News en Female International Rock Jam with Larissa Basílio, Irene Ketikidi, Anouck André and Laura Klinkert — Video <!--paging_filter--><p>Today we're pleased to bring you a new guitar-heavy video by four talented female guitarists from the around the world.</p> <p>"Female International Rock Jam" features—in order—<a href="">Larissa Basílio</a> of Brazil, <a href="">Irene Ketikidi</a> of Greece, <a href="">Anouck André</a> of France and <a href="">Laura Klinkert</a> of Colombia jamming to a driving blues backing track.</p> <p>It was clearly shot in four different places and cut together as a single performance video.</p> <p>Only one of these players—Klinkert—has been featured on in the past. We shared <A href="">her cover of Guthrie Govan's "Blues Mutations 2" last year.</a></p> <p>Check it out and tell us which of these guitarists deserves more coverage on the site!</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Anouck André Irene Ketikidi Larissa Basílio Laura Klinkert Videos News Fri, 29 May 2015 17:22:47 +0000 Damian Fanelli 24585 at Eight-String Guitarist Sonia Shredder Covers Fate's "Vultures" — Video <!--paging_filter--><p>Here's something that turned up in my inbox during my most recent vacation (I'm slowly catching up on emails and old coffee cups with disturbing things growing in them).</p> <p>It's a video of a talented eight-string guitarist, Sonia Shredder, performing a playthrough video of "Vultures," the title track from Fate's 2008 album (Metal Blade Records).</p> <p>The video, which was published to YouTube in February, features the following bonus info from Sonia:</p> <p>"This is an A-tuned six-string guitar cover that I transposed to an F# eight-string guitar and played the last section a third interval higher. Twice the fun! :)"</p> <p><strong>GEAR</strong></p> <p>• Guitar: Ibanez RGA8<br /> • Pickups: Seymour Duncan Distortion 8<br /> • DI: Line 6 Pod Farm<br /> • Camera: GoPro Hero3+: Silver Edition</p> <p><strong>For more about Sonia Shredder, subscribe to <a href="">her YouTube channel right here.</a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Fate Sonia Shredder Videos News Fri, 29 May 2015 16:43:16 +0000 Damian Fanelli 24584 at New-and-Improved Hammer Jammer 2015 Available Now; Watch a Demo Video <!--paging_filter--><p>Some of you gear lovers might remember when <a href="">we posted a story—or two or three—about a device called the Hammer Jammer</a>.</p> <p>The Hammer Jammer is unique key-hammering percussive device that fits onto electric or acoustic six-string guitars, producing a different-sounding attack—something in the ballpark of a hammer dulcimer on speed.</p> <p>Our story and its video went viral, which led Ohio-based Big Walnut Productions, maker of the Hammer Jammer, to believe its product is, to say the least, ready for the guitar market.</p> <p>Now, after months of redesign and manufacturing tweaks, Big Walnut Productions has announced that the "Hammer Jammer 2015" is shipping around the world. It's also available to purchase direct from <a href=""></a></p> <p>Several players have begun posting their own Hammer Jammer demo videos, and we've included a clip from France's Olivier Kikteff of France (bottom video). Enjoy!</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Hammer Jammer Accessories Videos News Gear Fri, 29 May 2015 15:50:04 +0000 Damian Fanelli 24581 at Full Shred with Marty Friedman: Using String-Bending and Vibrato to Personalize a Melody <!--paging_filter--><p>Two of the most essential techniques for all aspiring guitarists to master are string bending and vibrato. </p> <p> The electric guitar affords us the opportunity to express musical statements that can evoke and rival the sound and qualities of the human voice, with string-bending and vibrato techniques as the primary elements necessary to achieve vocal-like sounds and phrasing. </p> <p> In this column, I’d like to detail a few of the string-bending and vibrato techniques I use and the applications that appeal to me the most. </p> <p> You can bend a string in many ways, and I like to employ just about every method imaginable. Drawing from a variety of string-bending techniques provides me with more options for how to interpret whatever I’m playing. </p> <p> Let’s begin with a simple melody, and I’ll then demonstrate a handful of ways I might interpret it. <strong>FIGURE 1</strong> illustrates a very simple three-note phrase in A minor, comprising the notes E (the fifth) and G (the flatted seventh) and ending with a bend from G up one whole step, to the A root note. A common approach many guitarists take is to employ a unison bend for each note, as demonstrated in <strong>FIGURE 2</strong>. </p> <p> While one note is fretted with the index finger on the B string, another is fretted with the ring finger two frets higher, on the G string, and that note is then bent up a whole step to match the pitch of the B-string note. </p> <p> If you ever hear me play this unison bend lick, please shoot me. We just don’t need another guitar player playing that way anymore. But if you like it, you should play that way; just don’t let me play that way. <strong>FIGURE 3</strong> shows one of the many “Marty-style” options available when playing these three notes. Instead of simply fretting the first note, I place the index finger one fret lower and bend up to it from a half step below, from D# to E, then apply vibrato to the note. I then slide up to the G and execute half-step bends (and releases) between G# and A. It’s a nice alternative to simply fretting the note. </p> <p> I then move up to B and bending up a half step, to C, and then I release the bend and perform a series of quick hammer-pulls between A and G# on the B string.</p> <p> There are so many variations one could apply from here, and I’ve detailed a handful in <strong>FIGURES 4–8</strong>. I encourage you to use your musical ear and listen for variations and options that you find interesting.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-10-06%20at%201.22.07%20PM.png" width="620" height="608" alt="Screen Shot 2014-10-06 at 1.22.07 PM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202014-10-06%20at%201.22.23%20PM.png" width="620" height="361" alt="Screen Shot 2014-10-06 at 1.22.23 PM.png" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/marty-friedman">Marty Friedman</a> </div> </div> </div> </fieldset> Full Shred Marty Friedman October 2014 Artist Lessons Videos Blogs News Lessons Magazine Fri, 29 May 2015 15:39:55 +0000 Marty Friedman 22105 at Guitar World DVD: Learn '50 Essential Expert Licks' from Joe Satriani, Jeff Loomis, Andy Timmons and More <!--paging_filter--><p>Want to expand and diversify your guitar skills and repertoire? </p> <p><em>Guitar World</em>'s new <em><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=50ExpertLicks">50 Expert Guitar Licks</a></em> DVD helps you do it with great guitar phrases written and presented by some of the biggest virtuosos in rock, metal, shred, prog, fusion and other styles, including Joe Satriani, Marty Friedman, Alex Skolnick, Gus G and <em>Guitar World</em>'s own resident expert, senior music editor Jimmy Brown. </p> <p>Each lick includes tab, a written explanation to guide you through the lick and — best of all — video from the artist who created it. </p> <p><em>50 Expert Guitar Licks</em> is the most comprehensive instructional course of its kind.</p> <p><strong>Your Instructors:</strong></p> <p>• Michael Angelo Batio<br /> • Jimmy Brown<br /> • Zane Carney (John Mayer)<br /> • Mike Errico<br /> • Marty Friedman<br /> • Gus G (Ozzy Osbourne)<br /> • Joel Hoekstra (Night Ranger)<br /> • Joel Kosche (Collective Soul)<br /> • Jeff Loomis (Nevermore)<br /> • Rob Math (Leatherwolf)<br /> • Gary Potter<br /> • Glenn Proudfoot<br /> • Dave Reffett<br /> • Joe Satriani<br /> • Alex Skolnick (Testament)<br /> • Andy Timmons</p> <p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=50ExpertLicks">'50 Essential Expert Licks' is available now at the Guitar World Online Store for $14.95.</a></strong></p> News Features Fri, 29 May 2015 15:35:21 +0000 Guitar World Staff 20058 at Wild Stringdom with John Petrucci: Using Triad Arpeggios to Imply More Complex Chord Qualities <!--paging_filter--><p>This month, I’m going to demonstrate how one can utilize simple triadic shapes and patterns in order to imply more complex and varied chord qualities. </p> <p>I find this to be a very cool and useful improvisational tool, because you can apply it to playing over either a chord progression that you want to outline melodically or over a static pedal tone or one-chord vamp over which you want to superimpose shifting harmonic colors.</p> <p> Let’s begin by outlining, and then combining, simple major and minor triads. <strong>FIGURES 1 and 2</strong> illustrate the notes of a G major triad—G B D—played in seventh position. The relative minor triad of G major is E minor, and <strong>FIGURE 3</strong> depicts an E minor triad played in the same position. Notice that both triads share two of the same notes, G and B.</p> <p> The “magic” happens when we combine these two triads, and we can utilize and analyze the resulting sound within either a G major or an E minor context. <strong>FIGURE 4</strong> shows the two triads combined, so in essence we’ve simply added the E note to the G major triad. </p> <p>Adding E, the sixth of G, implies the sound of a G6 chord. If we play the same pattern over an E minor tonality, the resultant chordal implication is Em7, as shown in <strong>FIGURE 5</strong>, and the single-note triadic-based phrases evoke a different harmonic impression.</p> <p> Let’s now apply this approach to a different tonal center. As shown in <strong>FIGURES 6 and 7</strong>, the combination of the notes of a C major triad—C E G—and an A minor triad—A C E—result in either a C6 sound, as shown in <strong>FIGURE 6</strong>, or an Am7 sound, as shown in <strong>FIGURE 7</strong>. The beauty of this exercise is that it demonstrates how the study of one theoretical concept and its associated single-note patterns can easily be applied to more than one tonal environment. </p> <p>On a grand scale, this means that the study of one idea can be applied to many different harmonic environments, yielding a broader understanding of music theory as well as heightening one’s fretboard awareness. </p> <p>Another great way to use this concept is to combine two different triads that are found within the same tonal center. For example, within the G major scale (G A B C D E F#), one can build a series of seven different triads by starting from each note in the scale and adding thirds above the starting note while remaining diatonic to (within the scale structure of) G major. If we start from B, the third degree of the G major scale, a B minor triad is formed by playing B D F#, notes that<br /> are all thirds apart, as they occur within the G major. </p> <p><strong>FIGURE 8</strong> illustrates a phrase that combines G major and B minor triads. We can then apply this approach to the relative minor of G, Em7, as shown in <strong>FIGURE 9</strong>. When looked at as a whole, combining G major and B minor triads implies a Gmaj13 chord, as shown in <strong>FIGURE 10.</strong></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <img src="/files/imce-images/Screen%20Shot%202014-04-24%20at%202.49.42%20PM.png" width="620" height="677" alt="Screen Shot 2014-04-24 at 2.49.42 PM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202014-04-24%20at%202.50.00%20PM.png" width="620" height="200" alt="Screen Shot 2014-04-24 at 2.50.00 PM.png" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> <div class="field-item even"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> Dream Theater John Petrucci March 2014 Wild Stringdom Artist Lessons Blogs News Lessons Magazine Fri, 29 May 2015 15:31:00 +0000 John Petrucci 20319 at John Petrucci Demos His Signature Sterling by Music Man JP100D Guitar — Video <!--paging_filter--><p>In this new video, Dream Theater guitarist John Petrucci walks you through the finer points of his signature JP100D guitar from Sterling by Music Man. </p> <p>For more information about this model, check out the specs below and visit the guitar's page on <a href=""></a></p> <p><strong>JP100D SPECIFICATIONS:</strong></p> <p><strong>Scale:</strong> 25.5”<br /> <strong>Nut Width:</strong> 42mm<br /> <strong>Neck Width, 12th fret:</strong> 52mm<br /> <strong>Body Wood:</strong> Basswood (JP100D-MKOA has a Mahogany body)<br /> <strong>Body Top:</strong> Quilt Maple Veneer (JP100D-MKOA has a Koa top<br /> <strong>Neck Wood:</strong> Maple<br /> <strong>Fretboard Wood:</strong> Rosewood<br /> <strong>Tuning Machines:</strong> Locking<br /> <strong>Hardware:</strong> Chrome<br /> <strong>Neck Joint:</strong> 5 Bolt<br /> <strong>Frets:</strong> 24<br /> <strong>Fretboard Radius:</strong> 16”<br /> <strong>Pickup Selector:</strong> 3 Way<br /> <strong>Pickups:</strong> H/H, Dimarzio LiquiFireTM &amp; Crunch Lab pickups<br /> <strong>Bridge:</strong> Modern Tremolo</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> <div class="field-item even"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> Dream Theater John Petrucci Sterling by Music Man Videos Electric Guitars News Gear Fri, 29 May 2015 15:25:05 +0000 Damian Fanelli 24578 at The Chris Robinson Brotherhood Premiere New Live Track, "Rosalee" — Exclusive <!--paging_filter--><p>Today, presents the exclusive premiere of "Rosalee," a new live track by the Chris Robinson Brotherhood.</p> <p>"Rosalee" is from the band's new album, <em><a href="">Betty’s Blends, Volume Two: Best From The West,</a></em> which was recorded and mixed live from the board by legendary Grateful Dead archivist Betty Cantor-Jackson. The seven-track collection presents performances captured throughout the CRB's 2014 summer tour of the western U.S. <a href="">It will be released June 2.</a></p> <p>"Rosalee," which you can check out below, was recorded at the <a href="">Henry Miller Library</a> in Big Sur.<br /> 
<br /> “This edition has a second set kind of vibe," Cantor-Jackson says. "There are some tunes with experimental spaces and some with a very different feel from slamming rock to majestic and soulful ballads. The CRB are inventive, expressive and poetic. They hit so many notes that bring such delight. This is the joy I want to preserve. It’s the here and now of the moment. Nobody gets to fix it later. It’s already history.”</p> <p><em><a href="">Betty's Blends, Volume Two</a></em> will be issued by Robinson's own label imprint, Silver Arrow Records, as a limited-edition release with only 2,000 2LP sets, 2,000 CDs and 2,000 downloads available. The approach is true to Robinson’s farm-to-table aesthetic for the CRB.</p> <p>“We’re running our band and record label as a mom-and-pop endeavor, so we're free to experiment with new concepts for how to get the music out to people," Robinson says. "The <em>Betty's Blends</em> series is just one way we're exploring that idea. This time around, it’s a small-batch release for connoisseurs.”</p> <p>"Off we go on another sonic adventure through the ears and mind of the one and only Betty Cantor-Jackson," Robinson adds. "Clear some room, lay on the music and let the high times commence!”</p> <p><em>Betty’s Blends, Volume Two: Best From The West</em> is <a href="">available now for preorder.</a></p> <p><strong>For more information about the CRB and <em>Betty’s Blends</em>, visit <a href=""></a> and follow along on <a href="">Facebook.</a></strong></p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src=";auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true"></iframe></p> Chris Robinson Brotherhood News Fri, 29 May 2015 14:38:58 +0000 Damian Fanelli 24576 at Stevie Ray Vaughan, B.B. King and Albert Collins Play "Texas Flood" — Video <!--paging_filter--><p>The recent passing of the great B.B. King has inspired a host of casual blues fans to dig deep into their record collections—or into the depths of their iTunes libraries—to take a quick refresher course on exactly what made King so special, so rare.</p> <p>Oddly enough, I had actually started revisited his expansive catalog back in April, the week before he was reported ill.</p> <p>Which then led me to look for seldom-seen clips of King and his beloved Gibson guitar, Lucille, in action—hopefully with my favorite guitarist of all time, Stevie Ray Vaughan, along for the ride.</p> <p>Luckily, there's a handful of King-and-Vaughan clips available on YouTube. My favorite of them all, however, is this pro-shot video from April 22, 1988, when Vaughan, King and fellow blues legend Albert Collins performed "Texas Flood" aboard the S.S. President as part of the 1988 New Orleans Jazz &amp; Heritage Festival.</p> <p>While I usually think of King as "the guitarist who says more with one note than most guitarists say with 20," he seems to have abandoned that philosophy in this clip in favor of some B.B. King-style shredding. Maybe he was inspired by the two fleet-fingered Texans on stage with him. </p> <p>What we hear (and see) is actually a very exciting, fluid and extended solo by King, who kicks things off with one of the Albert King-style bends so strongly associated with SRV's studio and live versions of the Larry Davis composition.</p> <p>Up next is a solo by Vaughan, who is his usual one-in-a-billion self, followed by a tasteful solo by Collins, who was known as "the master of the Telecaster" and "the Ice Man." It's fun to go from the tones of King's Gibson Lucille model to Vaughan's Strat to Collin's extra-pointy Tele.</p> <p>There's a lot of great guitar playing in this video, and it's great to see all the smiling faces and beautiful gear. But it's also a sad reminder that some of the greatest blues players of modern times are gone forever. Vaughan died August 27, 1990, just before turning 36. Collins died November 24, 1993, at age 60. King died May 14, 2015, at age 89.</p> <p><em>You can find Damian Fanelli's most recent liner notes in Sony/Legacy's </em>Stevie Ray Vaughan: The Complete Epic Recordings<em> box set from 2014. <a href="">Follow him on Twitter.</a></em></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/bb-king">B.B. King</a> </div> <div class="field-item even"> <a href="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> <div class="field-item odd"> <a href="/albert-collins">Albert Collins</a> </div> </div> </div> </fieldset> Albert Collins B.B. King Damian Fanelli Stevie Ray Vaughan Videos News Thu, 28 May 2015 19:37:07 +0000 Damian Fanelli 24571 at Shred City! Santa Cruz Premiere "We Are the Ones to Fall" Playthrough Video <!--paging_filter--><p>Earlier this month, Finnish shredders Santa Cruz visited the <em>Guitar World</em> studio in New York City to play "We Are the Ones to Fall," a track off their self-titled 2015 album.</p> <p>They also caused a bit of mayhem and destruction!</p> <p>Check out the new clip below, which features Santa Cruz guitarists Archie Cruz and Johnny Cruz. </p> <p>For more about the band, including their tour dates, new album and more, visit <a href=""></a> and follow them on <a href="">Facebook.</a></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Santa Cruz Videos News Thu, 28 May 2015 18:40:08 +0000 Damian Fanelli 24570 at “The Star Spangled Banner” Played in 10 Styles with Jared Dines and Anthony Vincent <!--paging_filter--><p>YouTuber Jared Dines and Anthony Vincent of “Ten Second Songs” have teamed up and collaborated to create a cover of “The Star Spangled Banner” in 10 different song styles, including one in the form of death metal. </p> <p>Check it out below and let us know what you think in the comments!</p> <p>For more on Jared Dines, follow him on YouTube and Facebook. You can also follow Anthony Vincent on YouTube, Facebook, and Twitter as well.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Anthony Vincent Jared Dines Videos News Thu, 28 May 2015 17:34:54 +0000 Guitar World Staff 24568 at Pat Metheny's 42-String Manzer Picasso Guitar — Video <!--paging_filter--><p>Below, behold the 42-string Picasso guitar!</p> <p>The bizarre instrument, which was built for jazz god Pat Metheny about 30 years ago by luthier Linda Manzer, was inspired by the cubist paintings of its well-known-painter namesake (as in Pablo Picasso).</p> <p>Besides the video below, the guitar can be heard on Metheny's “Into the Dream” and on the albums <em>Quartet, Imaginary Day, Jim Hall &amp; Pat Metheny, Trio Live</em> and more. </p> <p>For more about Manzer, visit <a href=""></a>.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Manzer Guitars Pat Metheny Videos News Thu, 28 May 2015 17:25:53 +0000 Damian Fanelli 21665 at The 25 Greatest Pantera Songs of All Time <!--paging_filter--><p><em>Guitar World</em> celebrates the heaviest of the heavy—from "Revolution Is My Name" to "This Love" ... from "Cemetery Gates" to "Cowboys from Hell" ... </p> <p>Check out our guide to the 25 greatest Pantera songs of all time!</p> <p>Note: This list is from GW's recent Dimebag Darrell tribute issue. To check out a video of our exclusive tour of Dime's guitar vault, home and recording studio, <a href="">step right this way.</a></p> <p><strong>25. “10’s”</strong><br /> <em>The Great Southern Trendkill</em> (1996)</p> <p>One of Pantera’s most haunting compositions, “10’s” comes into focus slowly, floating in on an ethereal, if crusty-sounding, bent-note Dimebag riff. The warped guitars and slow pacing provide an appropriately uneasy environment for a weary vocal from Phil Anselmo, who documents a man “disgusted with [his] cheapness” and destroying himself from the inside out through addiction. </p> <p>An acoustic guitar interlude and a liquid Dime solo that, for a few bars at least, unexpectedly wanders into major-key territory, allow a few seconds of sunshine to poke through the black clouds. But overall, “10’s” is positively chilling and all-consuming in its atmosphere of impending doom.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>24. “Goddamn Electric”</strong><br /> <em>Reinventing the Steel</em> (2000)</p> <p>Pantera’s final studio album didn’t actually reinvent the steel, but thanks to tracks like “Goddamn Electric” they certainly reclaimed their title as the masters of metal heading into the new millennium. This song’s main riff stomps along like Godzilla slowly moshing to “Walk,” and the entire tune wouldn’t have sounded out of place on <em>Vulgar Display of Power</em>. </p> <p>Dimebag’s solo is killer, but the thriller is a guest spot by Slayer’s Kerry King, who delivers a wicked whammy-bar blast to close out the song’s final 45 seconds. Pantera rarely featured guests on their albums, so this appearance by Dime’s blood brother is an unexpected surprise.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>23. “It Makes Them Disappear”</strong><br /> <em>Reinventing the Steel</em></p> <p>“It Makes Them Disappear” kicks off with a psychedelic, cleanly voiced guitar lick, but from there the song quickly descends into a molasses-thick pit of sludge. The downtuned, wobbly guitars and bloated bass, not to mention Anselmo’s raw-throated delivery, suggest a song that could have been tackled just as appropriately by the singer’s doomy southern metal side project, Down. </p> <p>And yet, the final two minutes of the tune are largely a Dimebag showcase, with the guitarist ripping out an incredibly bluesy and melodic solo, albeit one that sounds like it’s being delivered from the depths of a tar pit.</p> <p>“The majority of <em>Reinventing the Steel</em> was recorded with the guitar tuned down a whole step [low to high: D G C F A D],” Dime told <em>Guitar World</em> in early 2000. “The cool thing about this tuning, besides sounding heavy, is that your guitar feels totally different—the strings are real loose and spongy, which means you can get some big-assed bends and killer wide vibrato happening.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>22. “P*S*T*88”</strong><br /> <em>Power Metal</em> (1988)</p> <p>Pantera’s pre-<em>Cowboys</em> albums aren’t particularly highly regarded—even by the band members themselves—but out of all of those efforts <em>Power Metal</em> had more than a few worthy moments. “P*S*T*88” (“Pussy Tight”) is particularly noteworthy as it features one of Dimebag’s rare performances as lead vocalist. </p> <p>The overall recording resembles a mash-up of Judas Priest and <em>Kill Em All</em>–era Metallica, and Dimebag even sounds like the mutant offspring of James Hetfield and Rob Halford, proving that he could have been a frontman if he so desired. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>21. “Planet Caravan”/“Hole in the Sky”</strong><br /> <em>Far Beyond Driven &amp; The Best of Pantera (2003)</em></p> <p>The list of Pantera influences is long and includes bands like Judas Priest, Slayer and even King’s X, Kiss and Van Halen, but Black Sabbath were their biggest influence. </p> <p>They name-checked them in the lyrics to “Goddamn Electric,” and of the six cover songs they recorded in the studio during their career, three of them were Black Sabbath tunes. “Planet Caravan” was originally intended for the <em>Nativity in Black</em> tribute album, but when it was cut due to a record company dispute, they added it to the end of <em>Far Beyond Driven</em>. </p> <p>Pantera’s faithful rendition of “Hole in the Sky” debuted on the Japanese 2001 “Revolution Is My Name” EP along with the non-LP track “Immortally Insane.” </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>20. “Floods”</strong><br /> <em>The Great Southern Trendkill</em> <p>Despite the fact that Pantera called the album that “Floods” appeared on <em>The Great Southern Trendkill</em>, this song sounds an awful lot like grunge (particularly Soundgarden), one of the many musical genres at which the cocky album title takes aim. </p> <p>Regardless, it’s still a very good song, which was made great by what many consider to be the finest guitar solo Dimebag ever laid down in the studio. </p> <p>The sweetly melodic main guitar figure in the intro and ending often gets overlooked, but it’s a fine example of Dimebag’s emotional range, proving that there was much more to his playing than his usual blunt-force trauma.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>19. “Shedding Skin”</strong><br /> <em>Far Beyond Driven</em> (1994)</p> <p>“Shedding Skin” continues the theme of emotional cleansing that Phil Anselmo began on <em>Far Beyond Driven</em>’s previous track, “25 Years.” </p> <p>Only here the singer’s object of ire is not his father but rather a former girlfriend. The song comes crashing in right out of the gate with a choppy, staircase-like unison riff from Dime and Rex. But then it abruptly shifts gears into a mellow verse punctuated by Dimebag’s gently plucked guitar harmonics, over which Anselmo paints a vivid and disturbing picture of a relationship as a scabrous membrane needing to be excised from his body. </p> <p>By the song’s climactic finale, Anselmo finds the only escape is to shed his own skin “to peel you off of me.” Dimebag then punctuates the singer’s cathartic metamorphosis with an appropriately anguished and squealing solo.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>18. “25 Years”</strong><br /> <em>Far Beyond Driven</em></p> <p>Both this song and the same album’s “Becoming” are said to deal with Phil Anselmo’s difficult relationship with his father. But whereas the latter wraps the singer’s paternal purging in a catchy riff and an almost inspirational lyric, “25 Years” is a dark and twisted descent into the deepest recesses of his pain. </p> <p>Anselmo delivers his lyrics to a “weakling” and a “liar” in a monotone bark, and each syllable he utters is backed by a similarly minimal one-note chord hit. It’s a brilliantly corrosive, almost claustrophobic arrangement that finally breaks four-and-a-half minutes in—Dime, Rex and Vinnie open up the song with a quicker groove and Anselmo turns the tables, announcing himself the bastard father to Pantera’s unwashed and unwanted masses of fans. </p> <p>“We’re fucking you back!” he screams repeatedly, exorcising his demons and finding a little bit of redemption in the almighty power of the riff. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>17. “Strength Beyond Strength”</strong><br /> <em>Far Beyond Driven</em></p> <p>Hardcore punk and thrash were always closely related, but rarely did the twain meet more effectively than on “Strength Beyond Strength.” Fans who popped new copies of <em>Far Beyond Driven</em> into their CD players in 1994 and were greeted by the initial sonic assault of “Strength Beyond Strength” can be forgiven for thinking that the Exploited’s latest album was mistakenly inserted in the case. </p> <p>When the breakneck pace slows to a grind a little more than a minute into the song, the mood and attitude becomes unmistakably Pantera, especially after Dimebag unleashes an eerie harmonized guitar interlude about another minute later. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>16. “War Nerve”</strong><br /> <em>The Great Southern Trendkill</em></p> <p>By the time of <em>The Great Southern Trendkill</em>, Pantera were bona fide rock stars. As such, their music and, in particular, Anselmo’s lyrics and actions as a frontman, had started to be put under a mainstream microscope. </p> <p>Among other things, the band and singer had been hit with charges in the media of racism and homophobia, and “War Nerve” was in a way Anselmo’s response to these and other accusations: “For every fucking second the pathetic media pisses on me,” he rants in the chorus, “Fuck you all.” The band backs him up with one of the leanest and most direct arrangements to be found in their post Vulgar-output. </p> <p>In fact, “War Nerve” is a rare instance in which there’s no Dime solo to be found. That said, his brother Vinnie picks up the slack with a vicious and unusually busy drum performance.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>15. “Mouth for War”</strong><br /> <em>Vulgar Display of Power</em> (1992) <p>“Mouth for War” is a prime example of Pantera at the height of their early Nineties powers: Vinnie Paul bashes out a machine-gun beat, Dimebag and Rex pair up on a wickedly intricate yet incredibly catchy riff built on sheets of sliding power chords, and Phil Anselmo barks out a self-empowerment lyric with searing rage and intensity. </p> <p>And the music video, which presented the band mostly in stark black-and-white and with plenty of chaotic strobe lighting for effect, only further cemented their status as the new kings of metal. When people think of Pantera, it is most likely this iteration of the band, led by a shaven-headed, bare-chested Anselmo, that comes to mind. By the time they break into a ferocious double-time groove and Anselmo signs off with the line, “No one can piss on this determination,” only a fool would dare to disagree with the sentiment. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>14. “5 Minutes Alone”</strong><br /> <em>Far Beyond Driven</em></p> <p>When the pissed-off father of a Pantera heckler who was beaten up at a show said that he wanted five minutes alone with Phil Anselmo, the band turned that threat into this song. </p> <p>Of course anyone who knows Anselmo also knows that five minutes alone with him is the last thing anyone would want. The slow, ground-and-pound groove behind this song suggests that Phil would probably take his sweet time delivering the beat down, but while the instigator who influenced this song would probably be screaming for mercy by the song’s end, listeners are begging for more as the riff fades into oblivion.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>13. “Domination”</strong><br /> <em>Cowboys from Hell</em> (1990)</p> <p>Pantera are often seen as the progenitors of groove metal, and you’d be hard pressed to find a more defining example of the style than the first 30 seconds of this classic. </p> <p>In fact, from the raging intro/chorus riff, to the stop-start verse, to the brutal breakdown that ends the song, “Domination” is basically one ridiculously savage power-groove after another. Given this fact, the song was also used as the band’s live set opener during shows in 1990 and 1991, as it was guaranteed to immediately whip a crowd into a batshit-crazy frenzy. As for what is screamed at the very beginning of the song? </p> <p>General consensus points to “Fart stinks like a motherfucker!” Which might help to explain the ferocity with which the band then tears into the opening riff.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>12. “I’m Broken”</strong><br /> <em>Far Beyond Driven</em></p> <p>Pantera wisely placed <em>Far Beyond Driven</em>’s three best songs (“Becoming,” “5 Minutes Alone,” “I’m Broken”) near the album’s beginning. “I’m Broken” was the last of this triple threat, neatly completing the band’s most devastating studio recording hat trick. </p> <p>“I think that ‘I’m Broken’ is the riff of all riffs,” Rex Brown says, and for most Pantera fans it would be hard to disagree. Anselmo compares the song to the blues, but has there ever been a blues song with lyrics as cryptic and critical as “Too young for one’s delusion the lifestyle cost/Venereal mother embrace the loss”?</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>11. “Becoming”</strong><br /> <em>Far Beyond Driven</em></p> <p>Anyone who went to a Pantera concert between 1994 and 2001 knows why “Becoming” is revered by the band’s fans. The combination of Vinnie Paul’s military drum corps–inspired double-kick rumble and Dimebag’s gut-pummeling riff instantly instigated the most violent mosh pits known to mankind, and the energy that filled the room was so electric that no one would have been surprised if thunder clouds suddenly formed. </p> <p>Dimebag’s solo is the ultimate anti-solo, saying more in an obnoxious burst of noise than most players say in entire careers. The way he uses a Whammy Pedal to make his guitar sound like a howler monkey in a Vitamix is simply brilliant. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>10. “The Art of Shredding”</strong><br /> <em>Cowboys from Hell</em> <p>A classic Eighties-style thrasher, “The Art of Shredding” combines the heavily scooped guitar tone and speed-metal attack of bands like Testament and Overkill with the type of meta subject matter and gang-shouted background vocals that have always been Exodus’ stock in trade. </p> <p>In that respect, it’s hardly the most progressive moment on <em>Cowboys from Hell</em>. But with its rollercoaster ride of whiplash riffs and rhythms, it is one of the most enjoyable. Furthermore, Dimebag tops off the proceedings with a gonzo, whammy-filled solo that ably demonstrates that shredding is, in fact, very much an art. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>9. “Revolution Is My Name”</strong><br /> <em>Reinventing the Steel</em> <p>While Dimebag’s atonal guitar howls on this song’s intro may be the weirdest sounds ever to grace a Grammy-nominated song, the remainder of this tune wouldn’t have been out of place on an early Black Sabbath album. </p> <p>Anselmo even sounds a bit like Ozzy in a few parts—perhaps after Ozzy woke up hung over and gargled with benzene and razor blades. Beyond the classic metal melodiousness, what makes this song so damn good is the way it seamlessly darts between dramatic tempo and rhythmic shifts and somehow sounds cohesive. </p> <p>After delivering a note-perfect metal solo, complete with harmonies, Dimebag returns to the groove with sounds that defy transcription, proving revolution was <em>his</em> name.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>8. “Drag the Waters”</strong><br /> <em>The Great Southern Trendkill</em> <p>As one of the most straightforward and definitively Pantera songs on <em>The Great Southern Trendkill</em>, “Drag the Waters” was the obvious choice to be the album’s first single. </p> <p>While it mostly treads familiar ground, it also finds the band growing in new directions. Dimebag’s guitar tone in particular is more massive than ever, and you don’t need to be Bruce Dickinson to love the cowbell that Vinnie Paul lays down with his drum track. </p> <p>Anyone needing a track to explain what Pantera’s “power groove” means would be wise to choose “Drag the Waters,” as it’s heavy as hell, but you can still shake your ass to it.</p> <p>The solo is particularly tasty, as Dimebag goes for more of a slow burn than his usual balls-to-the-wall explosions of speed. “That lead is kinda like an old Van Halen thing, where the band breaks to feature the solo,” Dimebag said in 1996. “Actually, on this one I ended up keeping a lot of the original guide-track stuff I laid down while we were cutting the drums. Sometimes you record something that you plan on redoing later, but then when you listen back to it you decide to keep it because you realize that it’s gonna be real tough to beat!”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>7. “Message in Blood”</strong><br /> <em>Cowboys from Hell</em> <p>This deep <em>Cowboys</em> cut comes on like a demented sonic funhouse, replete with eerie atmospherics, detached voices laughing behind Anselmo’s vocal (with lyrics ostensibly about the Charles Manson murders) and constantly changing tempos and attacks. </p> <p>The first half is an all-out creepfest highlighted by Anselmo’s blood-curdling screams. Then the tone abruptly shifts as Dimebag steps up with an intensely layered and textured solo, which only leads into more instrumental twists and turns. </p> <p>A disorienting and disturbing prog-metal death trip.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>6. “Walk”</strong><br /> <em>Vulgar Display of Power</em> <p>Pantera wasn’t the kind of band that radio warmed up to during the Nineties, but in the rare instances when Pantera did get airplay it was usually this song. </p> <p>Dimebag often described Pantera’s music as “power goove,” and “Walk” may be the best example of what he meant, even though it swaggered along to an unorthodox 12/8 time signature. The chromatic open low E string and first-fret riff seems simpler than it actually is, thanks to Dimebag’s expert string bends, salacious swing and impeccable feel. </p> <p>To match the menace of Phil Anselmo’s Travis Bickle–inspired taunts, he tuned his guitar down a little more than a whole step, until the strings growled through his solid-state Randall amps.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>5. “This Love”</strong><br /> <em>Vulgar Display of Power</em> <p>Back in 1992, “This Love” was a staple video on MTV and even climbed to Number 6 on the Billboard Hot 100 singles chart. </p> <p>With a verse consisting of watery guitar arpeggios and Phil Anselmo’s crooned vocals offset by a mammoth, aggro chorus, the song signified Pantera’s big mainstream power-ballad moment—except other power ballads didn’t feature lyrics like, “I’d kill myself for you/I’d kill you for myself,” or a video in which a prostitute murders an overly frisky john in the back of a taxicab. </p> <p>The song also wraps with a breakdown so crushingly slow and heavy that it could make a thousand metalcore bands wet their pants. But these moments still didn’t save the band from ridicule at the hands of the ultimate metalheads of the day, Beavis and Butt-head: “Is that a tear, Pantera?” taunted Beavis while watching the “This Love” video in an episode of the MTV cartoon. “Is daddy’s little girl upset?”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>4. “Shattered”</strong><br /> <em>Cowboys from Hell</em> (1990) <p>One listen to Phil Anselmo shrieking his way through the verses on “Shattered” might lead you to wonder whether somebody slipped a Judas Priest disc into your Pantera jewel case. </p> <p>But the singer’s histrionics are just one of many ways in which this <em>Cowboys</em> track deviates from the Pantera norm. From Anselmo’s vocals to Dimebag’s nimble, racing riff to his uncharacteristically traditional-sounding shred solo, “Shattered” is three-minutes-and-twenty-one seconds of steroid-injected, Eighties-style Technicolor metal, and one of the few post-major-label nods to Pantera’s “glam era” output. </p> <p>And yet, while the song is miles away in tone and temperament from, say, “Suicide Note Pt. II,” it’s hardly a puff piece. The jackhammer pace and explosive guitar pyrotechnics (both Abbott brothers shine here)—not to mention its sheer “otherness” in relation to the rest of the post–Power Metal Pantera catalog—make “Shattered” something of a hidden and enormously entertaining gem. </p> <p>As an added bonus, the song is spackled with a nice helping of Eighties-metal cheese: Anselmo’s castrato screams on the song’s title (harmonized for our pleasure); Dime’s whiz-bang outro solo; and a finale that climaxes with the sound of—you guessed it—a piece of glass being shattered.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>3. “A New Level”</strong><br /> <em>Vulgar Display of Power</em> (1992) <p>Though it was never issued as a single, “A New Level” is arguably as well known as any of the <em>Vulgar Display of Power</em> cuts that were. Its intro riff, built on a slowly ascending barrage of crushing chromatics, is as iconic as the opening of “Walk” or “Mouth for War.” </p> <p>The song also features some subtle shifts in dynamics, such as the chromatic half-step modulation that occurs as Anselmo’s vocal enters at the verse, and the way Dimebag varies his attack on the intro, sometimes playing the chords wide open, at other times with slight palm muting and yet at others with an extremely tight chunk. Of course, subtle is hardly the word to describe “A New Level.” Rather, it’s a classic Pantera rager that finds the band in full-on anthem mode, with Anselmo issuing a call to arms for the shit-, pissed- and spit-on metal masses. But it was Dime’s riffing that also helped the tune reach beyond those metal masses. </p> <p>On the 2008–2009 Sticky &amp; Sweet tour, Madonna ended performances of her retro-disco hit “Hung Up” by leading her band through a few bars of the song’s intro. What’s more, the Material Girl herself even riffed along on a black Les Paul. A new level, indeed.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>2. “Cemetery Gates”</strong><br /> <em>Cowboys from Hell</em> (1990) <p>As far as heavy metal epics go, “Cemetery Gates” belongs in the company of celebrated classics like Black Sabbath’s “War Pigs” and Metallica’s “One.” </p> <p>Clocking in at 7:03, it’s the longest studio song Pantera recorded. It’s also by far the pinnacle songwriting achievement of Dimebag Darrell, Phil Anselmo, Rex Brown and Vinnie Paul when they worked together in Pantera, with a masterfully structured arrangement that seamlessly ebbs and flows to support the eerie mood before it builds to its dramatic conclusion. </p> <p>Dimebag’s virtuoso performance, from his melodic solos to the harmonic whammy-bar screams at the song’s climax, features some of his finest work. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>1. “Cowboys from Hell”</strong><br /> <em>Cowboys from Hell</em> (1990) <p>With its razor-sharp riff, pummeling groove and ominous “we’re taking over this town” refrain, “Cowboys from Hell” started life as a rallying cry for the reborn version of Pantera circa 1989. </p> <p>As the first track on Pantera’s major-label debut of the same name, it quickly became the band’s anthem for the rest of its existence. The song proclaimed in no uncertain terms that Pantera meant serious business as the next contenders to metal’s throne, while Dimebag Darrell’s delicious solo boldly announced that a new guitar hero was in town and loaded for bear.</p> <p>Although “Cowboys from Hell” was allegedly the first song that Pantera wrote for the album, by the time Pantera finished recording <em>Cowboys from Hell</em> they contemplated cutting it from the final version. The band felt that the song seemed too tame and commercial compared to the album’s other material, particularly the newer songs they wrote in the studio while recording. </p> <p>Pantera’s manager, Walter O’Brien, convinced them otherwise. “I knew that Pantera were going to be called the Cowboys from Hell from then on,” he says. </p> <p>“Every great band has a nickname. Bruce Springsteen is the Boss. ZZ Top is that Little Ol’ Band from Texas. Cowboys from Hell was perfect for them. I rarely insist on anything creative from a band, but I just knew it was a massive song. Dimebag put the CFH logo on everything, and he lived that persona.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/pantera">Pantera</a> </div> <div class="field-item even"> <a href="/dimebag-darrell">Dimebag Darrell</a> </div> </div> </div> </fieldset> Dimebag Darrell February 2015 Pantera Guitar World Lists News Features Magazine Thu, 28 May 2015 16:10:27 +0000 Richard Bienstock, Chris Gill 24535 at July 2015 Guitar World: 25 Greatest Lynyrd Skynyrd Songs, Kirk Hammett, Whitesnake, Slayer and More <!--paging_filter--><p><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWJUL15">The all-new July 2015 issue of Guitar World is available now!</a></p> <p><em>Guitar World</em>’s July 2015 issue features <strong>Lynyrd Skynyrd</strong>. As they gear up to release their latest live record, <em>One More for the Fans!,</em> guitarist <strong>Gary Rossington</strong> reflects on his career as the sole surviving original member of the Southern rock giants. </p> <p>Then, in an excerpt from his new biography on the rise of <strong>Lynyrd Skynyrd</strong>, <em>Whiskey Bottles and Brand-New Cars: The Fast Life and Sudden Death of Lynyrd Skynyrd</em>, author <strong>Mark Ribowsky</strong> provides a harrowing account of the 1977 plane crash that rocked the music world.</p> <p>Also, from "Free Bird" to "That Smell" and "Swamp Music" to "Call Me the Breeze," we pay tribute to the legends of Southern rock by ranking their <strong>25 best tracks</strong>. </p> <p>Also in the issue, <em>Guitar World</em> gets freaky with <strong>Kirk Hammett</strong> as the second annual Kirk Von Hammett's Fear FestEvil, the Metallica guitarist's star-studded celebration of all things metal and horror. </p> <p>Finally, <em>Guitar World</em> presents a selection of 15 of the tastiest <strong>seven- and eight-string axes</strong> on the market today.</p> <p>PLUS: Tune-ups: <strong>Whitesnake play Deep Purple, Slayer in the studio, Mark Tremonti, Kitty, Daisy &amp; Lewis and more,</strong> Soundcheck: <strong>Eventide</strong> H9 Max multi-effect pedal, <strong>EVH</strong> Wolfgang WG Standard electric, <strong>Orange</strong> Rockerverb 100 MKIII amp and much more!</p> <p><strong>Five Songs with Tabs for Guitar and Bass:</strong></p> <p>• Lynyrd Skynyrd - "I Know A Little"<br /> • System of a Down - "Chop Suey!"<br /> • Grateful Dead - "Sugar Magnolia"<br /> • 38 Special - "Hold On Loosely"<br /> • Metallica - "Stone Cold Crazy"</p> <p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWJUL15">The all-new July 2015 issue of Guitar World is available now at the Guitar World Online Store!</a></strong></p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-19%20at%201.20.05%20PM_0.png" width="620" height="805" alt="Screen Shot 2015-05-19 at 1.20.05 PM_0.png" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/lynyrd-skynyrd">Lynyrd Skynyrd</a> </div> </div> </div> </fieldset> July 2015 Lynyrd Skynyrd News Features Thu, 28 May 2015 16:03:46 +0000 Guitar World Staff 24567 at Hear Metallica's "Master of Puppets" with the Snare Sound of "St. Anger" — Video <!--paging_filter--><p>Ever wanted to hear Metallica's "Master of Puppets" with the drum sound of "St. Anger"? Probably not. </p> <p>But in case curiosity strikes you, YouTube user data_dreams 2000 has created a mix of "Master of Puppets" with the infamously dull drum sound of "St. Anger." </p> <p><em>St. Anger</em> is one of the least-loved items in Metallica's discography, and its flat drum sound certainly hasn't helped its standing. Ergo, hearing the much-criticized drums of <em>St. Anger</em> transplanted onto one of Metallica's most famed tracks is a strange experience, to say the least.</p> <p>Check it out for yourself below, and let us know what you think in the comments and on Facebook!</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/metallica">Metallica</a> </div> </div> </div> </fieldset> Master of Puppets Metallica St. Anger News Thu, 28 May 2015 15:35:07 +0000 Jackson Maxwell 24566 at