News en Lamb of God's Mark Morton, Willie Adler and Randy Blythe Talk Turmoil and Their Vibrant New Album, 'VII: Sturm Und Drang' <!--paging_filter--><p>Nearly 15 minutes into a phone call with Lamb of God guitarist Mark Morton about events that took place between the release of 2012’s <em>Resolution</em> and the band’s new album <em>VII: Sturm Und Drang</em>, the normally ultra-mellow musician adopts a slightly defensive tone. </p> <p>“This thing really broadsided us,” Morton says from his daughter’s bedroom, the only place in his house where he can get any privacy. </p> <p>“When Randy was arrested, we weren’t aware there had even been any sort of incident, and suddenly he’s being hauled off to jail. It’s hard to describe what we went through because, ultimately, the reason that it happened is so tragic.”</p> <p>Morton is talking about the subject he’s least interested in addressing, but knew would come up—the 2012 arrest of vocalist Randy Blythe in Prague for allegedly committing manslaughter. </p> <p>In summary, at a concert in 2010, 19-year-old Daniel Nosek clambered onstage and Blythe allegedly shoved him back into the crowd. Nosek landed on his head, suffering brain injuries, which he died from two weeks later. When Lamb of God returned to Prague in 2012, a team of armed policemen surrounded them at the airport and arrested Blythe, who spent five weeks in jail before he was released on bail. </p> <p>Blythe returned to Prague in February 2013 to stand trial, even though he faced up to 10 years behind bars. After six days of testimony he was acquitted by the court, which determined he was morally, but not criminally, responsible for Nosek’s death.</p> <p>“The whole time he was in there I wasn’t worried about what might happen to the band, I was worried about my friend Randy,” Morton says. “It was a super-heavy and depressing thing to go through, and those feelings don’t just go away because it’s over now.” </p> <p>When asked if he was elated when he learned Blythe was exonerated, Morton pauses, then responds, “How can you be stoked about a situation in which someone died? I never thought Randy did anything wrong, but knowing that justice was served after this long period of time went along with the knowledge that this family lost their son. How does someone cope with that? There’s nothing about this situation to celebrate.”</p> <p>A few long moments of silence later, it becomes clear that the phone connection has been severed. It seems Morton has hung up. <em>Guitar World</em> leaves messages on his manager’s phone and publicist’s cell voicemail. Five excruciating minutes pass. Then six. With interviews already conducted with co-guitarist Willie Adler and Blythe, it would be a shame if Morton is through talking.</p> <p>Then the phone rings. “Hey, man. I know it must totally seem like I hung up on you, but I swear I didn’t,” he explains. “I’m out here in Virginia and my cell service is terrible. But I’m back. Ask me anything.”</p> <p>It’s a huge relief to know Morton didn’t get pissed off and bail on the interview. Even without touching on Blythe’s incarceration, which had a major impact on the songwriting process, sound and spirit of the new album, there’s still plenty to talk about. And Morton played a major role in the creation of <em>VII: Sturm Und Drang</em>, which features some of Lamb of God’s most trenchant thrash and tech-metal riffs, satisfying accompanying lines, creative production techniques and insightful lyrics. </p> <p>There’s a new resilience, enthusiasm and creativity throughout the songwriting and playing, as if the realization that they could have lost their vocalist for 10 years gave Lamb of God fresh life.<br /> Mentioning Morton’s skill as a songwriter and soloist doesn’t downplay the considerable talents or contributions of rhythm guitarist Willie Adler, who was actually the first one in the band to start writing for the follow-up to <em>Resolution</em>. </p> <p>“When Randy was in jail, for some reason I just wanted to dive into writing,” Adler says. “I had to make that my priority. I became obsessive. Not that my thoughts weren’t with Randy or the family that was going through all of this, but my therapy was to continue pushing myself and continue writing. And that’s kind of all I could think about. It was hard not to keep in the back of my mind that the music I was writing might not even be for Lamb of God. That thought was ever-present and I don’t know if that filled me with the drive to keep going or if my drive was to distract myself from that thought.”</p> <p>With few exceptions, the songs on <em>Sturm Und Drang</em> are more adventurous and the performances more cohesive than most of Lamb of God’s past output. “Embers” starts with a clattering industrial beat over a slow, moody down-picked melody before igniting into a series of chugging riffs and rapid-fire licks. “Engage the Fear Machine” couples queasy guitars with a martial beat, and leaves space between chords for swinging southern rock guitar lines and haunting arpeggios. And “Delusion Pandemic” is built around swift, complex rhythms that shift throughout the song, intermingled with guitar earworms that overshadow the abundant twists and turns. </p> <p>“If anything, the whole situation with Randy in jail really put this whole band situation in a very different light and context,” Morton says. “Now, three years later, we’ve come out far stronger and bonded closer as a band because of what we all went through, as horrible as it was.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> One could surmise that <em>VII: Sturm Und Drang</em> sounds so vibrant and vital because Adler, Morton, bassist John Campbell and drummer Chris Adler were stoked to be making music together again. Even if that’s the case, Blythe sounds furious for an entirely different reason. <p>The last place he wanted to be was in the studio.</p> <p>“Seriously, I was like, ‘Fuck, I don’t wanna go back in there,’ ” he says, sitting on the outdoor porch of his home in Richmond, Virginia, on a 90-degree day, bare-chested and dressed in a pair of $14 black Target shorts. </p> <p>“The sessions went well and all and I’m very happy with the songs, but I’m bummed out every time we have to make another record because I hate recording. Some guys are studio dudes. Mark loves the studio. He’s not such a big fan of touring. I like touring. I do not enjoy the recording process. It drives me fucking nuts. But it’s a necessary evil when you’re in a band.”</p> <p><em>Sturm Und Drang</em>, which translates in English to Storm and Stress, was an 18th Century German romantic literary movement that valued individuality, awareness of nature and spontaneous emotional expression. Morton, who co-wrote some of the lyrics, suggested the title to Blythe, who loved it. </p> <p>“Mark and I were texting one day and talking about this theme that had developed in the record about how people react when placed in extreme situations,” Blythe says. “So we were like, ‘We need a title that reflects this.’ We were trying to think of a single English word or phrase that encapsulates it and we were beating our heads against the wall. Then Mark got back to me and said, “Do you know what Sturm Und Drang is?” I said, ‘Yes, of course I do.’ I know it because I read a lot. And I knew a bit about [the scene’s founder] Goethe and the development of literature. But I also knew it from the general context it has taken on, and I said, ‘Yup, that’s perfect.’ </p> <p>We had to argue for it a bit because everyone else was not as convinced that it was so perfect. But it really encapsulates what the record is about and where the band has been over the past few years.”</p> <p>As the group’s main songwriters, Morton and Adler naturally had the most impact on the eclectic sound of <em>VII: Sturm Und Drang</em>. Having gotten a jumpstart on his co-guitarist, Adler spent more time writing than usual and penned some of his favorite riffs during the time between Blythe’s incarceration and the continuation of the <em>Resolution</em> tour. </p> <p>Morton, meanwhile was less ambitious in advance than usual. Instead of writing complete songs and demoing them with lead guitar, bass and a guide vocal, he cobbled together a batch of riffs and segues, and in late 2013 brought them to practice to figure out where they would work best.</p> <p>“We presented our ideas to each other, and almost immediately all these lightbulbs started to go off,” Adler says. “Any time Mark had a riff, it seemed like I had a part that fit together with it and that hadn’t happened in a long time.” </p> <p>The songs on <em>Sturm Und Drang</em> benefited from the guitarists’ collaborative energy. Simple and complex passages clicked like Lego blocks, and the counter-melodies sounded equally spot-on. “After all this time in Lamb of God, we know how each other plays,” Adler says. “So when we’re working on our own, it’s almost like we’re writing for the other guy’s part even when that wasn’t the original intention.”</p> <p>In the spring of 2014, Morton and Adler presented their song ideas to bassist John Campbell and drummer Chris Adler, and the four musicians fine-tuned and sometimes revamped the material as a full band. That’s when politics entered the equation. The band members voted on every idea and majority ruled. It’s the way Lamb of God have always worked, only in the past there were fewer parts to vote on since more of the songs came in complete. Having such a democratic writing process has sometimes caused tempers to flare, so to prevent blowouts each member of Lamb of God has the power to veto anything egregiously objectionable. </p> <p>“Say four guys want a particular song to be called ‘Candyland’ and one guy’s totally against it (I’m using that as an example because I’m looking at that game right now),” Morton explains. “I could say, ‘You know what? I don’t care if it’s four to one. I cannot live with that title. I hate it, I’m gonna hate it forever and I’m gonna be so pissed off about this that it’ll always bother me.’ Then, you can use your veto. But you really only get to throw that card when it really counts. I’m not sure I’ve ever even thrown mine.”</p> <p>The first couple songs the band wrote for <em>VII: Sturm Und Drang</em> didn’t make the grade, so they were dissected and the best parts were used in other tunes. Song number three was the charm. With the propulsive “Still Echoes,” which features a blood pressure–raising, off-time opening riff before leveling off a tad, Lamb of God hit full stride and never looked back.</p> <p>“I had been farming a little bit on my laptop at home between tours and I came up with this high-energy part that demanded a reaction,” Morton says. “Everyone loved it, and when we could play ‘Still Echoes’ in rehearsal, or at least a version of it, that, to me, was a big moment. It was the first time in the session that we all went, ‘Okay, we’re on to something. That song’s bad-ass.’ ”</p> <p>“When Mark first played that opening riff, it reminded me of old Burn the Priest [the band’s former name under which they released one self-titled album in 1999], and when Chris put the blast beats over it, a lot of memories of those days flooded back,” Adler says. </p> <p>Producer Josh Wilbur, who produced <em>Resolution</em> and has also worked with All That Remains, Hatebreed and others, flew to Lamb of God’s practice space in August 2014 and spent a month working with the band to narrow down the best ideas and help tie together loose ends. At that point, Lamb of God had 15 completed songs and 24 unfinished ideas, many of which had been sewn together in various configurations. </p> <p>“Even the complete songs were absolutely torn apart,” Adler says. “In some cases, we stole riffs from finished songs and added them to unfinished songs, and this was way before any of them had titles.”<br /> Lamb of God continued tweaking and revising, and Blythe frantically wrote lyrics once he heard the material. Then in January 2015 Lamb of God flew to Suburban Soul Studios in Torrance, California, and tracked for two weeks with Wilbur before heading to Australia for a short tour. Instead of recording the drums first, as they had done in the past, Morton, Adler and Campbell played to basic MIDI beats, which gave them more flexibility when it came to the final recording. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> “That was Josh’s idea,” Morton says. “He discovered that when you track drums first there is very little room for the song structures to change, and he wanted us to have the freedom to be able to change a vocal part or extend or shorten a rhythm. Once the drums are done, you’re committed. It was a little less fun to do it that way, but the strategy seems pretty smart to me.” <p>Wilbur had other, more subtle ideas that added to the diversity of <em>VII: Sturm Und Drang</em>. These included adding talk box guitar to the ripping “Erase This.” </p> <p>“One day I was driving our rental car to the store to get a drink, and Bon Jovi’s ‘Livin’ on a Prayer’ came on the radio,” recalls Morton. “I got back to the studio, handed Josh a drink and asked, ‘Hey, who produced “Livin’ on a Prayer”? And Josh said, ‘I don’t know, but it’s funny you brought that up because I was just thinking it would be really cool if you put talk box guitar in the middle of the song. And now that you brought up Bon Jovi, we have to do it. I think it’s a sign!’ I was like, ‘Okay, fuck it, but if we’re gonna do the talk box we better make sure this is where we want it because we’re never going to do it again.’ ” </p> <p>“I had never used a talk box before, so our friend from Dunlop came in with a couple for us to try,” adds Adler. “Josh was stoked on the idea, but in my mind I’m just thinking about Peter Frampton and Joe Walsh, and I was like, ‘Uhh, I don’t know about this.’ But it came out awesome.”</p> <p>In addition to experimenting with new guitar techniques, Lamb of God took liberties with vocals. Instead of screaming his way through the entire album, Blythe only roared and howled for about 80 percent of the songs. Elsewhere, he talked, ranted, half-sang and even crooned; the song “Overlord” is probably the closest Lamb of God will likely ever get to Metallica’s “One.”</p> <p>“I started writing ‘Overlord’ two years ago, and I would play little bits here and there on the road for Mark,” Adler says. “But I never envisioned it as a Lamb tune until it came back up in rehearsal and I brought it in. At that point it was still in a really skeletal phase. But once everybody gave their input it started to form into this really rad song.”</p> <p>“It’s not the first time Randy’s sung clean,” Morton clarifies. “There was a deep cut on <em>Resolution</em>, ‘Insurrection,’ where he did the fourth verse clean. And it served a really great purpose because we kind of set the stage with that song. So it wasn’t a completely foreign idea when we went to do ‘Overlord.’ ”</p> <p>For Blythe, adding melodic vocals to his plate was neither daunting nor enthralling, it was just…necessary. “Honestly, I didn’t think much about it,” Blythe says. “It all happened very organically. Willie sent me some riffs. I started singing in my truck and I went with my instincts. It happened naturally. I did a bunch of takes for it in the studio, but it was actually easier for me than screaming. And it’s not auto-tuned. That’s my real voice.”</p> <p>Contrary to what some media outlets have reported, <em>VII: Sturm Und Drang</em> isn’t a concept record about life behind bars. Nor is it a treatise about being back on the outside. And despite the intensity of Blythe’s vocals, writing and recording wasn’t particularly therapeutic for him and didn’t provide any sort of closure to his ordeal in Prague.</p> <p>“I don’t need to write a prison record for closure, so this is not a prison record,” Blythe insists. “People constantly want to call it that and they want to put me in that state of post-traumatic stress disorder. They’ll say, ‘Do you have nightmares? Are you depressed?’ I’m not a fucking fragile egg. Sometimes shit sucks and you man up and deal with it. Maybe people are too fucking fragile now or something because this term ‘PTSD’ always pops up. That one should be reserved for combat vets. Those motherfuckers have to face life and death situations all the fucking time. I don’t get PTSD when I have an argument with my wife or when someone cuts me off in traffic. I’m not that soft.”</p> <p>Blythe started writing two songs, “Still Echoes” and “512,” in his journal while he was in prison, and each reflects a different aspect of his experience there. The former is a tribute to the Misfits’ “London Dungeon,” which was about the time the band spent two nights in a jail in Brixton, England, after frontman Glenn Danzig and guitarist Bobby Steele got into a fight with skinheads while waiting to see the Jam. “I kept singing that song to myself for inspiration while I was in jail, along with Bad Brains’ ‘Attitude’ and Black Flag’s ‘Rise Above,’ ” Blythe says. “Those were my jams.”</p> <p>“512” is a more serious track about the psychological change prisoners go through when they’re locked up. “If you want to last in there, you can’t think and behave like you do when you go to the grocery store because it’s not a normal place,” Blythe says. “So I was thinking about that and reading through the journals that I kept. I was like, Man, I was having some crazy thought processes. And then I thought about other people put in extreme situations and how they behave.”</p> <p>The theme of “people in extreme situations” resurfaces throughout <em>VII: Sturm Und Drang</em>. The closing cut “Torches,” which features guest vocals by the Dillinger Escape Plan’s Greg Puciato, is about self-immolation. It’s one of two numbers that feature a cameo; the other is “Embers,” in which Deftones’ Chino Moreno lends his unmistakable pained wail to the cinematic outro.</p> <p>But back to protesters setting themselves ablaze…</p> <p>“Everyone has seen the image on the first Rage Against the Machine album cover with the monk burning,” Blythe says. “At that point in time, that was a valid response to an extreme situation. There’s a guy named Jan Pallach in the Czech Republic, who I learned about while I was waiting for my trial. He immolated in protest over the Warsaw Pact invasion of 1968." </p> <p>"The Czechs had been occupied for so long and the people were getting beaten down and apathetic after having been occupied by the Nazis. Then they had a bit of freedom and then they became Communists. Finally they said, ‘No, we’re not going to become communists anymore.’ So Russia and the rest of the Warsaw Pact said, ‘Okay, fuck you,’ and invaded and the Czechs were beaten down.” </p> <p>Much happier discussing the content of his lyrics and what he learned since he returned home than he is talking about his boring experiences in the studio, Blythe eagerly continues. “In protest, this guy Jan Pallach immolated right there in Wenceslas Square, and he became a symbol of free talk and dissidence during the Communist era. That was a valid choice he made. He wasn’t mentally ill. And there are Tibetans who do it to this day over the treatment of them by China." </p> <p>"Sadly enough, because we live in this gore-saturated internet mass-media world, people are barely noticing people setting themselves on fire in protest of something. Now that’s an extreme situation. I did a lot of research on immolations and the whole time I was thinking, Fuck man, how upset do you have to be about something to set yourself on fire?</p> <p>Other songs are less historical. “Delusion Pandemic” confronts the “generation of mockingbirds” that has become so reliant on technology it has shut itself off from the real world. “This is the rise of our demise!” roars Blythe, between elongated guitar chugs and off-kilter riffs. </p> <p>“What’s terrifying to me is that kids being raised in this environment don’t know anything else,” he says. “We were in Australia on the Soundwave tour recently, and I had a talk with this band whose members were all in their mid-to-late twenties. They weren’t 12. We were talking about the old days of touring, and they were astonished that anyone could tour in a van without a cell phone or a GPS.</p> <p>“One of them said, ‘Well, how did you know where you were going?’ ‘Umm, I got a fucking map.’ And they went, ‘Well, how did you get directions to the club?’ And I said, ‘I called them and asked them for an address and they gave me directions.’ There was no Mapquest at that point. The fact that these people can’t even conceive of that scares me. Soon, they’re going to make a machine that wipes your butt for you, and what’s going to happen when the system fails? These kids are all going to be walking around with shitty drawers.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><em>Photos: Travis Shinn</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="/lamb-god">Lamb of God</a> </div> </div> </div> </fieldset> Lamb of God Mark Morton October 2015 Randy Blythe Willie Adler Interviews News Features Magazine Thu, 27 Aug 2015 21:17:25 +0000 Jon Wiederhorn 25184 at Children of Bodom Premiere First Track-By-Track Video for 'I Worship Chaos' <!--paging_filter--><p>Finnish metal band Children of Bodom have premiered the first track-by-track video from their new album, <em>I Worship Chaos</em>. </p> <p>The album is set for an October 2 release via Nuclear Blast Records. </p> <p>You can pre-order it <a href=";article_group_sort_type_handle=rank&amp;custom_keywords=Children%20of%20Bodom&amp;custom_deliverable=f/">here.</a></p> <p>The video offers insight and information into the first three tracks on the album: "I Hurt," "My Bodom (I Am the Only One)" and "Morrigan." You can watch it below. </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="/children-bodom">Children Of Bodom</a> </div> </div> </div> </fieldset> Children of Bodom Videos News Thu, 27 Aug 2015 20:05:08 +0000 Guitar World Staff 25355 at St. Vincent Debuts Her Custom Signature Ernie Ball Music Man Guitar <!--paging_filter--><p>Indie rock icon St. Vincent has revealed her custom signature Ernie Ball Music Man guitar. </p> <p>Envisioned and designed by St. Vincent with support from the engineering team at Ernie Ball Music Man, the guitar was crafted to perfectly fit her form, technique and style. </p> <p>She debuted the guitar to the world as she took the stage at Taylor Swift’s Los Angeles concert this past Tuesday night, <a href="">performing alongside Swift and Beck</a> (check out the video below).</p> <p>“I’m extremely grateful to have been given the opportunity to design a guitar this personal with this company, this family, in whom I believe so completely,” said Annie Clark, who's better known as St. Vincent. </p> <p>“The entirety of my experience as a guitarist is invested in this instrument. I sought to create a tool that would help and inspire those who share my priorities in a guitar, namely that it be comfortable and lightweight and that it exhibit clean lines, all without sacrificing tone flexibility. It is with pride that I present the St. Vincent Signature Ernie Ball Music Man Guitar.”</p> <p>Crafted in Ernie Ball Music Man’s San Luis Obispo, California, factory, the St. Vincent signature is available in black or custom Vincent Blue, a color that was hand-mixed by Annie. </p> <p>Featuring an African mahogany body, Ernie Ball Music Man tremolo, gunstock oil and hand-rubbed rosewood neck and fingerboard, St. Vincent inlays, Schaller locking tuners, five-way pickup selector with custom configuration and three-mini humbuckers, the guitar also comes complete with Ernie Ball Regular Slinky guitar strings. </p> <p><strong>For more information, head on over to <a href=""></a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Ernie Ball Ernie Ball Music Man St. Vincent Videos Electric Guitars News Gear Thu, 27 Aug 2015 19:55:11 +0000 Guitar World Staff 25366 at Trivium Premiere "Until the World Goes Cold" Music Video <!--paging_filter--><p>Trivium have debuted the official video for their new single, “Until the World Goes Cold.” </p> <p>The song is the third track to be released from the band's new album, <em>Silence in the Snow</em>, which is scheduled for an October 2 release via Roadrunner Records.</p> <p>You can pre-order the album <a href="">here</a>. </p> <p>Watch the video below, and be sure to let us know that 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="/trivium">Trivium</a> </div> </div> </div> </fieldset> Trivium Videos News Thu, 27 Aug 2015 19:49:20 +0000 Guitar World Staff 25365 at Gabriella Quevedo Plays Fingerstyle Arrangement of The Beatles' "While My Guitar Gently Weeps" <!--paging_filter--><p>Swedish guitarist Gabriella Quevedo is no stranger to </p> <p>You might remember a incredibly popular video that shows Quevedo <a href="">playing the Eagles’ “Hotel California,”</a> combining several of the song’s multiple-guitar parts in a one-guitar arrangement.</p> <p>Below, check out a more recent video by Quevedo. This time, she tackles her own arrangement of the Beatles' "While My Guitar Gently Weeps," capturing every bit of the song's ethereal beauty in her fingerpicking. </p> <p><strong>For more about Quevedo, <a href="">follow her on YouTube</a> and visit <a href=""></a></strong></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="/beatles">The Beatles</a> </div> </div> </div> </fieldset> Gabriella Quevedo The Beatles Videos News Thu, 27 Aug 2015 19:27:11 +0000 Guitar World Staff 25357 at Guitarist Adrian Galysh Teams Up with for New Blues Album <!--paging_filter--><p>Guitarist, composer and session musician Adrian Galysh is teaming up with <a href=""></a> for the release of his next album.</p> <p>Galysh’s next album, an all-blues affair, will be a departure from his mainly instrumental efforts of the past. Featuring his signature guitar work—and now his voice—he will be visiting some blues classics and recording original blues-rock songs.</p> <p><a href="">Galysh’s Pledge Music campaign</a> is an interactive vehicle that enables fans to witness behind-the-scenes videos and photos documenting the album's writing and recording process. </p> <p>Fans also get exclusive incentives like private performances, one-on-one Skype guitar lessons, signed CDs, posters, photos, instructional guitar books, downloads, T-shirts, one-of-a-kind artwork and more. </p> <p>“I’m really excited by the new direction of my music," Galysh said. "After my last album, <em>Tone Poet</em>, which was really complex in composition, production and performance, it's refreshing to take a simpler approach, using a core four-piece rhythm section for these arrangements. </p> <p>“Don’t get me wrong—I’m sure I’ll be adding a string section here and there. But the new music is based in hard rock, rhythm and blues.”</p> <p>In addition to raising funds to complete the album, a portion of any of the proceeds that exceed Galysh's goal will go toward the ALS TDI, a charity that funds medical research and therapy for people suffering from Lou Gehrig’s Disease.</p> <p><strong>For more information, head on over to the album's <a href="">campaign site</a>.</strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Adrian Galysh Videos News Thu, 27 Aug 2015 19:17:46 +0000 Jackson Maxwell 25368 at Alex Lifeson Dissects 11 Key Rush Songs, from "Anthem" to "Test For Echo" <!--paging_filter--><p><em>Here's one from the </em>Guitar World<em> archive.</em></p> <p>In 2008, <em>Guitar World</em> asked Rush guitarist Alex Lifeson to dissect several key songs from the band's past. </p> <p>Starting with "Fly By Night" (1975) and ending with "Test for Echo" (1996), he discussed his guitars, amps and effects.</p> <p>Here's how it went.</p> <p><strong>“ANTHEM”</strong><br /> <em>Fly by Night</em> (1975)</p> <p>“We were trying to be quite individual with <em>Fly by Night</em>, which was the first record that Neil, Geddy and I did together. That song was the signature for that album. Coincidentally, the name of our record company, which is Anthem Records in Canada, came from this song. </p> <p>"Neil [Peart, drummer] was in an Ayn Rand [author of "The Fountainhead"] period, so he wrote the song about being very individual. We thought we were doing something that was different from everybody else.</p> <p>“I was using a Gibson ES-335 then, and I had a Fender Twin and a Marshall 50-watt with a single 4x12 cabinet. An Echoplex was my only effect.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>“2112”</strong><br /> <em>2112</em> (1976)</p> <p>“We started writing the song while on the road. We wrote on the road quite often in those days. ‘The Fountain of Lamneth,’ on <em>Caress of Steel</em>, was really our first full concept song, and 2112 was an extension of it. That was a tough period for Rush because <em>Caress of Steel</em> didn’t do that well commercially, but we were really happy with it and wanted to develop that style. </p> <p>"Because there was so much negative feeling from the record company and our management was worried, we came back full force with <em>2112</em>. There was a lot of passion and anger on that record. It was about one person standing up against everybody else.</p> <p>“I used the ES-335 again and a Strat, which I borrowed for the session; I couldn’t afford one at the time. I used a Marshall 50-watt and the Fender Twin as well. I may have had a Hiwatt in the studio at that time, too, but I think it came a little later. My effects were a Maestro phase shifter and a good old Echoplex. There were a limited number of effects available back then. The Echoplex and wah-wah were staples in those days.”</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“LA VILLA STRANGIATO”</strong><br /> <em>Hemispheres</em> (1978)</p> <p>“We wrote this one on the road. We used our soundchecks to run through songs that we were going to record; then, when we would have a few days off we’d start recording. </p> <p>"This song was recorded in one take, with all of us in the same room. We had baffles up around the guitar, bass and drums, and we would look at each other for the cues. My solo in the middle section was overdubbed after we recorded the basic tracks. </p> <p>"I played a solo while we did the first take and rerecorded it later. If you listen very carefully, you can hear the other solo ghosted in the background. That was a fun exercise in developing a lot of different sections in an instrumental. It gave everyone the chance to stretch out.</p> <p>“By that time I had my ES-355, and my acoustics were a Gibson Dove, J-55 and a B-45 12-string. I had my Marshall in the studio. I had the Twin and two Hiwatts, which I was also using live, but the Marshall was my real workhorse. The Boss Chorus unit had just come out at that time, but I think I used a Roland JC-120 for the chorus sound here. <em>Hemispheres</em> was the first of many ‘chorus’ albums.”</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“THE SPIRIT OF RADIO”</strong><br /> <em>Permanent Waves</em> (1979)</p> <p>“There was a radio station here in Toronto—it’s an alternative station now—and ‘the spirit of radio’ was the station’s catch phrase. The song was about the freedom of music and how commercialized radio was becoming. FM radio in the late Sixties and early Seventies was a bastion of free music, where you got to hear a lot of things that you wouldn’t have heard otherwise. </p> <p>"It was much like MTV was in the beginning, before it became another big network that feeds a large but very specific segment of the viewing audience. Radio has become a lot more commercialized since then. Now, the station that we wrote that song about won’t play our music.</p> <p>“By the time we cut this, I was using mainly a Strat that I had modified by putting humbuckers in the bridge position. I also used the 355, which I used in the studio for the next couple of records. My amps were Hiwatts, the Marshall and the Twin. I also had a Sixties Bassman head and cabinet. The flanger on that song was an Electro-Harmonix Electric Mistress, which I still have. I used the Boss Chorus Ensemble, and I had graduated to the Roland Space Echo, which replaced my Echoplex.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“LIMELIGHT”</strong><br /> <em>Moving Pictures</em> (1980)</p> <p>“‘Limelight’ is about being under the microscopic scrutiny of the public, and the need for privacy—trying to separate the two and not always being successful at it. Because we’ve never been a high-profile band, we’ve managed to retain a lot of our privacy. But we’ve had to work at it. Neil’s very militant about his privacy.</p> <p>“My guitar was a different modified Strat with a heavier and denser body. We set up a couple of amps outside of the studio as well as inside, so we got a nice long repeat from the sound echoing in the mountains. </p> <p>"The approach on that solo was to try to make it as fluid as possible. There was a lot of bending with lots of long delay repeats and reverb, so notes falling off would overlap with notes coming up. I spent a fair amount of time on that to get the character, but once we locked in on the sound, it came easily.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“NEW WORLD MAN”</strong><br /> <em>Signals</em> (1982)</p> <p>“Most of <em>Signals</em> was completed, but we wanted to add one more song. Neil had been fooling around with the lyrics, so we wrote and recorded ‘New World Man’ in the studio within one day. It has a very direct feel. Doing that in one day was a lot of fun. The pressure was on but off at the same time.</p> <p>“It was almost compulsory to do solos at that time, but I didn’t want to feel that every song had to have that kind of structure. I wanted to get away from that, and to this day I feel that way. I enjoy playing solos and I feel that my soloing is quite unique to my style, but I’m bored with that structure.</p> <p>“I used a Tele for the whole song. I played it through the Hiwatts with a little bit of reverb and chorus.”</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“THE BIG MONEY”</strong><br /> <em>Power Windows</em> (1985)</p> <p>“That was a tough one that took a long time to complete. It was recorded in Montserrat. The guitar was tuned up a whole step with the E string at Fs, and I played a lot of open chords. I did a lot of drop-ins where I hit a chord and let it ring, then dropped in the next chord and let it ring and so on. When we started recording the song, it sounded too ordinary, so we tried dropping in those chords during the verses as an experiment.</p> <p>“I remember doing the solo in this studio in England, SARM East, which is in the East End of London. We set aside a week for solos, last-minute vocals and mixing. The control room was tiny; there was barely enough room for me to turn my body around when I was playing, but I got a really great sound with the repeats and lots of reverb. I loved to be soaked in that kind of effect at the time.</p> <p>“I used a white modified Fender Strat that I called the ‘Hentor Sportscaster.’ The name came from Peter Henderson, who co-produced Grace Under Pressure [Rush’s 1984 album]. The amp setup was a couple of Dean Markley 2x12 combos, two Marshall 2x12 combos, two Marshall 100-watt JCM800 heads and two 4x12 cabinets. I also ran a direct signal. By that time I had a pretty comprehensive rack with two TC Electronic 2290s and a 1210 that I used for phasing, and I had a Roland DEP-5.”</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“TIME STAND STILL”</strong><br /> <em>Hold Your Fire</em> (1987)</p> <p>“We were in a bit of a reflective period at that time. Everything seemed to be moving by very quickly. Aimee Mann [then bassist and singer with pop group ’Til Tuesday] came up and did vocals in the chorus of that song. It was a lot of fun to work with her. She was very nervous. </p> <p>"I don’t think she had done that sort of thing very often, especially with a band like us. We weren’t necessarily playing the kind of music that she was into or listening to, but she liked the band. We made her feel relaxed very quickly, turning the whole session into a fun thing.</p> <p>“That was the year that I got the Signature guitars with single-coil active pickups. It’s very apparent on that song. The guitar has a clear, metallic sound to it that really sings. I got into that bright tone, and my sound was still very chorusy. I had gotten rid of all my Hiwatts and the Dean Markleys and was using primarily Marshalls again. I used 2x12 combos as well as the JCM800.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“SHOW DON’T TELL”</strong><br /> <em>Presto</em> (1989)</p> <p>“By then we were working with Rupert Hine as our producer. Oddly enough, I had been working on the basic ideas of that song at home and brought it to the studio when we started writing the record. We developed it from there. It was much heavier in the early version; the tempo had come up a little bit. </p> <p>"Rupert’s approach to the guitar sound was a little lighter than I wanted. That was partly my fault, because I was still using the Signature a lot, which didn’t lend itself to a very thick sound. That amp lineup stayed the same as before, and effects would come and go. I was fiddling around with whatever was new at the time, as I’ve always done.</p> <p>“We’d taken a seven-month break, which at that time had been our longest hiatus. We needed to clear the cobwebs and get away. We came into Presto feeling a lot more enthusiastic about working. The change to Atlantic Records was good because we felt like we needed a change all around. We were going into the Nineties, and it made everything fresher.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“STICK IT OUT”</strong><br /> <em>Counterparts</em> (1993)</p> <p>“I used a Peavey 5150 and a 100-watt Marshall JCM800. I had a [Roland] JC-120 as well that I used for some clean things, but primarily everything was done on the Peavey and the Marshall. The guitar was a ’72 Les Paul Standard that I had used on certain songs in the past. I used a dropped-D tuning and ran the guitar straight into the amp with no effects.</p> <p>“We had gone back to working with Peter Collins, who produced Hold Your Fire. We used a much more direct approach to recording, moving back toward the essence of what Rush was about as a three-piece. In retrospect, <em>Counterparts</em> didn’t work as well as we’d hoped, but it led us in the right direction. We’re much more satisfied with Test for Echo, which we view as a progression from Presto.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“TEST FOR ECHO”</strong><br /> <em>Test for Echo</em> (1996)</p> <p>“There’s a lot of different stuff on there. I tuned the entire guitar down a whole step to a D standard tuning. I got a new Les Paul Custom with beautiful sustain, a heavy tone and a compact, but not too small, sound. In the choruses I used a Godin Acousti-Caster, which has a really interesting sound that is at the same time almost acoustic but definitely electric. </p> <p>"I used primarily Marshalls—50-watt and 100-watt JCM800 heads and two 30th Anniversary models—with four cabinets: two vintage 4x12s and two 1950 cabinets with Celestion 25-watt speakers. I used a DigiTech 2101 to knit everything together. The important thing with that is to use it through a good speaker simulator, like the Palmer. The compensated outputs on the 2101 don’t quite do it for me, but through the Palmer it has nice body and width.</p> <p>“I feel like we arrived with this record. There’s a particular feel that I don’t think we had before—a nice groove and a lot of really good Rush songs. I feel like we were all really together on this album. Although we strive for that all the time, it’s not always achievable. The mood was so good in the studio, and we were so unified in direction.”</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="/rush">Rush</a> </div> <div class="field-item even"> <a href="/geddy-lee">Geddy Lee</a> </div> </div> </div> </fieldset> Alex Lifeson Geddy lee GW Archive Rush Interviews News Features Magazine Thu, 27 Aug 2015 14:15:02 +0000 Chris Gill 14609 at New Book/CD: Step-by-Step Breakdown of Jeff Beck's Guitar Styles and Techniques <!--paging_filter--><p><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=JeffBeckStepbystep">Take a deep breath and jump into the guitar adventure that is Jeff Beck.</a> </p> <p><em>Jeff Beck: A Step-by-Step Breakdown of His Guitar Styles and Techniques</em> is an exclusive book/CD pack that features in-depth analysis of the songs and solos that highlight Beck's career, from the Yardbirds to his landmark jazz-fusion albums of the Seventies to the present day.</p> <p><strong>Ten songs are analyzed, including:</strong></p> <p>• Beck's Bolero<br /> • Big Block<br /> • Cause We've Ended as Lovers<br /> • A Day in the Life<br /> • El Becko<br /> • Freeway Jam<br /> • Goodbye Pork Pie Hat<br /> • Led Boots<br /> • Over Under Sideways Down<br /> • Rock My Plimsoul</p> <p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=JeffBeckStepbystep">This book/CD package is available now at the Guitar World Online Store for $22.99.</a></strong></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="/jeff-beck">Jeff Beck</a> </div> </div> </div> </fieldset> Jeff Beck News Features Thu, 27 Aug 2015 14:07:11 +0000 Guitar World Staff 19170 at Best Acoustic Rock Song of All Time Poll: "Patience" Vs. "Wild Horses" <!--paging_filter--><p>There’s no doubt that acoustic songs have played a lead role in in rock and roll. </p> <p>And while we’ve talked about many of these songs and their origins, taught you how to play them and shared many a thought about ‘em, we think it’s time to get down to brass tacks.</p> <p>While it’s been ridiculously hard to whittle our list down, we now present you with what we think are some of the best acoustic rock songs of all time. </p> <p>Over the next several weeks we’ll be giving you a chance to vote for your favorites as we aim to name the Best Acoustic Rock Song of All Time presented by <a href="">TC Electronic</a>!</p> <p>So come back every day and vote. And check out today’s entries below.<br /> <br /><br /> <strong>"PATIENCE," GUNS N' ROSES<br /> <em>GN'R Lies</em> (1988)</strong> </p> <p>Although <em>GN'R Lies</em> features a number of acoustic tracks, including the country-ish, darkly comedic "Used to Love Her" ("but I had to kill her" ... ), it was the lovelorn "Patience," a glacial-paced ballad, that marked the most radical left turn for the normally hard-rocking group, and also gave them one of their biggest hits. </p> <p>The song was recorded in a single take, with guitarists Slash and Izzy Stradlin and bassist Duff McKagan all on acoustics. Axl Rose, for his part, contributes some fine whistling at the intro. </p> <p>The final two minutes stand as Gn'R's "Kumbaya" moment, with the whole band cooing the song's title in sweet harmony. Then everybody got in a fight, but that's another story. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /> <strong>”WILD HORSES,” THE ROLLING STONES<br /> <em>Sticky Fingers</em> (1971)</strong></p> <p>Written by Mick Jagger and Keith Richards, the two cite it as the feel of “being a million miles from where you want to be.”</p> <p>The track features a 12-string acoustic guitar played by Richards, as well as Mick Taylor on acoustic guitar. The country and folk-influenced track is a crowd favorite at The Rolling Stones live shows, although appearing on only 1 of their live albums. </p> <p>To this day, “Wild Horses” is widely-used in various films and T.V. shows, such as ‘Parks &amp; Recreation’ and will always be a Stones stable. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p>VOTE NOW: </p> <script type="text/javascript" charset="utf-8" src=""></script><p><noscript><a href="">Best Acoustic Rock Song of All Time: "Patience" Vs "Wild Horses"</a></noscript></p> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View The Best Acoustic Rock Song of All Time on Scribd" href="" style="text-decoration: underline;" >The Best Acoustic Rock Song of All Time</a></p> <p><iframe class="scribd_iframe_embed" src=";view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_71945" width="100%" height="400" frameborder="0"></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="/guns-n039-roses">Guns N&#039; Roses</a> </div> </div> </div> </fieldset> Acoustic Nation Best Acoustic Rock Song of All Time Guns N' Roses News Patience Poll Polls The Rolling Stones Wild Horses Blogs News Thu, 27 Aug 2015 09:40:51 +0000 Acoustic Nation 25327 at Guitarist Plays 45 Scales in One Solo — Video <!--paging_filter--><p>Today we bring you another video from <a href="">gmcguitar</a>, the guys who brought you the ever-popular <a href="">"Video: Guitarist Imitates 30 Shredders in One Solo."</a></p> <p>This time, a guitarist named Sinisa Cekic plays 45 scales in one solo. Of course, it wasn't done in one sitting (His guitar changes from time to time, and there are some edits), but he definitely manages to sneak in an impressive amount of scales, including Ethiopian Tizita minor, Spanish 8 tone, Super Lydian mode—and 42 others.</p> <p>Best of all, he provides fretboard diagrams for all the scales. </p> <p>For the tabs to every note played in this video, <a href=";utm_medium=GMC+YT+Channel&amp;utm_campaign=45+Guitar+Scales+In+One+Solo+Lesson+YT">head here.</a> Enjoy!</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Sinisa Cekic WTF Videos News Wed, 26 Aug 2015 18:40:47 +0000 Damian Fanelli 21145 at Last Night at LA's Staples Center: Taylor Swift Rocks a Fender Jaguar and St. Vincent Shreds <!--paging_filter--><p>Guitar news from a Taylor Swift show? Well, yes!</p> <p>Swift rocked a Fender Jaguar during last night’s sold-out show at the Staples Center in Los Angeles. </p> <p>Sure, we recognize Swift as an ultra-successful pop/country singer, but these moves (top video) show a femme fatale rocking out in front of 15,000 people.</p> <p>As a bonus, Swift was joined by Beck and guitarist Annie Clark—better known as St. Vincent—who provided some fine shredding while strutting around onstage in high heels (bottom video).</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> Beck St. Vincent Taylor Swift Videos News Wed, 26 Aug 2015 18:21:15 +0000 Guitar World Staff 25356 at The 10 Greatest Led Zeppelin Songs <!--paging_filter--><p><strong>From “Dazed and Confused” to “Achilles Last Stand” … from “Heartbreaker” to “Ten Years Gone” … <em>Guitar World</em> presents a critical analysis of the classic-rock group’s 10 best tracks.</strong></p> <p>With the recent-ish release of <em>Celebration Day</em>, the concert film immortalizing Led Zeppelin’s historic and most likely final reunion concert at London’s O2 Arena on December 10, 2007, guitarist-producer Jimmy Page reminded the world just how profoundly great and enduring his band’s music is. </p> <p>In homage to what is arguably hard rock’s most innovative group (and certainly its most influential), what follows is a tour of 10 of the most celebrated Led Zeppelin songs, with a focus on the guitar playing, songwriting and arranging genius of the quartet’s visionary founder. </p> <p>If you'd like to explore this topic further, be sure to check out <a href="">The 50 Greatest Led Zeppelin Songs,</a> which also was written by Jimmy Brown. Enjoy!<br /> <br /><br /> <strong>10. “Heartbreaker” (<em>Led Zeppelin II</em>)</strong></p> <p>With its menacing, octave-doubled blues-scale riffs and sexy string bends, this song epitomizes the “Led Zeppelin swagger.” Interestingly, the verse riff features Jones strumming root-fifth power chords on bass, treated with overdrive and tremolo, while Page alternately lays back on decidedly thinner-sounding thumb-fretted octaves—a signature technique heard in his and Jimi Hendrix’s rhythm guitar styles—and punches barre-chord accents together with the bass and drums. </p> <p>Page recorded the song with his 1959 Gibson Les Paul Standard, which he had recently bought from Joe Walsh, playing the guitar through his newly acquired 100-watt Marshall amplifier. The song also showcases some of Jimmy’s most aggressive, inspired soloing, including a free-form, tantrum-like a capella breakdown section. </p> <p>Page recorded the breakdown while the band was touring the U.S., using a studio different from the one where the rest of the song’s tracks were cut. He was unaware that his guitar on that particular section was tuned slightly sharp of the rest of the tracks, which are at concert pitch. The discrepancy goes unnoticed to most listeners and only becomes obvious if one goes to play along with the entire recording.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. "The Rain Song" (<em>Houses of the Holy</em>)</strong></p> <p>Performed in an unusual tuning (low to high, D G C G C D) with lots of ringing open strings and unison-doubled notes, this beautiful song features a sophisticated chord progression that was initially inspired by Beatle George Harrison, who challenged Page to write a ballad. </p> <p>After playfully evoking the verse section of Harrison’s “Something” on the first three chords of “The Rain Song,” Page veers off into an ultimately more ambitious and original progression. Particularly inventive and cool sounding is the Hawaiian-flavored dominant-ninth chord slide that precedes the first lyric line of each verse.</p> <p>When asked to explain why the studio version of “The Rain Song” is in the key of G while the live version, as heard in the film <em>The Song Remains the Same</em>, is in A, Page replied, “It surprises me to hear you say that, because I thought they were both in A. Okay, the [live] tuning is [low to high] E A D A D E. </p> <p>The only two strings that change are the G, which goes up to A, and the B, which goes up to D.” Page explained how he arrived at this unusual tuning. “I altered the strings around so that I’d have an octave on the A notes and an octave on the D notes, and still have the two E#,” he said. “Then I just went to see what finger positions would work.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. “Ten Years Gone” (<em>Physical Graffiti</em>)</strong></p> <p>Like “The Rain Song,” this heart-warming yet heavy ballad demonstrates Page’s intuitive harmonic depth and sophistication, as he employs jazzy, “expensive”-sounding maj7, maj13, min9, dim7 and maj6/9 chords as effortlessly as Burt Bacharach, minus the associated schmaltz. </p> <p>The song’s instrumental interlude, which begins at 2:31, is particularly sweet and rich sounding. It features a laid-back, phaser-treated lead guitar melody with soulful double-stops over a bass, drums and clean, jangly rhythm guitar accompaniment. Also noteworthy is Page’s doubling of the chorus riff, first heard at 0:32, with an electric sitar.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. “Communication Breakdown” (<em>Led Zeppelin</em>)</strong></p> <p>With its down-picked “pumping” eighth notes and syncopated power-chord stabs, this song’s urgent verse riff embodies the spirit of Chuck Berry–style rock and roll. Not surprisingly, it served as the quintessential prototype for both heavy metal and punk rhythm guitar. </p> <p>Page’s piercing, well-crafted solo, with its climactic, chromatically ascending unison bends, is like Berry on steroids and demonstrates that Page, on his new band’s freshman outing, was already thinking “outside the box,” both figuratively and literally (the physical “box” being a pentatonic fretboard shape).</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. “Since I’ve Been Loving You” (<em>Led Zeppelin III</em>)</strong></p> <p>Jimmy’s impassioned guitar solo in this highly dramatic Chicago-style slow blues song is among his most inspired and emotive. </p> <p>The song’s chord changes and structure are truly original, and in his rhythm guitar part Page plays an inventively slick turnaround phrase at the end of each chorus (initially from 1:06–1:12) that mimics a steel guitar, with a bent note woven into and placed on top of two successive chord voicings. </p> <p>What makes this phrase so interesting and enigmatic is how, over the second chord, Dbmaj7 (played on organ by John Paul Jones) Page bends a C note up to D natural—the flat nine of Dbmaj7—and manages to make it sound “right.” It’s something few musicians apart from Miles Davis would have the guts to do.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>05. “Whole Lotta Love” (<em>Led Zeppelin II</em>)</strong></p> <p>This song has one of the coolest intro and verse riffs ever written. Not content to play it “straight,” as his blues-rock contemporaries might have done, Page inserts a subtle, secret ingredient into this part, giving it that x factor and a spine-tingling quality. </p> <p>Instead of playing the riff’s second and fourth note—D, on the A string’s fifth fret—by itself, he doubles it with the open D string (akin to the way one would go about tuning the guitar using the traditional “fifth-fret” method), then proceeds to bend the fretted D note approximately a quarter step sharp by pushing it sideways with his index finger. </p> <p>The harmonic turbulence created by the two pitches drifting slightly out of tune with each other is abrasive to the sensibilities and musically haunting, but the tension is short-lived and soon relieved, as Page quickly moves on to a rock-solid E5 power chord. “I used to do that sort of thing all over the place,” said Page. “I did it during the main riff to ‘Four Sticks’ too.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. “The Song Remains the Same” (<em>Houses of the Holy</em>)</strong></p> <p>Like a getaway chase on a stolen horse, this ambitiously arranged song, with its galloping rhythms and fleet-footed solos, is guaranteed to give you an adrenaline rush. Particularly noteworthy is Page’s decision to overlay two electric 12-string guitars during the song’s opening chord punches, each playing different and seemingly irreconcilable triads, such as the pairing of C major and A major. </p> <p>“I’m just moving the open D chord shape up into different positions,” Page told <em>Guitar World</em> in 1993. “There actually are two guitars on this section. Each is playing basically the same thing, except the second guitar is substituting different chords on some of the hits.”</p> <p>He adds, “ ‘The Song Remains the Same’ was originally going to be an instrumental, like an overture to ‘The Rain Song,’ but Robert [Plant] had some other ideas about it! I do remember taking the guitar all the way through it, like an instrumental. It really didn’t take that long to put together—it was probably constructed in a day. And then of course I worked out a few overdubs.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. “Stairway to Heaven” (<em>Led Zeppelin IV</em>)</strong></p> <p>Jimmy Page trampled over two rules of pop music with this masterpiece: it’s more than eight minutes long, a previously prohibitive length for pop radio formats, and the tempo speeds up as the song unfolds. </p> <p>“Stairway” is the epitome of Page’s brilliance as not only a guitarist, but also as a composer and arranger, as he layers six-string acoustic and 12-string electric guitars throughout the song in a gradual crescendo that culminates in what many consider to be the perfect rock guitar solo, performed on his trusty 1959 Fender “Dragon” Telecaster (his go-to guitar in the early days of Led Zeppelin).</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. “Dazed and Confused” (live version, <em>The Song Remains the Same</em>)</strong></p> <p>Clocking in at more than 28 minutes, this marathon performance marks the apex of this song’s evolution and showcases some of Led Zeppelin’s most intense jamming and collective improvisation in a variety of styles. Page is at the height of his powers here, in terms of both chops and creative vision, never at a loss for a worthwhile musical idea. </p> <p>The otherworldly violin-bow interlude, beginning in earnest at 9:10 and spanning nearly seven minutes, is particularly inspired, and Page’s use of tape echo and wah effects in conjunction with the bow is absolutely brilliant.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. “Achilles Last Stand” (<em>Presence</em>)</strong></p> <p>This epic, 10-minute song is Page’s crowning achievement in guitar orchestration. </p> <p>The ensemble arrangement, bookended by a swirling, unresolved arpeggio loop, really begins to blossom at 1:57, and from this point on, Page spins numerous melodic variations over top of the jangly, plaintive Em-Cadd9#11 chord progression that underpins most of the composition. </p> <p>Interestingly, Page previewed this chord vamp in the 1973 live version of “Dazed and Confused” that appears on <em>The Soundtrack to The Song Remains the Same</em>, beginning at 5:52.</p> <p>Thoughtful consideration was put into the stereo image of each guitar track, which keeps the entire recording crisp despite the dense arrangement. The song also features one of Page’s most lyrical guitar solos (and one of his personal favorites).</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="/led-zeppelin">Led Zeppelin</a> </div> <div class="field-item even"> <a href="/jimmy-page">Jimmy Page</a> </div> <div class="field-item odd"> <a href="/robert-plant">Robert Plant</a> </div> </div> </div> </fieldset> 10 Best 10 Best Songs January 2013 Jimmy Brown Jimmy Page John Paul Jones Led Zeppelin Robert Plant Top 10 Guitar World Lists News Features Magazine Wed, 26 Aug 2015 17:32:49 +0000 Jimmy Brown 25353 at Slim Wray Premiere "Take It Or Leave It" Music Video — Exclusive <!--paging_filter--><p>Today, presents the exclusive premiere of Slim Wray's new "Take It Or Leave It" music video.</p> <p>In the clip, which you can check out below, you can watch the Brooklyn-based garage rockers—Ryan Houser (vocals/guitar), Chris Moran (drums) and Brian Lawlor (bass)—visit popular New York City sites while performing from the back of a U-Haul truck.</p> <p>It turns out this "thrash 'n dash" idea was a plan two years in the making.</p> <p>"We were having a few drinks and joking around about video concepts when we came up with the idea of a 'thrash and dash," when you just pop into a convenience store or church, rock out for a song, piss off everyone and then run on the next spot," the band told <em>Guitar World.</em> </p> <p>"Chris said he had always to put on a show in the back of a U-Haul—so we decided to put the two things together. We'd “thrash and dash” from the back of a truck.</p> <p>"It was a beautiful Saturday morning, one of those nice summer days in New York City where everyone and their mother was out and about. We picked several high-traffic areas ahead of time: the corner of Bedford and 6th in Williamsburg, Brooklyn; the edge of Tompkins Square Park in the East Village, St. Marks and Chinatown. We wanted the video to feel like a mini-tour of New York City. The idea is that we'd drive up to a crowded area, throw open the back door and just start rocking out. We’d play just the one song, “Take It Or Leave it,” close the back door and drive on to the next target."</p> <p>"Take It Or Leave It" is from the band's new EP, <em>Post No Bills.</em> </p> <p><strong>For more about Slim Wray, follow them on <a href="">Facebook</a> and visit <a href=""></a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Slim Wray Videos News Wed, 26 Aug 2015 15:31:25 +0000 Damian Fanelli 25352 at Joe Satriani Lesson: Go "Pick Surfing" with Satch! — Video <!--paging_filter--><p>Earlier this summer, Joe Satriani visited <em>Guitar World</em> to shoot a few lesson videos. In fact, you can see his new column in the October 2015 issue of <em>Guitar World</em>—<a href="">or right here.</a></p> <p>Anyway, he had some time left over to shoot a few licks. We've shared two of them already, and here's the third!</p> <p>This lick features fast pick tapping on the high E string, with a wah pedal used as a filter effect. You might recognize it from <a href="">"Surfing with the Alien."</a></p> <p>We're calling it "Pick Surfing." Enjoy!</p> <p><strong>For more about Satch and his new studio album, <em>Shockwave Supernova,</em> visit <a href=""></a></strong></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="/joe-satriani">Joe Satriani</a> </div> </div> </div> </fieldset> Joe Satriani Surfing With the Alien Videos News Lessons Wed, 26 Aug 2015 15:04:13 +0000 Guitar World Staff 24820 at October 2015 Guitar World: Lamb of God, 20 Best Gig-Ready Combo Amps, Guide to Cry Baby Wahs and More <!--paging_filter--><p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWOCT15">The all-new October 2015 issue of Guitar World is available now!</a></strong></p> <p><em>Guitar World’s</em> October 2015 issue features <strong>Lamb of God</strong> front and center.</p> <p>Guitarist Mark Morton touches on the subject he’s least interested in addressing. The 2012 arrest of vocalist Randy Blythe in Prague for allegedly committing manslaughter.</p> <p>It was super-heavy and a depressing thing to go through. Those feeling just don’t go away because now it’s over. He also introduces the band’s latest album, <em>VII: Sturm Und Drand.</em></p> <p>Then it's on to <em>Pop Evil. With their popularity surging, the hard rocking quintet from Michigan are up and have every reason to be.</em></p> <p><strong>Dunlop Cry Baby Wah:</strong> They can be classed into three general categories: Vintage, Multifunctional and Signature. For 35 years Dunlop has been the major players in the wah-wah game. We round up nine of the company’s current offerings to help you decide wah is right for you.</p> <p><strong>Five Songs with Tabs for Guitar and Bass:</strong></p> <p>• YES, "Roundabout"<br /> • LAMB OF GOD, ''RUIN"<br /> • METALLICA, "The Four Horsemen"<br /> • RED HOT CHILI PEPPERS, "Higher Ground"<br /> • SLEEPING WITH SIRENS, "Kick Me"</p> <p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWOCT15">The all-new October 2015 issue of Guitar World is available at the Guitar World Online Store!</a></strong></p> <p><img src="/files/imce-images/Screen%20Shot%202015-08-12%20at%201.01.33%20PM_1.png" width="620" height="809" /></p> October 2015 News Features Wed, 26 Aug 2015 14:44:34 +0000 Guitar World Staff 25313 at