete has a great right hand as well as a great left hand. “Tattoo” is a great picking song, but of course he’s known best for his power strumming, like on “Pinball Wizard,” and his power chords, like on “My Generation” and the chord that opens “I Can See for Miles.” His rhythm work was just amazing. </p> <p> The first time I saw the Who was the same day I saw Cream for the first time. They were both performing at a Murray the K show in Manhattan. [<em>The revue-style show, presented by disc jockey Murray Kaufman, was called </em>Music in the Fifth Dimension<em> and presented at the RKO Theater from March 25 to April 2, 1967.</em>] I was cutting school, and a friend and I snuck into the show and got down in front. It was the Who’s first New York show. I think the headliner was Mitch Ryder and the Detroit Wheels. </p> <p> I saw the Who perform again, at the Fillmore East, in 1968, the day after Martin Luther King got shot. [<em>The civil rights leader was assassinated on April 4, 1968.</em>] The Who weren’t going to play because they were worried about riots, and I believe they ended up doing a short show. Ironically, Paul Stanley [<em>Frehley’s former Kiss coguitarist</em>] was there too, but we didn’t know each other at the time. </p> <p> <strong>ALVIN LEE by Mick Mars</strong> </p> <p> Sometimes I feel I should’ve been true to myself as a guitar player and stuck with the blues. All bullshit aside, George Clinton, Bootsy Collins, Paul Butterfield, Mike Bloomfield, Alvin Lee, Jimi Hendrix…that stuff was the total shit for me. I was brought up on those players, and they all influenced me in one way or another. </p> <p> When Bloomfield started getting too countrified for my liking, that’s when I discovered Alvin Lee and Ten Years After. Alvin brought a real explosive side to the blues. Some people said they couldn’t handle it, but I thought he was great. </p> <hr /> <p> <strong>PETER GREEN by Rich Robinson</strong> </p> <p> Growing up in America, you couldn’t help but hear Fleetwood Mac’s [<em>mid-Seventies breakthrough albums</em>] <em>Rumours</em> and <em>Fleetwood Mac</em> on the radio all the time. And it was by getting into these records that I started to explore the Peter Green legacy. Obviously, he’d left Fleetwood Mac long before these were done, but I was influenced enough by them to want to know more about what the band had done before. And that’s when I discovered the amazing talent of the man. </p> <p> His playing is just so moving. Listen to what he achieves on “Oh Well” and “Rattlesnake Shake,” and it is stunning. What he does is so interesting because he doesn’t overplay. Green understands that simplicity could hold the key to the blues. </p> <p> It makes him so authentic. To my mind, Peter Green is the finest white man I’ve ever heard playing blues guitar. That’s a bold statement when you consider some of the other greats, but I genuinely believe this to be true. His playing has the soul and passion of the blues. And yet he never seems to get the recognition enjoyed by people like Jimi Hendrix, Eric Clapton or Jimmy Page. Perhaps that’s because he’s so understated. If you check out something like “I Need Your Love So Bad,” what you hear is a guitarist prepared to submerge his own ego for the sake of the song. He gets the mood exactly right. He was never flamboyant like the others I just mentioned. As a result, he’s often overlooked in the list of guitar greats. </p> <p> He also has such an incredible range. You can’t ever claim that one particular song defined him in the way that you can with Hendrix. </p> <p> When the Black Crowes recorded and toured with Jimmy Page, he told us so many Peter Green stories. It was clear that Jimmy loves the man’s talent. And if he’s good enough for a giant like Jimmy to acclaim, then it reinforces my adoration. </p> <p> <strong>RON ASHETON by Kim Thayil</strong> </p> <p> It was the Seventies when I first heard the Stooges. By then, all the albums by the New York Dolls, the Stooges and the MC5 were out of print. You could only find them in used-record stores, and the nearest was six miles away. I’d check out their racks, and once in a while I got lucky. </p> <p> The Stooges’ <em>Funhouse</em> album was one that I found. There’s some crazy stuff on side two—some really great, aggressive rock solos. Ron has a particular gritty, sleazy sound with the groove that he lays down. And the dueling improvisations with saxophone made for some cool jazz noise rock. </p> <p> The Stooges didn’t do as much of that 12-bar blues stuff. They just hit a groove and then hypnotically beat you over the head with it. They just stayed with that riff for a long time. Of course, there is a lot of blues in what Ron did, but there’s something a lot looser, too, and it was freer and it utilized chaos. It was something that was definitely not present in FM rock or Top 40 at the time. “I Wanna Be Your Dog,” “TV Eye,” “Loose,” “Down on the Street”… </p> <p>They’re all amazing. If rock should be about anything, it should be about freedom and rebellion, and not the stupid requirements that would be imposed upon you by the record company—like professionalism. I mean, it’s good for a person to know their damn instrument, or else you can’t come up with inventive ideas, but not to be bound by the patterns on the fretboard.</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-vai">Steve Vai</a> </div> <div class="field-item even"> <a href="/george-harrison">George Harrison</a> </div> <div class="field-item odd"> <a href="/brian-may">Brian May</a> </div> <div class="field-item even"> <a href="/joe-satriani">Joe Satriani</a> </div> <div class="field-item odd"> <a href="/david-gilmour">David Gilmour</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/30-30-greatest-guitarists-picked-greatest-guitarists#comments AC/DC Aerosmith Articles GW Archive Jimi Hendrix Joe Satriani Steve Vai Van Halen Guitar World Lists News Features Magazine Mon, 14 Apr 2014 15:33:16 +0000 Guitar World Staff http://www.guitarworld.com/article/3119 Video: Watch Rapper/Actor Andre Benjamin Portray Jimi Hendrix in 'All Is By My Side' Biopic http://www.guitarworld.com/video-watch-andre-benjamin-portray-jimi-hendrix-all-my-side-biopic <!--paging_filter--><p>Almost three years ago, <a href="http://www.guitarworld.com/rapper-andre-3000-might-play-jimi-hendrix-indie-film">GuitarWorld.com reported</a> that rapper Andre 3000 (His mother knows him as Andre Benjamin) would be playing the late Jimi Hendrix in an upcoming biopic. </p> <p>Well, the film — which is about a two-year period in Hendrix's life that ends with his performance at the Monterey Pop Festival in 1967 — has been made, and a clip of Andre in the title role has turned up online. You can check it out below.</p> <p>The film, titled <em>All Is By My Side</em>, debuted at the Toronto International Film Festival last year and will premiere in the U.S. this month at SXSW in Austin, Texas. The movie, which was not approved by the Hendrix estate, doesn't feature any music by the guitarist (nor does the clip below, unfortunately). In fact, the movie uses new versions of covers played by Hendrix. </p> <p>About 10 years ago, Andre — of Outkast — told the <em>New York Daily News</em> he was excited about portraying the two sides of Hendrix's persona onscreen. "Jimi was wild onstage," he said. "Offstage, he was really calm."</p> <p>The film was directed by John Ridley, who wrote <em>12 Years a Slave.</em></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/2QWxm89I5bo" 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="/jimi-hendrix">Jimi Hendrix</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/video-watch-andre-benjamin-portray-jimi-hendrix-all-my-side-biopic#comments Andre Benjamin Jimi Hendrix Videos News Fri, 07 Mar 2014 16:12:59 +0000 Damian Fanelli http://www.guitarworld.com/article/20668 New Book, 'Starting at Zero: His Own Story,' Is Pure Jimi Hendrix — in His Own Words http://www.guitarworld.com/new-book-starting-zero-his-own-story-pure-jimi-hendrix-his-own-words <!--paging_filter--><p>Bloomsbury recently published a unique book about — in fact, by — guitar legend legend Jimi Hendrix.</p> <p>The book, <em>Starting at Zero: His Own Story</em>, features an introduction by Peter Neal, who made <em>Experience</em>, the first-ever film about Hendrix. </p> <p>Also known as <em>Hear My Music Talking</em>, it was the only one released during Hendrix's lifetime, and is arguably best known for its memorable footage of the guitar legend playing a 12-string guitar.</p> <p>From the publisher:</p> <p>It took just four years in the spotlight for Jimi Hendrix to become an international cultural icon. </p> <p>The sheer impact and originality of his music and his unique mastery of the guitar placed him forever amongst musical giants. </p> <p>But what of the man behind the public image? Modest and intensely private by nature, Hendrix was shrouded in intrigue from the moment he first came into the public eye, and the mystery has only grown with time.</p> <p>Much has been written about him by experts, fans and critics, some of it true and some of it not. He did, however, leave his own account of himself, locked away like a Chinese puzzle in his many interviews, lyrics, writings, poems, diaries, and even stage raps. <em>Starting at Zero</em> brings all these elements together in narrative form. </p> <p>The result is an intimate, funny, and poetic memoir—one that tells, for the first time, Hendrix’s own story as only he could tell it.</p> <p>"For anyone interested in Jimi Hendrix this is essential reading," said Roger Mayer. "It’s Jimi’s voice and I recognize a lot of what he’s saying. It’s not like the books that tell you what he did on every day of the week, and it’s not someone’s opinion either. All those other books give very little insight into the person he was but this allows us a very real glimpse of Jimi, or as much as any outsider is likely to get. It’s the nearest we’re going to get to a posthumous autobiography."</p> <p>Alan Douglas also played a major role in the creation of <em>Starting at Zero</em>. For 20 years, he was responsible for initiating and producing all of the music, films and promotional material relating to the Hendrix Estate. </p> <p>He’d assumed control in 1974, at a time when Hendrix's legacy was coming under threat from the onset of punk and increasingly poor album releases — the last of which bore the title <em>Loose Ends.</em> </p> <p>For more about the book, visit <a href="http://starting-at-zero.com/book/">starting-at-zero.com</a> and <a href="http://bloomsbury.com/us/starting-at-zero-9781620403310/">bloomsbury.com</a>.</p> <p><strong><em>Starting at Zero: His Own Story</em> (Bloomsbury USA), $26, October 2013</strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/tX0KULa5XF4" 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="/jimi-hendrix">Jimi Hendrix</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/new-book-starting-zero-his-own-story-pure-jimi-hendrix-his-own-words#comments Jimi Hendrix Peter Neal Videos News Wed, 05 Mar 2014 17:54:59 +0000 Guitar World Staff http://www.guitarworld.com/article/20651 Guitar Strength: The Other “Hendrix Chord” http://www.guitarworld.com/guitar-strength-other-hendrix-chord <!--paging_filter--><p>Of the myriad contributions Jimi Hendrix has made to the lexicon of modern guitar, one of the most enduring is the legendary “Hendrix chord." </p> <p>The chord, an E7#9, was definitely nothing new when Hendrix famously used it in “Purple Haze” (Jazz and R&amp;B guitarists used it extensively, and the Beatles featured it years earlier on “Taxman”), but its use by Hendrix inspired its use by generations of guitarists in a wide range of styles. </p> <p><strong>Example 1</strong> is the most famous fingering of the “Hendrix chord," though Hendrix and many others would often also use the voicing found in <strong>Example 2</strong>. </p> <p>Note that the #9 is the enharmonic equivalent of the minor 3rd, so the chord can be seen as just a comfortable fingering that consists of the root, flat 7, and both the major and minor 3rds. </p> <p>This major/minor ambiguity makes the chord perfectly suited for the blues, while using it as a substitution for the V chord in a key can help lend a jazzy feel to a turnaround (Stevie Ray Vaughan often used it in this manner). </p> <p><img src="/files/imce-images/GWHendrixChordEx1-2.jpg" width="620" height="187" alt="GWHendrixChordEx1-2.jpg" /></p> <p>While much has been written about the 7#9 chord and Jimi’s use of it, an oft-overlooked chord voicing featured prominently in Hendrix’s recorded work is his sus2 chord shape depicted in <strong>Example 3</strong>.</p> <p><img src="/files/imce-images/GWHendrixChordEx3.jpg" width="200" height="368" align="left" style="padding:10px 20px 10px 0;" alt="GWHendrixChordEx3.jpg" /></p> <p>The chord should be fingered in the “Jimi-approved” manner of using the thumb to fret the low E string root, with the ring finger fretting the D string, the index fretting the B string, and the pinky grabbing the high E string. </p> <p>The A string should be muted with the tips of the thumb and ring fingers, and the G string should be muted with the underside of the ring finger and the tip of the index.</p> <p>Since the chord is a sus and has no 3rd, it can be moved around throughout a given key while maintaining the same fingering. Jimi would often slide the chord around in a line (see “Castles Made of Sand” and “Little Wing”), further emphasizing its open, airy qualities. </p> <p><strong>Example 4</strong> is a Hendrix-inspired line demonstrating the chord’s versatility within a key.</p> <p><img src="/files/imce-images/GWHendrixChordEx4.jpg" width="620" height="185" alt="GWHendrixChordEx4.jpg" /> </p> <p>Another cool thing that can be done to take advantage of the chord shape’s idiosyncratic fingering is to ease off the mute on the G string and allow it to ring out as you move the chord around. </p> <p><strong>Example 5</strong> is a group of particularly good sounding positions of this chord that take advantage of the open G. Try it in the unlisted “in-between” spots too!</p> <p><img src="/files/imce-images/GWHendrixChordEx5.jpg" width="620" height="206" alt="GWHendrixChordEx5.jpg" /></p> <p>As always, get these down and experiment with finding uses for this concept in your own playing. Happy shredding!</p> <p><em>Scott Marano has dedicated his life to the study of the guitar, honing his chops at the Berklee College of Music under the tutelage of Jon Finn and Joe Stump and working as an accomplished guitarist, performer, songwriter and in-demand instructor. In 2007, Scott developed the <a href="http://www.guitarstrength.com/">Guitar Strength</a> program to inspire and provide accelerated education to guitarists of all ages and in all styles through state-of-the-art private guitar lessons in his home state of Rhode Island and globally via Skype. Learn more at <a href="http://www.guitarstrength.com/">GuitarStrength.com.</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="/jimi-hendrix">Jimi Hendrix</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guitar-strength-other-hendrix-chord#comments Guitar Strength Jimi Hendrix Scott Marano Blogs Lessons Mon, 03 Mar 2014 16:29:37 +0000 Scott Marano http://www.guitarworld.com/article/17122 Video: Animator Adds New Dimension to Jimi Hendrix's Last Interview http://www.guitarworld.com/video-animator-adds-new-dimension-jimi-hendrixs-last-interview <!--paging_filter--><p>Below, check out a clip of Jimi Hendrix's last interview, which was recorded September 11, 1970, by <em>NME</em>’s Keith Allston. The guitarist died a week later at age 27.</p> <p>When <a href="http://www.guitarworld.com/hear-jimi-hendrixs-final-interview-september-11-1970">GuitarWorld.com shared this interview several months ago,</a> Hendrix's answers were accompanied only by black-and-white photos and some ugly typeface at the beginning of the clip.</p> <p>Now, however, the audio clip has been animated by Patrick Smith and re-published to YouTube on February 4. This new version of the video, which is part of PBS Digital Studios' <em>Blank on Blank</em> series, was executive produced by David Gerlach.</p> <p>It's well known that Hendrix was set on branching out into a new musical phase in his later years, with collaborations with Miles Davis — <a href="http://www.guitarworld.com/1969-telegram-jimi-hendrix-and-miles-davis-can-paul-mccartney-come-out-play">and even Paul McCartney, apparently</a> — in the planning or near-planning stages.</p> <p>In the interview, Hendrix is contemplative and not totally sure where he’s bound next. He's also pretty funny, as the following exchange proves:</p> <p><strong>Do you feel personally that you have enough money to live comfortably without necessarily making more as a sort of professional entertainer?</strong></p> <p>Ah, I don’t think so, not the way I’d like to live, because like I want to get up in the morning and just roll over in my bed into an indoor swimming pool and then swim to the breakfast table, come up for air and get maybe a drink of orange juice or something like that. Then just flop over from the chair into the swimming pool, swim into the bathroom and go on and shave and whatever.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/ZrKMevmLTQk" 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="/jimi-hendrix">Jimi Hendrix</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/video-animator-adds-new-dimension-jimi-hendrixs-last-interview#comments Jimi Hendrix Videos News Wed, 05 Feb 2014 15:36:23 +0000 Damian Fanelli http://www.guitarworld.com/article/20421 Video: Woman Performs Jimi Hendrix, Stevie Ray Vaughan on the Gayageum, a Traditional Korean Instrument http://www.guitarworld.com/gayageum-style-video-girl-covers-jimi-hendrix-stevie-ray-vaughan-traditional-korean-instrument <!--paging_filter--><p>Check out these videos of a young woman — Luna Lee — performing iconic tracks by Jimi Hendrix and Stevie Ray Vaughan on the gayageum, a traditional Korean zither-like instrument. </p> <p>The gayageum has 12 strings, although some variants have been made with 21 strings. It is probably the best-known traditional Korean musical instrument. (<a href="http://en.wikipedia.org/wiki/Gayageum">Thank you, Wikipedia!</a>).</p> <p>First, she tackles Vaughan's "Scuttle Buttin'," followed by Hendrix's "Voodoo Child (Slight Return)." Chances are Luna's a Vaughan fan, since both of these songs appear on his 1984 album, <em>Couldn't Stand the Weather.</em></p> <p>For more gayageum videos by Luna, <a href="http://www.youtube.com/user/luna422422/videos">head here.</a> She also covers Hendrix's "Bold As Love" and a few tracks by acoustic guru Tommy Emmanuel.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/JX-T0eBr31w" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/NfOHjeI-Bns" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/gayageum-style-video-girl-covers-jimi-hendrix-stevie-ray-vaughan-traditional-korean-instrument#comments Acoustic Nation Jimi Hendrix Luna Lee Stevie Ray Vaughan WTF Videos Blogs Videos News Tue, 07 Jan 2014 17:41:44 +0000 Damian Fanelli http://www.guitarworld.com/article/18115 Video: Zakk Wylde and Slash Perform Jimi Hendrix's "Voodoo Child (Slight Return)" http://www.guitarworld.com/video-zakk-wylde-and-slash-perform-jimi-hendrixs-voodoo-child-slight-return <!--paging_filter--><p>Check out this video, which was posted to YouTube a few years ago, of Zakk Wylde and Slash performing "Voodoo Child (Slight Return)," a Jimi Hendrix song that was covered by Stevie Ray Vaughan in 1984.</p> <p>The mix in the video spotlights Wylde; it's actually difficult to hear Slash at all in the clip.</p> <p>Although a set hasn't yet been announced, this might be what fans will hear on the 2014 Experience Hendrix tour, which will feature Wylde as one of the headliners. Other artists on the tour include Buddy Guy, Jonny Lang, Kenny Wayne Shepherd, Dweezil Zappa, Los Lobos’ Cesar Rosas and David Hidalgo, Eric Gales, Doyle Bramhall II, Eric Johnson, Bootsy Collins, Mato Nanji and, from Serbia by way of Memphis, Ana Popovic.</p> <p>The rhythm section includes bassist Billy Cox, the only player, apart from Hendrix, who was part of both the Band of Gypsys and the Jimi Hendrix Experience, and Chris Layton, the drummer who, along with the late Vaughan, was a founder of Double Trouble.</p> <p>For more about the 2014 Experience Hendrix tour, <a href="http://www.guitarworld.com/exclusive-videos-kenny-wayne-shepherd-and-band-gypsys-bassist-billy-cox-discuss-2014-experience-hendrix-tour">head here.</a> Enjoy!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/nFrcPgyRG9w" 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="/slash">Slash</a> </div> <div class="field-item even"> <a href="/zakk-wylde">Zakk Wylde</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/video-zakk-wylde-and-slash-perform-jimi-hendrixs-voodoo-child-slight-return#comments Jimi Hendrix Slash Zakk Wylde News Tue, 07 Jan 2014 16:10:11 +0000 Damian Fanelli http://www.guitarworld.com/article/20139 Zero to '60s in Five Pedals: Five Modern Effects that Conjure Far-Out, Vintage Tones http://www.guitarworld.com/zero-60s-five-pedals-five-modern-effects-conjure-far-out-vintage-tones <!--paging_filter--><p>Many guitar players — at some point — can't help but fall under the spell of the sounds found on classic rock albums of the mid- to late '60s. </p> <p>Players like Jimi Hendrix, Eric Clapton, Jeff Beck, Jimmy Page, Pete Townshend and Robby Krieger were synonymous with wah, fuzz, univibe and/or tremolo. Throw George Harrison and Brian Jones into the mix and you get sitars and other sound- (and mind-) altering effects. They were always experimenting, changing things up, trying to outdo each other. </p> <p>Modern players who are obsessed with classic '60s rock sounds can glue their eyes to eBay, waiting for pricey, hard-to-find vintage gear to show up. Or they can check out these five easy-to-find, modern effect pedals, as chosen by a group of <em>Guitar World</em> staffers including Gear Editor Paul Riario. </p> <p><strong>Vox V846-HW Hand-Wired Wah Wah</strong></p> <p>Stop, children, what's that sound? ... Well, if we're talking about the '60s (and we are), it's probably Jimi Hendrix playing "Voodoo Child (Slight Return)" on a Fender Strat through a Vox V846 Wah Wah pedal.</p> <p>Vox actually created the first wah pedal in the '60s, spawning an army of imitators that continues to grow, NAMM after NAMM. Back in the day, the Vox wah and its competitors found their way into the hands — or in this case, the feet — of countless top-notch rock guitarists, from Hendrix to Jeff Beck to Jimmy Page to Eric Clapton. But again, Vox was there first. </p> <p>In 2011, the company issued its V846-HW Hand-Wired Wah Wah Pedal, which does a fine job of capturing the tone, feel and weight of the original Vox pedal. Every component in the new model — inductors, resistors, capacitors and the potentiometer — is carefully selected. And like its name suggests, each unit features hand-wired turret board construction with no printed circuit boards. The only difference is a true bypass, a handy update for modern players. </p> <p><em>MSRP: $329 | <a href="http://www.voxamps.com/pedals/wahwah_v846/">Check out this pedal at voxamps.com.</a></em></p> <hr /> <p><strong>Dunlop Jimi Hendrix Fuzz Face Distortion</strong></p> <p>The '60s may have started out clean, but by the end of the decade there were some pretty gnarly distortion and fuzz sounds filling clubs and arenas around the world. </p> <p>Among the most distinctive fuzz tones of the late '60s undoubtedly belonged to Jimi Hendrix, who utilized a Dallas Arbiter Fuzz Face to add that extra layer of dirt to his already gritty brand of hard blues. Unless you're quick on the draw with your eBay bids or simply owned one back in the day, you won't have much luck finding Hendrix's original fuzz source these days, but fortunately Dunlop has produced a faithful replica in the Dunlop Jimi Hendrix Fuzz Face.</p> <p>Hand-wired and built around a BC108 silicon transistor, the Hendrix Fuzz Face is nothing less than a meticulous reproduction of the original pedal, one you'll need if you'll want to summon your inner-voodoo child.</p> <p>And if a Tone Bender is more your thing, check out the <a href="http://www.williamsaudio.co.uk/Tonebender-MK11-Professional.html">OC81D Williams Vintage Tone MK11 Professional</a>, as used by Ben King, the current Yardbirds guitarist. </p> <p><em>MSRP: $257 | <a href="http://www.jimdunlop.com/product/jhf1-jimi-hendrix-fuzz-face">Check out this pedal at jimdunlop.com.</a></em></p> <hr /> <p><strong>Electro-Harmonix Ravish Sitar</strong></p> <p>You're in a '60s cover band. The rowdy, drunken audience is clamoring for your "Paint It, Black" / "Norwegian Wood" medley. Do you just play the sitar parts on your Fender Esquire and smile knowingly, like, "Yeah, I know these notes were originally played on a sitar, but what the hell am I supposed to do?" Well, yes, you could do that. But you also could check out Electro-Harmonix's new Ravish Sitar pedal. </p> <p>As we say in the <a href="http://store.guitarworld.com/collections/buyers-guide/products/buyers-guide-2013/?&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=60sPedals">2013 Guitar World Buyer's Guide</a>, it's the "world's best sitar emulation for guitar. With the Ravish Sitar pedal, Electro-Harmonix has streamlined the essence of the sitar into a compact enclosure that offers a polyphonic lead voice a tunable sympathetic string drones that dramatically react to your playing with adjustable timbre."</p> <p>And besides all that, guitarists can finally tackle "Bangla Dhun," Ravi Shankar's 15-minute Indian-music recital that kicks off <em>The Concert for Bangladhesh</em>. Or not! </p> <p><em>MSRP: $319 | <a href="http://www.ehx.com/products/ravish">Check out this pedal at exh.com.</a></em></p> <hr /> <p><strong>Dry Bell Vibe Machine V-1</strong></p> <p>You'll find vibe effects all over the music of Jimi Hendrix and Procol Harem's Robin Trower, a fact that, in and of itself, makes a good vibe pedal an essential part of any '60s guitar rig. </p> <p>There's no shortage of great vibe units to choose from, but for our money, the Dry Bell Vibe Machine is the top of the heap. Not only is it among the more compact options, it allows for maximum tone control with its "Bright" switch, avoiding the sound-dampening side effects of some of the other pedals on the market.</p> <p>If you want to nail that Hendrix-at-Woodstock tone, adding this little beauty in your arsenal certainly can't hurt. What it can't help? Your nerves playing "The Star-Spangled Banner" in front of a few hundred-thousand fans.</p> <p><em>MSRP: $295 | <a href="http://www.drybell.com/vibe_machine_v1_en.html">Check out this pedal at drybell.com.</a></em></p> <hr /> <p><strong>Fulltone Supa-Trem 1</strong></p> <p>As <em>Guitar World</em> has said in past reviews, Fulltone's Supa-Trem 1 is a tremolo pedal that lives up to its name. As you can tell by the photo in the gallery below, it's a simple, basic, gimmick-free effect that inadvertently captures the look of '60s pedals while working hard to capture the sound. </p> <p>From personal experience, it's also a rugged pedal that can take a licking and keep on waving. It features a footswitchable Half/Full speed footswitch that stays in tempo and lets you channel some authentic-sounding Leslie-like moves. Another footswitch lets you choose between "Soft" smooth wavering or "Hard" square-wave machine-gun stutter. There's also an internal trimmer to fine tune the feel of the waveform.</p> <p>As a side note, '60s rocker John Fogerty uses one of these pedals today to recreate his powerful CCR-era tremolo effects.</p> <p><em>MSRP: $219 | <a href="http://www.fulltone.com/products/supa-trem-1">Check out this pedal at fulltone.com</a>.</em></p> <p><strong>Can't get enough gear? Check out the 2013 Guitar World Buyer's Guide. <a href="http://store.guitarworld.com/collections/buyers-guide/products/buyers-guide-2013/?&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=60sPedals">It's available now at the Guitar World Online Store.</a></strong></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="/jimi-hendrix">Jimi Hendrix</a> </div> <div class="field-item even"> <a href="/eric-clapton">Eric Clapton</a> </div> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/george-harrison">George Harrison</a> </div> <div class="field-item odd"> <a href="/jeff-beck">Jeff Beck</a> </div> <div class="field-item even"> <a href="/cream">Cream</a> </div> <div class="field-item odd"> <a href="/jimmy-page">Jimmy Page</a> </div> <div class="field-item even"> <a href="/robby-krieger">Robby Krieger</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/zero-60s-five-pedals-five-modern-effects-conjure-far-out-vintage-tones#comments Dry Bell Dunlop EHX Electro-Harmonix Fulltone George Harrison Jimi Hendrix VOX Guitar World Lists Effects News Features Gear Fri, 03 Jan 2014 15:20:03 +0000 Damian Fanelli, Josh Hart http://www.guitarworld.com/article/16374 Missing for Years, Recordings and Footage from 1968 Miami Pop Fest Represent a Bright Spot for Jimi Hendrix Experience http://www.guitarworld.com/missing-years-recordings-and-footage-1968-miami-pop-fest-represent-bright-spot-jimi-hendrix-experience <!--paging_filter--><p><em>This is an excerpt from the January 2014 issue of </em>Guitar World<em>. For the rest of this story, plus the Beatles' 50 Greatest Guitar Songs, Andreas Kisser, Mark Tremonti, a guide to new signature model guitars and John Petrucci's monthly column — <a href="http://store.guitarworld.com/collections/guitar-world/products/guitar-world-january-14-the-beatles/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=TremontiExcerpt">check out the January 2014 issue at the Guitar World Online Store.</a></em></p> <p><strong>Sunshine State: <em>Missing for years, a set of newly released recordings and footage from the 1968 Miami Pop Festival reveals the Jimi Hendrix Experience at a bright spot in their brief and troubled history.</em></strong></p> <p>By mid-1968, the hippie movement was in full flower across America. Young people were growing their hair out, dressing and thinking in new ways, tuning in, turning on and dropping out to the beat of a wild new style of psychedelicized heavy guitar music as performed by colorful groups like Cream, the Who, Blue Cheer and, of course, the Jimi Hendrix Experience. </p> <p>And so it came to pass on a breezy May day in 1968 that Jimi Hendrix, bassist Noel Redding and drummer Mitch Mitchell mounted a makeshift stage atop a flatbed truck at the Miami Pop Festival. </p> <p>Held at the Gulfstream Park horse racetrack, Miami Pop was the first big rock festival to take place on the East Coast of the United States. It was a heartfelt emulation of California’s Monterey Pop Festival, the event that had hosted the Experience’s explosive U.S. concert debut the year before. </p> <p>As they climbed onto Miami Pop’s unconventional stage, Hendrix, Redding and Mitchell were seriously wacked on STP, a powerful, speed-spiked hallucinogen. The festival organization itself was shambolic at best. Yet despite these factors, the trio turned in an exemplary performance at both their afternoon and evening shows that day, and it is remembered as one of the historic Jimi Hendrix concerts. </p> <p>Resplendent in a frilly white shirt and wearing an outsized medallion and a big floppy hat, Hendrix stroked, humped, caressed and brutalized his Olympic White maple-neck Fender Stratocaster, teasing anguished cries and fiery torrents of feedback frenzy from it. </p> <p>The 50,000 or so rock fans in attendance that day witnessed a performance that few of them would forget. But this great Hendrix concert was almost lost to history. Multitrack audio tapes and film footage of the event went missing in the messy aftermath of the Miami fest, when the event’s second day was rained out and things turned ugly, and they remained missing for decades. </p> <p>But now they’ve resurfaced, newly and pristinely remixed and restored by longtime Hendrix engineer and co-producer Eddie Kramer, the man who recorded the Miami gig in the first place. The new album <em>Jimi Hendrix Experience: Miami Pop Festival</em> captures the sound and fury of that momentous Florida day in all its glory. </p> <object width="620" height="365"><param name="movie" value="http://videoplayer.vevo.com/embed/Embedded?videoId=USQX91302296&playlist=false&autoplay=0&playerId=62FF0A5C-0D9E-4AC1-AF04-1D9E97EE3961&playerType=embedded&env=0&cultureName=en-US&cultureIsRTL=false" /><param name="wmode" value="transparent" /><param name="bgcolor" value="#000000" /><param name="allowFullScreen" value="true" /><param name="allowScriptAccess" value="always" /><embed src="http://videoplayer.vevo.com/embed/Embedded?videoId=USQX91302296&playlist=false&autoplay=0&playerId=62FF0A5C-0D9E-4AC1-AF04-1D9E97EE3961&playerType=embedded&env=0&cultureName=en-US&cultureIsRTL=false" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="620" height="365" bgcolor="#000000" wmode="transparent"></embed></object><p> The set appears in tandem with a new PBS <em>American Masters</em> biography of Hendrix that is arguably the best film documentary on the late guitarist ever assembled. The public-television documentary will also be released on DVD under the title <em>Jimi Hendrix—Hear My Train A Comin’</em>. DVD bonus footage will include two complete songs from the Experience’s Miami set, surviving snippets of other live songs and in-depth interviews with both Eddie Kramer and Miami Pop Festival organizer Michael Lang. </p> <p>“The Miami concert was one of the legendary lost Jimi Hendrix performances,” says Hendrix historian John McDermott, the man responsible for unearthing the Miami film and tapes. “The cool thing about the material is that it captures the Experience at a great time. They’re excited. They’re up. The crushing intensity of their first U.S. tour—where they did 66 shows in 60 days—had passed. They’d survived that. They’d had a little bit of a break in April and had just started work on the album that would become <em>Electric Ladyland</em>. </p> <p>“And here in mid May, they go down to Florida and have a good time. They stayed at the famous Castaways hotel.” The Asian-Polynesian-themed resort complex was the go-to playground for both visiting celebs and vacationing Americans in the Sixties and Seventies. “They jammed at the hotel bar,” McDermott says. “Mitch Mitchell took a lot of eight-millimeter movies of them hanging out at the pool. So I think it is a nice payoff for all the hard work they had done since coming to the U.S. in February of ’68.”</p> <p>What makes the music from Miami and these scenes of band camaraderie even more poignant is the fact that the Jimi Hendrix Experience would soon cease to exist. The Experience split up a little over a year after Miami Pop, in June 1969, and when Hendrix appeared at the Woodstock festival that August he had a different group behind him, one appreciably less tight and dynamic than the Experience.</p> <p>The mobile truck belonging to Florida’s famed Criteria Studios had been engaged for audio recording. “It was an eight-track setup, pretty primitive,” Eddie Kramer recalls. “We just got a feed from the stage. We were using the P.A. mics to record. It certainly gave me a taste of what was to come at Woodstock.” </p> <p><em>Photo: Ken Davidoff/<a href="http://oldrockphoto.com/">OldRockPhoto.com</a></em></p> <p><strong><em>For the rest of this story, plus the Beatles' 50 Greatest Guitar Songs, Andreas Kisser, Mark Tremonti, a guide to new signature model guitars and John Petrucci's monthly column — <a href="http://store.guitarworld.com/collections/guitar-world/products/guitar-world-january-14-the-beatles/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=TremontiExcerpt">check out the January 2014 issue at the Guitar World Online Store.</a></em></strong></p> <p><img src="/files/imce-images/January2014.jpg" width="620" height="805" alt="January2014.jpg" /></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="/jimi-hendrix">Jimi Hendrix</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/missing-years-recordings-and-footage-1968-miami-pop-fest-represent-bright-spot-jimi-hendrix-experience#comments January 2014 Jimi Hendrix Interviews News Features Magazine Wed, 11 Dec 2013 17:40:52 +0000 Alan di Perna http://www.guitarworld.com/article/19973 Video: Watch Complete 'American Masters' Version of 'Jimi Hendrix — Hear My Train A Comin'' Documentary http://www.guitarworld.com/video-watch-complete-american-masters-version-jimi-hendrix-hear-my-train-comin-documentary <!--paging_filter--><p>It’s hard to imagine there’s much in the Hendrix family archives that’s worth hearing or seeing at this point, but <em>Jimi Hendrix — Hear My Train A Comin’</em>, which aired last month on PBS’ <em>American Masters</em> series, certainly fits the bill.</p> <p>Below, you can watch the entire <em>American Masters</em> version of the documentary, courtesy of PBS.</p> <p>While the ancient <em>Jimi Hendrix</em> documentary is, well, ancient, and the <em>Jimi Hendrix Voodoo Child</em> film (narrated by Bootsy Collins as Hendrix) from last year was disappointing, <em>Hear My Train A Comin'</em> is a first-class addition to the Hendrix catalog.</p> <p>It tells Hendrix’s story in an intimate and refreshing way. All the key players — Mitch Mitchell, Noel Redding, Chas Chandler, Eddie Kramer, Steve Winwood, Fayne Pridgeon, Linda Keith, etc. — are shown in new interviews or archival pieces that are either unfamiliar or used in new and interesting ways. </p> <p>While Pete Townshend and Eric Clapton are notably absent, that’s more than made up for by a wonderful, relaxed interview with Paul McCartney. There’s also loads of newly discovered audio and video, and what we have heard and seen before looks and sounds better than ever.</p> <p>Even better than the <em>American Masters</em> version of <em>Hear My Train A Comin’</em> is the expanded Blu-ray/DVD version, which is available now. Everything looks and sounds fantastic, especially in the 5.1 DTS mix on the Blu-ray version. And the bonus features — near-complete versions of 1968's Miami Pop Festival, 1970's New York Pop Festival and newly discovered archival footage from Hendrix’s appearance at 1970's Love &amp; Peace Festival in Germany synched to a cleaned-up amateur recording of the performance, along with his legendary 1967 <em>Top of the Pops</em> appearance — are worth the price of the home video version alone.</p> <p><iframe width="620" height="365" src="http://video.pbs.org/viralplayer/2365112662" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" seamless></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="/jimi-hendrix">Jimi Hendrix</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/video-watch-complete-american-masters-version-jimi-hendrix-hear-my-train-comin-documentary#comments Jimi Hendrix News Tue, 03 Dec 2013 17:58:15 +0000 Jeff Slate http://www.guitarworld.com/article/19900 Video: The Story Behind "The Wind Cries Mary" by Jimi Hendrix http://www.guitarworld.com/video-story-behind-wind-cries-mary-jimi-hendrix <!--paging_filter--><p>Below, we present a bit of footage that didn't make it onto the PBS/American Masters version of the new Jimi Hendrix documentary, <em>Jimi Hendrix — Hear My Train A Comin'</em>.</p> <p>In this clip, various Hendrix associates discuss the making of "The Wind Cries Mary," a track from <em>Are You Experienced,</em> the 1967 debut album by the Jimi Hendrix Experience.</p> <p>The video features Hendrix's late manager Chas Chandler (a former member of the Animals) describing how the song was recorded in 20 minutes, including five guitar overdubs. Then Eddie Kramer isolates various guitar tracks from the song.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/YT1zNuUpMFw" 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="/jimi-hendrix">Jimi Hendrix</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/video-story-behind-wind-cries-mary-jimi-hendrix#comments Jimi Hendrix News Mon, 02 Dec 2013 19:01:33 +0000 Damian Fanelli http://www.guitarworld.com/article/19885