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Dear Guitar Hero: Lee Malia of Bring Me the Horizon Talks Gear, Inspiration, Gary Moore and More

Kory Grow — Wed, 19 Jun 2013 20:57:52 +0000

He’s the guitarist for one of England’s most dangerous metalcore bands. But what Guitar World readers really want to know is …

I’m really excited to hear your new album, Sempiternal. What can you tell us about it? Will there be more solos on it than on your last album [2010’s There Is a Hell, Believe Me I’ve Seen It. There Is a Heaven, Let’s Keep It a Secret]? — Gernot Musker

We have a new member in the band, [keyboardist] Jordan Fish, and he made it easy for me to write with him. Because he’s doing a lot of digital stuff, like keyboard parts and making beats, I was able to do more experimental, ambient-sounding parts, using effects in verses. I liked that I didn’t have to play the main rhythm riff all the time, because he did it on the keys. Overall, there’s a lot more twiddly things, but not necessarily solos. I play little bits, but nothing like a classic-rock solo.

I can’t seem to find an answer to why guitarist Jona Weinhofen left the band. Can you set the record straight for your fans? — Azrul Aiman Jinih Matrin

I can’t. Sorry. We’re not allowed to comment on it for legal reasons, so that’s probably why you can’t find an answer.

I have noticed your sound has changed a lot since you recorded Suicide Season [BMTH’s 2008 breakthrough album]. What kind of amp setup do you use for recording now? — Jessica-Lyn Saunders

I use a Marshall JCM 800 and a Marshall speaker cabinet. My main overdrive pedal on the CD is a Klon Centaur, and that’s the core of my sound. I don’t use that pedal live, though. At concerts, I use a Fulltone OCD Overdrive, because the Klon is so hard to get a hold of. The one I used belonged to the studio, but the company has stopped making them. They’re worth about £700 [$1,062] on eBay. The OCD is closest I can find to the Klon.

I fell in love with your First Act Custom Sheena guitar the moment I saw it. You never seem to play it anymore. You’ve switched to Les Paul Standards at live shows. Why did you change it up? — Mitch

It’s because I started working with Gibson. They were cool enough to give me some guitars, so I started playing them live. I’ve still got my First Act Sheena, though, and I played it on some of the songs on the new album. My main guitars in the studio were a Les Paul Standard, the First Act Sheena and a semihollow Rickenbacker that worked great for clean sounds.

Onstage, I’m using a Les Paul Standard and a Les Paul Supreme. The songs I wrote on the Sheena sound great on the Les Paul, because I use the same pickup in each guitar: a Bare Knuckle Warpig. I love the fit of the Les Paul, as well as the thickness of the neck and the overall weight of the guitar. I use a really thick set of strings [a custom .080-gauge set from Ernie Ball], so the Les Paul’s higher frets help with that.

Why do you use such massive guitar-string gauges? — Eric Bauer

I was playing normal strings for ages. We tune low, to C standard or drop-As, so I started using a .070 on the lowest string. When I got the First Act Sheena, they drilled the bridge so I could fit an .080-gauge bass string in there, and I started using that. Then Ernie Ball was cool enough to make me custom .080-gauge guitar strings, and I’ve been using them ever since. Since we tune so low, there is a noticeable difference in the sound of heavier gauge strings as compared to normal ones. I play a lot of single-string riffs, so the heavier strings keep it sounding solid.

When you’re playing live, what is your first and last activity before and after you hit the stage? — Paulina

I usually just put my stinky show clothes on and get offended by how bad they smell, and then go onstage. And then I change out of them as fast as I can after.

What do you keep on your pedal board, and what pedal would you say is essential to your overall sound? — Eliot Day

The OCD Overdrive I mentioned before is the most essential, since it adds to my distortion. My pedal board also contains a Boss NS-2 Noise Suppressor, so it sounds pretty tight live. And if ever I do any leads, I use a Boss DD-7 Digital Delay and a Boss RV-5 Digital Reverb. Those have been my go-to pedals for leads since Suicide Season. They’re really good pedals; they might never break. They always work for me, so I’ve stuck with them. I have a couple Electro-Harmonix pedals, too, but I mostly just use the Boss ones.

I’ve been trying to get faster at shredding for solos, but I just can’t get it. Do you have any tips? — Robert Maros

I’m not the best shredder in the world. I’d say to start slow and learn your basic scales and learn how to alternate-pick perfectly. Once your fingers know where they’re going, you don’t have to think about it. Then it’s muscle memory. Just take it slow.

Why don’t you play shred solos and leads anymore, like on [2006’s] Count Your Blessings —Mark Castelan

I think the sound of the band has progressed. Shredding is amazing if it suits the group, but if I did a lot of sweeping on our current songs, it would probably sound like rubbish or like I was trying to show off. I’m just trying to play what the song needs. If it needs a solo, these days for us it’s probably not going to be a shred solo. It will be a cool melody. I don’t want to show off.

What are some of your hobbies? What do you do for fun? — Rachel Shepard

Basically, I just do nothing and hang out. That’s about it. I watch a lot of TV, specifically the British version of The Office, even though it’s been out a long time. When we’re on tour I tend to do nothing.

If you could choose any guitar player, living or dead, to share a stage with, who would you choose and why? — Tatiana Fritzová

I think it would be cool to have played alongside Gary Moore. He’s my dad’s favorite guitarist, so he took me to see him live once. I remember he was great live. He had only a bassist and a drummer backing him up, but he made it sound huge. I was really interested in how he sounds so big, being just one guy. He always played Les Pauls into Marshalls and made them sound amazing.

My favorite songs of his are “Still Got the Blues” and “Parisienne Walkways,” which are just the typical ones but I love the melodies in them. He’s not shredding or going mental. He’s like David Gilmour in that he doesn’t have to play fast to be good. When Gary Moore died, my dad texted me early in the morning about it. We had wanted to see him again, but we can’t now. He was proper good.

Do you ever feel uninspired, like you’ve hit the wall when trying to write songs? What do you do to get yourself out of a creative rut? — Jordan Mafi

I just take a break. Also, for the last couple of years, I hardly listen to metal music, and that’s brought my songwriting a long way. When you translate something from another genre into your writing, it works out pretty well. I listen to [indie-rock] bands like Sigur Rós and Bon Iver. With those bands, I like how their music can sound bigger when it’s not heavy. With our music, a soundscape sounds better to me than doing a typical breakdown or trying to do the heaviest thing you’ve heard.

You can bring more emotion into the song that way. For instance, the ending of “Hospital for Souls” on the new CD is inspired by post-rock, just in the way the guitar part builds and builds. It never kicks into anything different, but we add more instruments and more layers. It sounds really dramatic and you can feel it.

How do I nail the sweep picking in “Pray for Plagues”? It’s driving me crazy! — Mitch Windeatt

Like with the question about shredding, once you can play it slow, you’ll be able to play it to speed. Learn the shape you’re sweeping first, then learn the notes. You’re not just going down random notes; you’re going down a D minor scale. So once you know what notes make a D minor sweeping shape, it makes everything so much easier. Once your learn the shapes, your brain doesn’t think about it as hard.

What is the last thing you bought? Like, literally. A sandwich? A record? Sunscreen? — Nat Rice

Right now, I’m in South Africa. The last thing I bought was a Nando, which is grilled chicken with spicy sauces on it. It’s originally from South Africa. We’ve been doing a lot since we’ve been in South Africa. We went on safari. We hiked up a huge mountain. We’ve done every tourist thing you can do. We went diving with great white sharks in a cage, which was pretty cool. When we did that, we got in a boat and went miles out to sea. Once the sharks turned up, I would get in a cage and look at them. It was pretty scary, but it’s something I wanted to do for years. When my friend was in the cage, the shark came up and tried to chew the bars.

You have played a ton of shows. What would you say has been your best onstage experience? And what was the worst or most embarrassing? — Uriel Hernandez

The best was we played in the Alexandra Palace in England last year. We had taken a year off, so we were worried about whether people would still be into our music. We ended up playing for 10,000 kids, and it was great. My most embarrassing moment was playing Australia’s Soundwave Festival just this past March. I was supposed to play a solo on the song “Blessed with a Curse,” but just before I was supposed to start, our singer, Oli [Sykes], announced, “Everybody, give it up for Lee Malia!” I panicked and forgot to play it. I literally turned away in shame. I didn’t know what to do. It was the most embarrassed I’ve been in my life.

Sunset Strip Music Festival Announces 2013 Lineup, Including Linkin Park, Black Rebel Motorcycle Club, Logic and More

Guitar World Staff — Wed, 19 Jun 2013 20:03:49 +0000

The lineup for this year’s Sunset Strip Music Festival (SSMF) street fest, taking place in West Hollywood August 3, has taken shape with today’s announcement of Awolnation, Black Rebel Motorcycle Club, Logic, Slick Rick/Doug E. Fresh, Asher Roth, Finch And Street Drum Corps confirmed to perform outdoors at the annual street festival.

Joining the previously announced Saturday main stage headliners Linkin Park, the eclectic variety of artists cover the spectrum of rock, pop, rap and punk.

“Each year SSMF celebrates the Los Angeles music scene with one-of-a-kind performances on The Sunset Strip. From Fergie performing with Slash in 2010 to Ray Manzarek and Robby Krieger taking the stage with Marilyn Manson in 2012, SSMF creates unique moments you won’t find anywhere else,” noted SSMF co-producer and Roxy owner Nic Adler. “This year’s street festival features bands Linkin Park, Awolnation, Asher Roth and Street Drum Corps, whose careers began performing in Sunset Strip venues. We look forward to welcoming these artists back as they perform in front of thousands of music fans on the music boulevard’s largest stage.”

In addition to the two outdoor stages on The Sunset Strip, venues inside the street festival closure — including The Roxy, Whisky A Go-Go and a special outdoor Viper Room stage — will feature full lineups throughout the day and into the night, including performances by Warren G and Bizarre Ride featuring Fatlip & Slimkid3 at The Roxy and 7LIONS at the Whisky. Artists performing in the venues include:

Warren G
7Lions
Bizarre Ride featuring Fatlip & SlimKid3
Orgy
Hunter Valentine
Julien-K
Andy Clockwise
Egyptian Lover
Smile Empty Soul
Terraplane Sun
Stolen Babies
UpRooted
The Active Set
Sabrosa Purr
The Dreaming
Sad Robot
The Last Internationale
Battle Tapes
The Diamond Light

(More to be announced.)

The sixth annual festival, which takes place in The Sunset Strip’s music venues August 1-3, culminates on Saturday, August 3 with a 3-11 PM street festival. As in years past for the Saturday event, Sunset Boulevard will be closed to traffic between Doheny Drive and San Vicente Boulevard and transformed into a premier concert destination with two outdoor stages, beer gardens, an artist autograph tent, an outdoor VIP rooftop lounge, silent disco, VIP Lounge at On The Rox, food trucks and interactive experiences.

Saturday’s show will be headlined by Linkin Park, and it will be their only North American performance for the remainder of 2013. This also marks the band’s first performance in Los Angeles since May 2012, when they performed an intimate benefit show at the House of Blues Sunset Strip. The Grammy Award-winning and multi-platinum California rock band and SSMF are partnering to create a unique festival experience that will let attendees “rock for a cause” with a significant portion of ticket sales to benefit Music For Relief, the nonprofit organization Linkin Park founded to support disaster relief, provide aid to survivors of natural disasters and support the prevention of such disasters via environmental programs.

Tickets for the SSMF 2013 street festival are on sale now via the official ticketing provider, Eventbrite, at http://sunsetstrip.eventbrite.com. Ticket options include general admission August 3 street festival ticket for $79 and a VIP option for $145, which includes access to the rooftop VIP area with views of the West stage, VIP areas in the beer garden and venues, access to VIP lounge On The Rox, a separate entrance and additional perks.As previously announced, a significant portion of this year’s ticket sales will benefit Music For Relief, a nonprofit organization to support disaster relief, provide aid to survivors of natural disasters and support the prevention of such disasters via environmental programs.

Previous SSMF performers have included Ozzy Osbourne, Mötley Crüe, The Smashing Pumpkins, The Offspring, Marilyn Manson, Steve Aoki, Slash featuring Fergie, Public Enemy, Bad Religion, Common, Bush, LMFAO, Kid Cudi, Neon Trees, Matt & Kim, Cobra Starship, Shiny Toy Guns, The Head Cat, Andy Grammer, Ray Manzarek and Robby Krieger of The Doors, She Wants Revenge and Imagine Dragons, among others. Highlights from the past five years, including the SSMF 2012 street festival--which drew 15,000 music fans from Southern California and beyond--can be seen here: http://bit.ly/SSMFvideo13.

SSMF thanks its supporters including Jack Daniel’s, Gibson Guitar, Hornburg Land Rover/Jaguar, Bud Light. Monster Energy, 98.7 fm, KTLA, Eventbrite, City of West Hollywood, Visit West Hollywood, Guitar World magazine and Revolver magazine.

For the latest SUNSET STRIP MUSIC FESTIVAL news, visit www.sunsetstripmusicfestival.com, like www.facebook.com/sunsetstripmusicfestival and follow Twitter.com/SSMF.

Interview: Invadür Guitarist Sean Haidul Talks Gear, Analog Recording and Influences

Andrew Bansal — Wed, 19 Jun 2013 19:19:57 +0000

Massachusetts-based hard rock/heavy metal band Ivadür, which got its start in 2011, released an impressive debut album earlier this year.

This band’s simple goal is to play the kind of music they enjoy listening to, and their passion for all things classic is pretty clear when you listen to this album, which is — through and through — a 100 percent analog recording.

I first interviewed drummer Scott Smith to discuss some basics about the band, and you can read that right here. Then I spoke to guitarist Sean Haidul to find out more about gear and the recording process, among other things. Read our conversation below, and check out Invadür on a href="http://invadur.bandcamp.com">bandcamp and Facebook.

GUITAR WORLD: In terms of your own setup, what gear did you use for this album?

For this recording I used my Gibson SG Supreme. That’s my ultimate. It’s an emerald burst with gold inlays, and it’s kind of like my baby. I’ve got a couple of extras, but that’s the one I use. And as far as amps, we used Soldano. Scott being the drummer is a giant gear head when it comes to all that stuff. And yeah, nothing really crazy with any of the effects or anything, we just tried to keep it simple and that’s kind of how we went with it. Of course, my SG is the one that’s most important to me, I think [laughs].

You guys recorded the album the analog way. Did that make any difference to your setup, or did you just use the same thing as you would have normally used?

We used the same, man. The only pedal I used was my Dunlop MXR Carbon Copy, which is for the analog delay. There’s a little bit of that, and we did a bit of tweaking in the post-production. But that’s really it as far as that stuff is concerned. It was definitely recorded in 100 percent analog, which I don’t think any of us have done before. We were thinking back on all the old stuff we grew up on. We’re big fans of the classic stuff, and there’s no mistakes made on those albums. So we played seven songs over and over again in the studio, until we got really good at recording them. That was an awesome and challenging experience for us, especially for me. We’d love to do that again, and that’s certainly the plan for upcoming recordings with Invadür.

Scott said the whole recording was done within five or six days. In terms of playing the songs over and over again, how many times did you actually play them?

The first day of recording was drum, bass and guitar. We were all locked in one room with all the amps put to one side. I got to do the overdubs because I’m the guitarist, but basically first we had to make sure these tracks had solid bass and drums, and some of the songs we even played 20 times each, just small parts. One miss, and it’s all over! We had to start all over again. As frustrating as it could be sometimes, it was definitely a great experience. It made us a hell of a lot tighter in no time, too. But it’s part of the gig!

In terms of your guitar playing, who has inspired you over the years?

If I had to go to anything, I would seek out Megadeth and Iron Maiden. As much as Dave Mustaine can be a knucklehead, the guy musician-wise has done some of the greatest things I’ve ever heard. Maiden and Adrian Smith are big influences to me as well. Mercyful Fate, K.K. Downing of Judas Priest as well, and we can go on forever with this stuff. But I’ve always been a fan of the early '80s thrash and heavy metal. That’s the stuff that moved me the most.

You mentioned the Gibson SG. Why that guitar? Did you see anybody else using it?

It’s actually funny because I’ve been a self-taught guitarist my whole life. I’ve mostly learned from tablature. Megadeth’s Rust In Peace was one of the first albums I tried to learn. But a really close friend of mine, who’s a guitar teacher, always played Gibson. He’s got tons of Gibson guitars. I would go to him, he would teach me some stuff and I would play his guitars. SG just seemed to be the fit for me, especially for the classic sounding thing we were trying to do. It just made more sense to use that.

Over the years, have you been the kind of guy who practices and spends a lot of time on the guitar, or is it more spontaneous?

Well, I used to practice a lot. I would play some Maiden, Megadeth, Metallica and even the first couple of Queensrÿche albums. Then I started joining bands, and as I got older (I’m 30), I kind of played when I felt like it. I don’t pick up the guitar every day, and instead I do it just a couple of times a week just to see what I have. Especially now, I really believe that I have to feel it to come up with something that’s creative enough. When I pick it up, I just practice some scales, and I try to come up with a riff that I’m into, you know. That’s kind of really where I’m at in terms of guitar playing in my life.

I believe you’re also in a black metal band with Scott. Can you tell me more about that?

The band is just a two-man project called Plagues. We did our first demo and put it out ourselves. There are probably 10 more songs we’re getting ready to record at the end of the summer. Basically heavy metal, black metal and punk hardcore is the music I grew up on, but the intensity of black metal is something I’ve always loved.

I've heard that you and Scott wrote music for this two-man project, but those song didn’t fit in with the project's style so you started Invadür. Is this the sort of band you've always had in the back of your head — a classic heavy band?

Yeah, I think so. When you’re young and are a guitar player at any level, you try to reinvent the wheel. You try to do something special. But through the bands that I’ve done, at some point I just felt like playing what I enjoy. Play what’s fun to you and play what you listen to. I think with Invadür, that’s kind of the riffs we did. I would totally listen to that. It reminded me of stuff I loved to listen to! We shared a love for Mercyful Fate, Maiden and stuff, and as much as I love black metal, sometimes it’s draining and too intense. I was kind of like, "You know, let’s mess around with something else here." So we did and had a blast. It was too fun and too easy to just not do. We started putting it together, got a singer and bass player, and here we are! It’s been probably one of the most enjoyable recording and band experiences I’ve ever had.

How are you going forward? Will you be working both the black metal project and Invadür?

Believe it or not, it’s actually easier than it sounds because they’re so different. From the minute I wake up to the time I go to bed, it’s easy to channel my influences. With the black metal stuff, I like to play a little bit more melodic, but I feel I have to express different feelings for both, as weird as it sounds. I always try to be active in music, because that’s just what I do. It’s definitely something I plan on doing for a long time, one way or another.

Andrew Bansal is a writer who has been running his own website, Metal Assault, since early 2010, and has been prolific in covering the hard rock and heavy metal scene by posting interviews, news, reviews and pictures on his website — with the help of a small group of people. He briefly moved away from the Los Angeles scene and explored metal in India, but he is now back in LA continuing from where he left off.

Video: The Rolling Stones and Brad Paisley Perform "Dead Flowers" in Philadelphia

Damian Fanelli — Wed, 19 Jun 2013 15:19:40 +0000

Last night, the Rolling Stones performed at Philadelphia's Wells Fargo Center, the first of two shows in the US' former capital.

The latest special guest to join the venerable rockers during their ongoing 50 and Counting Tour? Country guitar icon Brad Paisley.

Paisley, Guitar World's May 2013 cover star, joined the band for "Dead Flowers," a country-flavored track from 1971's Sticky Fingers.

Check out some fan-filled video below!

United Stringdom: Using String Skipping to Create Angular, Sweep-Type Sounds

Jacky Vincent — Wed, 19 Jun 2013 15:07:01 +0000

The following content is related to the August 2013 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.

String skipping is a technique I use in a handful of solos that I’ve recorded with my band, Falling in Reverse. Some of my guitar students have erroneously assumed that certain phrases were performed using sweep picking, but in fact I used string skipping, along with alternate and economy picking, to create a similar effect. If you’re a fan of the sound of fast alternate- and sweep/economy-picked phrases, the string-skipping techniques I demonstrate in this month’s lesson will appeal to you.

One great advantage to string skipping is that it allows you to get the aggressive sound of steady alternate picking, as all the notes are picked. Another benefit is that it lets you perform the big intervallic “jumps” often associated with sweeps by moving very quickly from, say, the fifth to the third to the first string and then back down again, leaping from one octave to another instantly. This results in exciting phrases that sound more difficult to play than they actually are.

Review: B.C. Rich Mockingbird STQ Guitar

Chris Gill, Video by Paul Riario — Wed, 19 Jun 2013 14:58:05 +0000

The B.C. Rich Mockingbird is one of the most iconic, original and enduring electric solidbody guitar designs made by a company whose name doesn’t begin with an F or a G. Since its introduction in 1975, the Mockingbird has remained a favorite of hard-rock and metal guitarists for its high-performance design and aggressive lines.

The B.C. Rich Mockingbird STQ retains many of the original Mockingbird’s features, but it’s much more affordably priced and refined, to satisfy the needs of today’s players.

Video: Metallica Post Orion Music + More Recap, Including Meet-and-Greet, "Carpe Diem Baby" and "The Day That Never Comes"

Damian Fanelli — Wed, 19 Jun 2013 14:50:37 +0000

Earlier today, the good people over at MetallicaTV posted a brand-new video recap of Metallica's appearance at the 2013 Orion Music + More festival, which took place June 8 and 9 in Detroit.

The 25-minute MetOnTour video starts off with James Hetfield and Lars Ulrich attending the pre-show meet-and-greet event. It continues with the band running through "I Disappear" in the tuning room before segueing to the show itself, where we see the band perform "Carpe Diem Baby" and "The Day That Never Comes."

You can check out two other official MetOnTour videos here:

• Video: Rehearsal and "My Friend of Misery" from Metallica's March 1 Show in Melbourne, Australia

• Soundcheck and "...And Justice for All" from Metallica's Feburary 23 Show in Brisbane, Australia

Additional Content

A Tribute to Jeff Hanneman: The Slayer Guitarist’s Wife Recalls the Spider-Bite Incident and How It Lead to Her Husband’s Downfall

Jeff Kitts — Wed, 19 Jun 2013 14:36:57 +0000

This is an excerpt from the August 2013 issue of Guitar World magazine. For the rest of this story, plus a Jeff Hanneman poster and features on Buzz Osbourne of the Melvins, Joe Bonamassa, Iggy and the Stooges, Steve Morse of Deep Purple, Eric Clapton's 2013 Crossroads Guitar Festival, the 25 Best Guitar & Music Apps and more, check out the August 2013 issue at the Guitar World Online Store.

In January 2011, an incident occurred that many would later assume was the cause of Jeff Hanneman’s death but wasn’t.

Jeff was bitten on his right arm by an insect that was carrying a flesh-eating disease called necrotizing fasciitis. Reports circulated that it was a spider that bit Jeff, but that was never confirmed. Whatever bit him, it was enough send the guitarist’s life into a tailspin.

“Jeff had been visiting a friend in the L.A. area,” says Kathryn, his wife of 24 years. “He was in the Jacuzzi one night relaxing, and he had his arm over the side, and he felt something, like a bite or a prick. But of course he didn’t think anything of it. He came home about a week later, and he was pretty well lit when he came through the front door. He wasn’t feeling well, and he just wanted to go upstairs and go to sleep.

"Before he did he said, ‘Kath, I need to show you something, even though I really don’t want to.’ And he took off his shirt, and I just freaked out when I saw his arm. It was bright red and three times the normal size. I said, ‘Jeff, we need to go now. We need to get you to the ER.’ But all he wanted to do was go to bed and sleep, and I knew that I was trying to rationalize with a very intoxicated person. So there was nothing I could do that night. But the next morning I convinced him to let me take him in. He didn’t have a lot of strength, but I was able to get him into the car.

“When we got to the hospital in Loma Linda, they took one look at him and they immediate knew what it was, so they took him right in. Jeff told me to go home because we both knew he’d be there for hours and neither of us thought it would be a life-or-death situation.

"About three or four hours later, Jeff called me and said, ‘Kath, it’s not good. They may have to amputate. I think you need to come back here.’ When I got there, Jeff was on the stretcher waiting to go into surgery, and the doctor put it in perspective for me. He said, ‘I need you to see your husband. He may not make it.’ The doctor looked at Jeff and told him, ‘First I’m going to try to save your life. Then I’m going to try to save your arm. Then I’m going to try to save your career.’ And looking at Jeff on that stretcher and possibly saying goodbye, knowing that I may never see him again…”—she pauses—“…was one of the hardest moments of my life.”

The next few days for the Hannemans could only be described as nerve-wracking. Jeff was in the ICU in an induced coma after the initial surgery and breathing through a tube, his arm, for the most part, intact. Doctors attempted to remove the breathing tube at one point, but Jeff was unable to breathe on his own. Finally, after about the fourth day, the tube was removed and Jeff was breathing again. Her husband was alive, but as soon as they removed the bandages from Jeff’s arm, Kathryn knew the road to recovery would be long.

“I’ll never forget it—I couldn’t believe what I was seeing,” she recalls. “All I could do was look up at the doctor and say, ‘How the hell do you fix this?’ And he said, ‘You know, Mrs. Hanneman, you’d be very surprised.’ And at that moment I had all the faith in the world that this doctor could fix his arm.”

Back home soon afterward, Jeff could begin the process of rehabilitating his arm in the hopes of regaining his ability to play guitar. The next few weeks saw more surgeries, staples and multiple grafts using skin from his left thigh. Wound-care suction devices were on hand to draw out the infection and help the skin grafts take. Physically, Jeff’s arm was on the mend. Emotionally, however, he was struggling. Depression was setting in.

“I couldn’t get Jeff to go to rehab or therapy,” Kathryn says. “I think he was letting the visual of his arm get to his emotions, and it was messing with his mind. It was hard to keep him upbeat at that point.

“I think he thought he could do this on his own—that he would just to go rehearsal and play, and that that would be his rehab. But I think he started to learn, once he tried rehearsing, that he wasn’t playing up to his ability and that he wasn’t able to play guitar at the speed he was used to. And I think that really hit him hard, and he started to lose hope.”

For the rest of this story, plus a Jeff Hanneman poster and features on Buzz Osbourne of the Melvins, Joe Bonamassa, Iggy and the Stooges, Steve Morse of Deep Purple, Eric Clapton's 2013 Crossroads Guitar Festival, the 25 Best Guitar & Music Apps and more, check out the August 2013 issue at the Guitar World Online Store.

Additional Content

Exclusive Song Premiere: Night Verses — "Whatever Makes You Hate Me"

Damian Fanelli — Wed, 19 Jun 2013 14:06:55 +0000

Today, GuitarWorld.com presents the exclusive premiere of "Whatever Makes You Hate Me," a new song by Night Verses. The song is from the band's upcoming album, Lift Your Existence, which will be released June 25 via Easy Killer Records.

Night Verses, who formed in 2012, enjoyed a break-out year, including the release of the Kris Crummett-produced Out of the Sky EP and the Dannel Escallon-directed video for “Be Happy With Yourself, I'm Staying Here In Hell.”

Early 2013 found the band teaming up once again with Crummett to record a collection of songs that runs the gamut from apocalyptic to tender, intensely virtuosic to brutally vulnerable. The musicians collaborated from opposite coasts to write and refine this material, which expands upon the EP and captures the energy of their live shows.

Recent US tours with letlive., HRVRD and Wilson have only brought the anticipation of their next move to a fever pitch. Rock Sound’s Andy Ritchie described the new comers as already displaying as much “dynamism and energy as most bands put into their entire careers.”

Night Verses is vocalist Douglas Robinson, guitarist Nick DePirro, bassist Reilly Herrera and drummer Aric Improta. For more about the band, visit their official website and Facebook page.

Greatest Guitar Solos of All Time Readers Poll: Round 1 — "Mr. Crowley" (Randy Rhoads) Vs. "Sweet Child O' Mine" (Slash)

Guitar World Staff — Wed, 19 Jun 2013 12:33:23 +0000

A few years ago, the editors of Guitar World magazine compiled what we feel is the ultimate guide to the 100 Greatest Guitar Solos of All Time.

The list, which has been quoted by countless artists, websites and publications around the world, starts with Richie Sambora's work on Bon Jovi's “Wanted Dead or Alive” (Number 100) and builds to a truly epic finish with Jimmy Page's solo on "Stairway to Heaven" (Number 1).

To quote our "Stairway to Heaven" story that ran with the list, "If Jimmy Page is the Steven Spielberg of guitarists, then 'Stairway' is his Close Encounters."

We've kicked off a summer blockbuster of our own — a no-holds-barred six-string shootout. We're pitting Guitar World's top 64 guitar solos against each other in an NCAA-style, 64-team single-elimination tournament. Every day, we will ask you to cast your vote in a different guitar-solo matchup as dictated by the 64-team-style bracket.

You can vote only once per matchup. The voting for each matchup ends as soon as the next matchup is posted (Basically, that's one poll per day during the first round of elimination, including weekends and holidays).

In some cases, genre will clash against genre; a thrash solo might compete against a Southern rock solo, for instance. But let's get real: They're all guitar solos, played on guitars, by guitarists, most of them in some subset of the umbrella genre of rock. When choosing, it might have to come down to, "Which solo is more original and creative? Which is more iconic? or Which one kicks a larger, more impressive assemblage of asses?"

Today, Randy Rhoads returns to the poll with "Mr. Crowley" (28), which is going head to head against Slash's guitar work on "Sweet Child O' Mine" (37). Get busy! You'll find the poll at the bottom of the story.

Yesterday's Results

Winner: "Floods" (71.98 percent)
Loser: "Hot for Teacher" (28.02 percent)

Round 1, Day 10: "Mr. Crowley" Vs. "Sweet Child O' Mine"

28. “Mr. Crowley”
Soloist: Randy Rhoads
Album: Ozzy Osbourne—Blizzard of Ozz (Epic, 1981)

“I’d have to say that ‘Mr. Crowley’ is my most memorable solo,” said Randy Rhoads. “I had spent hours trying to figure out a solo for the song, but wasn’t getting anywhere. I finally put something down. Then Ozzy came in and said, ‘It’s crap—everything you’re playing is crap.’ He told me to get in there and just play how I felt. He made me really nervous, so I just played anything. When I came back to listen to it, he said it was great, and I had to agree.”

37. "Sweet Child O' Mine”
Soloist: Slash
Album: Guns N’ Roses—Appetite for Destruction (Geffen, 1987)

“When ‘Sweet Child O’ Mine’ was written, it was a joke as far as I was concerned,” says Slash. “I was just fuckin’ around when I came up with that riff. To me it was a nightmare because, for some strange reason, everyone picked up on it and, the next thing you knew, it had turned into a song. I hated it forever! The guitar solo itself is a one-take, spontaneous kind of thing. Having played the song at rehearsals enough times, when it came to recording it I knew exactly where the melody was and it came real easy.”

Cast Your Vote!

Head HERE to see all the matchups that have taken place so far!

Additional Content

The Songwriting Sourcebook: How to Turn Chords Into Great Songs

Guitar World Staff — Wed, 19 Jun 2013 12:30:40 +0000

Originally published in 2003, and now revised and updated, The Songwriting Sourcebook: How to Turn Chords into Great Songs is the third entry in Rikky Rooksby's bestselling How to Write Songs series.

This easy-to-use book will help you write better songs by explaining the art of writing effective chord sequences It shows:

• How three and four chords can lay the foundation for a simple song, and how to move on to progressions using five and six chords

• How to give your chord sequences additional color by adding chords that are not strictly in key, including blues chords

• How to write chord sequences for songs in minor keys as well as major keys, and how to take progressions into new territories by changing key

• How to fine-tune the color of your chords by understanding the emotional potential of sevenths, sixths and ninths

All examples come with easy-to-read guitar chord boxes, and the accompanying 20-track audio CD features original recordings that illustrate some of the points made in the book.

The Songwriting Sourcebook is available now at the Guitar World Online Store for $24.99.

Review: Britannia Guitars Scorpion Elite

Eric Kirkland, Video by Paul Riario — Tue, 18 Jun 2013 15:28:46 +0000

The following content is related to the January 2013 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.

Britannia Guitars president Marc Alexander became fascinated with Lucite when he saw the Rolling Stones’ Keith Richards and Bill Wyman playing translucent Ampeg Dan Armstrong guitars in the Sixties. Both men raved about the natural sustain of their instruments. In the 50 years that followed, luthiers have produced only a handful of instruments made of Lucite: the material is not only heavy but also difficult to work with. Undeterred, Alexander developed precise manufacturing methods and solved the weight issue by using extensive cutouts. His new Scorpion Elite is an excitingly ornate Lucite masterpiece that’s as sonically impressive as it is visually intriguing.

Rex Brown Recalls the Making of 'Cowboys from Hell,' 'Vulgar Display of Power' and Other Legendary Pantera Albums

Jon Wiederhorn — Tue, 18 Jun 2013 15:26:20 +0000

While Pantera vocalist Philip Anselmo and the Abbott Brothers—guitarist Dimebag Darrell and drummer Vinnie Paul—were flinging insults at each other in the press throughout 2003, bassist Rex Brown remained largely silent.

His ex-bandmates viciously blamed each other for the demise of Pantera, the band that held the torch aloft for metal throughout the Nineties and paved the way for metalcore. But Brown refused to choose sides. By then, he and Anselmo were performing together in Down, and fans might have expected he would take the singer’s side. But Brown continued to say nothing. Instead, he let the resounding notes of his bass express the pain and frustration he felt for what had become of his band.

[[ Vote in today's Greatest Guitar Solos of All Time Readers Poll! "Floods" (Dimebag Darrell) Vs. "Hot for Teacher" (Eddie Van Halen)" ]]

“Vinnie drew this imaginary line in the sand,” explains Brown, who is currently wrapping up the second album by his new band, Kill Devil Hill. “He said, ‘You’re either on our side or not.’ I didn’t want to take sides. Every fucking day before Dime was killed [in December 2004], Vinnie would email me when Phil would say something stupid in the press and go, ‘See what your boy said?’ I was like, ‘Dude, why is he my boy? Because I wanted to get out of your bus because you were throwing fucking tacos at everybody because you’d lost your mind on booze?’ The whole thing was ridiculous, but I never talked about it.”

Until now. In his revealing new memoir, Official Truth 101 Proof: The Inside Story of Pantera, Brown stops short of blaming anyone for Pantera’s breakup and the subsequent murder of Dimebag Darrell. Instead, he and co-writer Mark Eglinton spend the majority of the book addressing the formation and development of Pantera through five legendary albums. In the process, Brown analyzes how four musicians that were once closer than most families grew apart because of their differences in personality, musical tastes and choice of extracurricular activities.

Brown has particularly strong recollections of the six major-label albums he recorded with Pantera. In this Guitar World interview, he gives us an unvarnished, no-holds-barred look at the making of those records and of his life with the original Cowboys from Hell.

Cowboys from Hell (1990)

While we were writing the songs for Cowboys from Hell, we were listening to a lot of different kinds of music—a lot of Metallica, Slayer, Mercyful Fate and Minor Threat—and that changed our sound. We had grown such a huge following in Texas by then that we could play one set a night and draw 2,000 people. Since we didn’t have to play six shows a night anymore, we had more time to spend in the Abbotts’ studio [Pantego Sound], and we became total perfectionists.

Vinnie would lay down all the drums, then Dime would play guitar. We’d put the bass on last. We turned all the drum channels off, and I just played along with Dime’s track. That became known as “the microscope.” If something was off, we’d get a razorblade and cut and splice the tape. We didn’t have Pro Tools back then. And that’s what created our trademark sound, where the guitar and bass are just spot-on.

By that point, Dime had already surpassed all of his influences as a player, and we were making a lot of money playing Friday and Saturday nights within a radius of Dallas, Houston, Austin, San Antonio, Shreveport and New Orleans. Then, after getting turned down 29 times, we finally got signed to Atco. The thing is, that actually made our financial situation worse at first. We weren’t playing shows, so we didn’t have any money coming in. So I had to get a job. Me and our lighting guy, Sonny, got gigs putting up lights for fashion shows. It actually turned out real cool. We met all these fashion models, got laid all the time and made a month’s rent a night.

But playing with Pantera back then was even better. We were such good friends, and our chemistry was undeniable. Dime would make these riff tapes on his four-track and bring them in, and we’d turn them into songs. One day, Dime came in with this tape loop of a lick he played over and over in a high register. It drove us crazy, because he wouldn’t stop playing it. That’s what became “Cowboys from Hell,” and it was the start of the power groove every band follows today.

As much as you still hear that song, when it came out no radio stations would play it. One of my favorite memories is when we did “Cemetery Gates.” Dime already had the riff in the song where it starts getting heavy, but we didn’t have an intro. One day, I picked up an acoustic guitar and messed around with a part, which we recorded.

We recorded a piano in reverse so that it created this big swell of sound at the end of the section. When we put the acoustic intro together with the heavy part, there it was. That was huge for us, and that’s how all those sessions went. We were all working together with Terry Date, who we liked a lot, even though our first choice was [famed metal producer] Max Norman. But he canceled at the last minute and we got Terry, who we bonded with from the start.

Vulgar Display of Power (1992)

When we got back from touring for Cowboys, the music scene had changed so drastically. You had Nirvana on one side and Metallica’s Black Album on the other. As good as that record is, it’s no Master of Puppets. We figured this was our chance to be the heaviest game in town. Dime had riffs pouring out of him. He’d bring them in, and it was hard to choose between them, because they were all so good.

One time, Dime and Phil walked out and smoked a joint and came back with the idea for “A New Level.” A couple hits of weed and we were all flying. It was so easy to play, but it was the chemistry we had that made it sound so good. That’s how it was with us. I mean, anybody can write something like “Walk,” but to play it like we did, with that groove—that’s pure chemistry. Even “Fucking Hostile” is totally brutal but hooky as hell.

This was the second record we did with Terry Date. He and Vinnie worked hand in hand to get the perfect sound, and Dime was writing riffs that were better than any band out there and taking his solos to an entirely new place. That record just came easy. All the riffs on Cowboys had been written by me and Dime.

Philip came in with his own ideas on Vulgar, and that made us even heavier. After it was mastered, we had a tape of the record and we put it in a cassette player and played it for everyone at the label, and their jaws hit the fucking ground. If you play an album for someone and they say, “Yeah, man, I fucking love it,” that’s cool. But when nobody says anything after it’s done and they all have blank stares on their faces, and then someone finally says, “Holy shit!” then you know you’ve done something great.

As blown away as everyone was by Vulgar Display of Power, it was the tour opening for Skid Row that changed everything for us. Vinnie had met up with them on tour and drank so much that he threw up all over their dressing room. But they had a good time, so they asked us to go on tour with them.

Philip was really resistant at first, and I told him, “Look, there’s two ways we can look at this. We can view it the hard way and say, ‘Fuck you all! We’re gonna tear you apart!’ Or we can take the crowd with us every fucking night,” which is what we did. We turned all these hair farmers into Pantera believers. Vulgar was our second real record, so no one could say Cowboys was a fluke. The songs came out at the right time, and we tore it up every night.

Far Beyond Driven (1994)

It would have been easy for us to write another Vulgar Display of Power, but fuck that. We wanted to try something completely different that was even heavier. We moved everything up to Jerry Abbott’s new place in Nashville, and that’s the first time we started taking breaks between recording. We’d do three or four songs, put them on tape, let them sink in and then go back in and do more.

That was about the time that Dime started messing around with the Whammy Pedal and Vinnie was getting completely crazy about getting this clicky sound on his drums, and that required a lot of takes and a lot of tweaking our sound. We drove Terry crazy. But we had been playing through the same gear for 500 dates between 1989 and 1994, so we felt it was time for experimentation, and we did tons of takes of everything, which is why it was our most expensive album to do.

“I’m Broken” was the first single. That was a classic southern groove, and we remixed that thing 16 times. But we were raging. Take a song like “Good Friends and a Bottle of Pills.” Where the fuck does that come from? Out of the blue! We just bashed it out. Dime came up with a lot of those riffs at soundchecks, and he wrote other ones on the shitter. He always had an acoustic guitar in the bathroom. He’d go in there to take a dump and come out with an amazing song. We also covered Black Sabbath’s “Planet Caravan.” I played keyboards on it and fretless bass. Vinnie played congas. And Dime’s solo…to this day, I can’t listen to it. Just talking about it chokes me up. And Dime did it first take.

Everything was happening. We renegotiated our contract with Warner Bros., and they gave us a huge amount of money each. When stuff like that happens, it can either ruin you and wipe the band out or you can bond together, which we did. Part way through the recording, we left Nashville and went back to Dallas Sound Lab, in Texas, and from then on it became one big fuckin’ party. We were boozin’.

Vinnie was doing a lot of Ecstasy. Me and Dime were just taking little dabbles here and there, but Vinnie was out of his mind, and he was co-producing this thing, so he’d sometimes get real crazy. It took a long time to finish the overdubs, because the brothers were partying so heavy, but we were still “all for one, one for all,” even though Philip had moved back home to New Orleans when he was done with his vocals. That removed him from the equation, which was probably a good thing.

The Great Southern Trendkill (1996)

Metal is a full-blown contact sport, especially the way we did it. So it was only a matter of time before Phil was gonna need something for the damage he caused himself. We used to jump 15 feet in the fucking air, and I’d usually land on my feet and feel the shock on my knees, which are shot now. But Philip would make these giant jumps and land on his fuckin’ ass. I used to always think, Fuck, man, that’s gonna hurt later.

Back then, we would wake and bake. That was just a given. So that made us a little foggy. But at one point, I noticed Phil was fuzzier than usual. One day when we stared doing The Great Southern Trendkill, he looked at me and slapped his armpit [a technique to inflate a vein prior to shooting heroin]. I went, “What!?” I’ve never stuck a needle in my arm. I used to watch some of my friends shoot up, but I would never do it. No way. I hadn’t seen that reference in 10 years, and Philip doing that at me made me go, Oh shit! I hope he’s not doing what I think he’s doing.

Sure enough, he was doing smack. And he was a wreck through the writing sessions of Trendkill. We were all so burned out by that point. A lot of the discipline and structure we used to have went out the window. I’m not crazy about two or three songs on the album, but there’s a lot of good stuff on it. It was all created very spontaneously. We didn’t go back and re-record anything.

That record was even more experimental than Far Beyond Driven. Far Beyond still had a coherent structure, and on Trendkill there was hardly any. Dime wasn’t even bringing riff tapes in anymore. So we winged it, and Terry just rolled tape, and a lot of the random stuff we captured is pioneering. And of course, the more we worked on them, the more cohesive the songs became.

It was the first time Philip didn’t track vocals with us, which left Dime leery, because he didn’t know what to do with the leads. But he got it done anyway, and it was killer. Just listen to “Floods.” That’s the three of us locked in, and it’s got all these different shades to it and all these dynamics, and Dime’s solo couldn’t be better. In the end, we were psyched about the record, and we toured it to fucking death.

Reinventing the Steel (2000)

Doing that album was closest we’d been in 10 years—since Vulgar or Far Beyond—to capturing what we wanted to do. We went, “Okay, let’s listen back and take the best elements of what we’ve done. Everyone pick your five favorite songs from each album, and let’s roll.” There were four different opinions of what we should do, but we tried to work within those confines, and we did a great record. But what we should have done instead was check into rehab and then, when we were all clean, get a real producer, instead of Vinnie Paul. At this point, Vinnie was trying to take control of everything.

His ego went through the roof. He didn’t want Terry Date involved. Where we used to drink for fun, we were drinking out of frustration, and during the sessions we were yelling at each other, throwing shit at each other, breaking stuff. Many times Dime was so fucking drunk, Philip would jump on him, and I’d have to jump on Phil. Somehow we made it through the record, and if you put it next to Far Beyond and Vulgar, you come out with something very close. Take a song like “Revolution Is My Name.” That could have been on Far Beyond Driven. And even though he wasn’t necessarily in a good place, Dime really came out of his hole and delivered.

During the recording, Dime had these cases of fucking ginseng. He would drink two or three of these bottles and stay up for days. Dime never did speed, cocaine or heroin. He smoked a lot of weed and did some acid. But he loved ginseng, and it made him fucking crazy. Rehearsal for the tour was surreal. Philip was so wasted, he’d be singing a different song than we were playing. He was always on for the shows, but touring was a nightmare.

Dime tried to get his own bus, because he couldn’t stand his own fucking brother anymore. Vinnie just kept booking shows, and we were touring with all the problems that went along with drug and alcohol abuse. Dime would blast the speakers out until 10 in the morning every day. You can’t sleep in a bus like that. So I went to Phil’s bus and stayed in the back lounge. He stayed in the front lounge, and we kept people out. Phil calmed down to a certain extent, even though he was drinking and smoking weed like it was going out of style.

We really all should have stopped, but there was so much money on the table, and that made everything worse. We’d drink so fucking hard trying to relieve the tensions of drinking so hard, and that sent everybody into a fucking spiral. After a show, I’d go smoke a joint and drink a glass of wine and go to bed instead of staying up and trying to get laid, which Vinnie was all about but couldn’t make happen. We didn’t know if we were coming or going. We just know we had another gig to do, so goddamn, you get up and you do it. None of us ever missed a show. Ever.

Photo: James Bland

Additional Content

Jerry Cantrell Tells How Alice In Chains Buried Their Past with 'The Devil Put Dinosaurs Here'

Richard Bienstock — Tue, 18 Jun 2013 15:01:45 +0000

Jerry Cantrell tells how Alice in Chains buried their past with The Devil Put Dinosaurs Here, a monster of an album unlike anything they’ve made before.

“We approach every new record the same way—by just fucking totally forgetting about the last one,” Jerry Cantrell says about the creative process within Alice in Chains. “You have to start from a zero every time.”

For Alice in Chains, of course, starting from zero hasn’t always been so easy. For a long time, the band’s past—both the highs and lows—has loomed rather largely in their present. Their last album, 2009’s Black Gives Way to Blue, was their first in more than a decade and had longtime fans champing at the bit to hear if it would stand up to Nineties-era classics like Facelift and Dirt.

It was also the band’s first release with singer William DuVall in place of deceased frontman Layne Staley. (In 2011, original bassist Mike Starr, who performed on Facelift and Dirt, also passed away.) But after such a long and tumultuous absence, Black proved to be a triumphant return for the band, debuting in the Top Five on the Billboard album chart and eventually going Gold.

Alice in Chains’ new and fifth studio album, The Devil Put Dinosaurs Here, is perhaps an even stronger effort. Recorded with producer Nick Raskulinecz (Foo Fighters, Rush, Deftones) at L.A.’s Henson Studios, the disc sports plenty of sludgy, piledriving midtempo rockers, like the mammoth first single “Hollow” and the harmonically skewed “Stone.” But several tracks—including “Voices,” “Choke” and “Scalpel”—exhibit the same type of beautiful acoustic/electric guitar blend and rich vocal-harmony work that characterized the band’s 1994 EP, Jar of Flies.

But Dinosaurs also pushes into more exotic waters, from the hypnotic and slow-building title track to the truly eerie “Hung on a Hook” to the crushingly metallic “Phantom Limb,” which boasts a minor-key riff that might not be out of place on a Slayer record—if it was being played at half speed. Essentially, it’s an album that sounds very much like Alice in Chains, but it also shows the band continuing to push forward.

“We’re really proud of this record,” Cantrell says. “It’s got all the elements of any record we’ve ever put out, but it’s also unlike any record we’ve ever put out.” Which is, he believes, as it should be. “The element that’s always going to remain the same is us,” Cantrell says. “And you have to trust that that element’s going to be there just from the simple fact that [bassist] Mike [Inez], [drummer] Sean [Kinney], William and I are in the same room playing together. We sound the way we sound. That’s not going to change. So you begin with that unified thing and then you just keep building. You start pulling shit out of your ass and see what happens.”

GUITAR WORLD: There’s been a really great response to the new material, in particular the first single, “Hollow.”

It’s just one of those nice surprises. It’s a big, meaty track, and it definitely displays a certain sound—the larger, more aggressive side of the band. We always like to come out with something like that first. So it was intended as a nice, fat, chunky album cut for the fans to get them excited for what’s to come.

That song is indicative of the Alice sound, but you also go in some different directions on this record. One song in particular that struck me is the title track, which cycles through a few vibes musically and has a lyric that delves into social commentary, touching on religion in particular. That’s a bit unusual for you guys.

As a band, whether you’re writing internally or whatever, you’re not only reflecting on what’s going on with you but also what’s going on around you. And I think that lyric element has always been there with us, if you’re listening for it. I would say “The Devil Put Dinosaurs Here” is right in line with the spirit of Alice as far as the subject matter is concerned. You can go back to our first hit, “Man in the Box,” and there are elements of that same way of thinking. It’s always been kind of unbelievable and funny to us that a lot of stupid and hateful beliefs get perpetuated. And I remember with “Man in the Box,” we had a couple picketers here and there. But it’s like that old joke: What are the two things you don’t want to get in an argument with anyone about? Religion and politics. It’s a hot-button topic that ignites conversation and strong opinions.

What gear did you use on the new album?

My G&L Rampage and Les Paul were the main guitars, but I wasn’t married to anything specific. There’s also SGs, Vs, Teles, Rickenbackers, Fenders, Guilds—all sorts of things. A lot of baritone, too. Amp-wise, I’ve been using the Dave Friedman [the custom “Marsha”] amp for the last couple years. And I’ve always been a big Bogner fan and used a lot of those on the record, too. Between those two, that was the core sound, for sure.

But we probably used more amps on this album than on the last one. There’s Orange, Hiwatt, Soldano, some Marshall. There’s a bunch of [Vox] AC-30 on the record. We had about seven or eight heads hooked up and ready to go in any configuration we needed, and we just experimented as we went along. We could dial in whatever guitar/amp combo worked for whatever song, because the song generally tells you what it needs.

One of the hallmarks of your guitar style has always been your use of wide note bends, in particular the way you incorporate them into riffs. You can hear examples of it in new tracks like “Stone” and going all the way back to Facelift songs like “It Ain’t Like That.” Where does that element come from?

It’s hard to say. Really, it’s just what I do. I guess I’ve always been a fan of Tony Iommi, and that bend at the beginning of “Iron Man,” that’s an early example right there. But it’s just something I’ve naturally done for a lot of years. The riff in “It Ain’t Like That,” that’s based around a bend that was actually a joke. I remember at rehearsal, I got pissed off about something and I made some noise. I did that reverse strum on the E chord with a bend on the G. I was dicking around, and all the guys looked at me, like, “That was cool! Do that again!” And I was like, “I was fucking joking, dude!” [laughs]

Then when Layne started playing guitar a bit, he picked up on that element as well. He put some of those bendy riffs into “Hate to Feel” and “Angry Chair” [both from Dirt]. It’s something that’s always appealed to us sonically. There’s a real tortured element there when you slow bend into a note and hold it to get some sort of dissonance. It just sounds lumbering, like a sick fucking mammoth.

Another trademark of your sound is the use of drop D tuning. I spoke with Kim Thayil recently and he recalled having conversations with you about the tuning early on in both bands’ careers.

I’ve read a couple of times where he likes to take credit for teaching me that! [laughs] I’m a huge Soundgarden fan, and a fan of Kim’s as well, and we would have a lot of conversations about the tuning. But actually, I learned it from Eddie Van Halen, who used it on “Unchained.” That’s the first time I remember hearing it. Like, ‘What the fuck is that?’ Especially with the flanger on that thing as well. That was just amazing. But it’s just a cool tuning. It gives you that extra low weight, and you have the ability to chord across with a single finger while doing other things with your smaller fingers.

As much as you’re known as a guitarist, your vocals are just as essential to the Alice in Chains sound. Your voice and William’s blend really well on the new record.

We basically split the vocals, and we split them the last time, too. It’s always been a hallmark of this band—the dual-vocal blend, and also two guys who can carry a song as lead vocalists. And with William it totally works. He’s a really talented guy. Another aspect to William is the guitar. Layne played a little guitar, and he was playing more at the end. But William brings an added element there as well. He’s a very interesting and unique guitar player.

Do you feel that you still have to contend with people regarding him as the new guy?

I think there’s a handful of people that just can’t fucking move on and can’t get over the fact that we’ve got someone new in the band. It happened, people! You have to move on in life. And I think, with William, there are people that are looking at it unfairly. He’s not trying to be Layne, and he never has tried to be Layne. If you compare their voices, they don’t sound anything alike. Just like Bon Scott and Brian Johnson don’t sound anything alike, but it’s still AC/DC. That’s probably the best comparison I can make. There’s a way this band sounds and a way this band writes songs.

And William has lent his talent and gotten onboard to help us continue that legacy. We’ve continued to move forward without losing the identity of ourselves. That’s a tough thing to do but we’ve been able to do it. And I think we’ve proven ourselves. So it’s all laid to rest as far as I’m concerned. We’re making good music, and as long as that’s the case, there’s no reason to do anything else.

Photo: Kevin Scanlon

Additional Content

Rob Zombie’s Great American Nightmare Coming to Los Angeles October 10 to November 2

Guitar World Staff — Tue, 18 Jun 2013 14:30:56 +0000

Musician and filmmaker Rob Zombie will unleash his Great American Nightmare on Los Angeles this Halloween season.

This bone-chilling experience will combine the most advanced haunted house attractions with a not-to-be-missedmusic festival from top artists in hard rock, alternative, EDM and more, every Thursday, Friday, Saturday and Sunday from October 10 through November 2 at the Fairplex FEARplex in Pomona, California, just outside Los Angeles.

A creative collaboration between masters of the macabre Rob Zombie and preeminent haunted house producer Steve Kopelman, the fully immersive haunted house experience will feature three attractions based on Zombie’s own horror films: Lords Of Salem Total Black Out, The Haunted World Of El Superbeasto 3D and Haunt Of 1,000 Corpses. The shocking — and sometimes disturbing — fright attractions will offer a three-dimensional experience with animatronics and effects, a maze that is the ultimate definition of claustrophobia and fear, sudden chills and startling thrills and salacioushumor that will make one scream with fright and laughter.

As if these sinister attractions weren’t enough, Rob Zombie’s Great American Nightmare also will feature 15 nights of music from top national and regional artists in the indie/punk, EDM, metal, rock and Latin genres including Andrew WK, BL3ND, Blood On The Dance Floor, Dirtyloud, Dirtyphonics, Doctor P, Emilie Autumn, Evol Intent, Fei-Fei, Goldfinger, Heavygrinder, Kottonmouth Kings, Metalachi, One More Time, Ozomatli, Reel Big Fish, Terravita, The Used, Twiztid, William Control, Zomboy and many more.

In addition to music, one night will feature the outrageous pro wrestling sensations Lucha Libre USA. Look for details about the music performance schedule--including additional major headlining acts--to be announced on June 29 and visit GreatAmericanNightmare.com for details.

"This is it! The ultimate badass Halloween experience! No one will walk away disappointed," says Zombie. "I am thrilled to bring The Great American Nightmare to California and begin a reign of bloody terror!"

The FEARplex for Rob Zombie’s Great American Nightmare will include 150,000 square feet of horror and entertainment and is not geared towards young children or the faint of heart. Patrons should be prepared for maximum scares!

At Rob Zombie’s Great American Nightmare, patrons will enter three different attractions, each completely different in look, theme and effects:

Lords Of Salem In Total Black Out: This harrowing attraction — based on Zombie’s 2012 The Lords Of Salem independent horror film — is designed to twist the mind. It will accentuate some senses while limiting others. Fear of the dark, claustrophobia, and fear of the unknown will be preyed on as the visitor attempts to traverse this sixty-degree maze.

The Haunted World Of El Superbeasto 3D: Utilizing Chromadepth glasses, this innovative attraction will take the patron right into the middle of the irreverent world of Rob Zombie’s El Superbeasto 2009 animated exploitation musical horror comedy film based on the comic book series of the same name. The attraction’s unique surprise entrance, brilliant colors, sudden chills and startling thrills, and salacious humor will make one scream with fright and laughter.

Haunt Of 1,000 Corpses: This terrifying attraction pays homage to the 10-year anniversary of the exploitation horror film House Of 1,000 Corpses, directed by Zombie. This extreme, traditional haunted house will take visitors on a walking journey through a recreation of the film’s “Museum of Monsters & Madmen” along with an expanded “Murder Ride,” confronting notorious serial killers along the way. This high impact, highly detailed attraction will use state of the art animatronics, video effects, costuming, sound, scents and lights.

Rob Zombie’s Great American Nightmare is produced by Rob Zombie, Steve Kopelman and Andy Gould, along with event music producers Kevin Lyman and John Reese.

“Having produced haunted attractions for over 30 years, I have never been more excited about a project than I am with The Great American Nightmare. To produce an event with partners like Rob Zombie, Kevin Lyman, John Reese and Andy Gould is a dream come true. This no-holds-barred first year event is destined to change the haunted house landscape for years to come and I am ecstatic to be a part of it,” says Nightmare producer Steve Kopelman.

The Great American NightmareMonster Midway will offer outdoor screenings of classic horror films, a DJ, food vendors, beer, wine and spirits, and much more, with freak show characters roaming throughout the grounds each night.

Nightmare music co-producer Kevin Lyman admits, "Rob Zombie's Great American Nightmare is going to be so terrifying, you won't catch me in any of the three haunted houses! For those of you who are scaredy cats like me, there will be plenty of other attractions that are guaranteed to entertain, including a special concert each night."

"Great American Nightmare is one of the most exciting projects I have ever been associated with,” says Nightmare music co-producer John Reese. “The opportunity to work with the genius that is Rob Zombie is awe inspiring. This is set up to be one of the CAN'T MISS EVENTS OF THE YEAR!"

Tickets for Rob Zombie’s Great American Nightmare are available starting at only $30 beginning Saturday, June 29 at GreatAmericanNightmare.com. Each ticket includes access to all haunted house attractions, concerts and midway activities. Tickets will also be available for purchase onsite at the Rockstar Energy Drink Mayhem Festival San Bernardino show at San Manuel Amphitheater (June 29) and during the Los Angeles County Fair at Pomona Fairplex (August 30-September 29). VIP packages will also be available for purchase at GreatAmericanNightmare.com.

Hours for Rob Zombie’s Great American Nightmare will be 6:30 PM until 11:00 PM on Thursdays and Sundays, 6:30 PM until 1:00 AM on Fridays and Saturdays.

The Fairplex is at 1101 W. McKinley Avenue in Pomona, centrally located in the heart of Southern California. The Fairplex is also home to the LA County Fair, the largest county fair in the world.

Rob Zombie’s Great American Nightmare is made possible through the support of sponsors including Monster Energy Drink and Ernie Ball.

Visit the event's official website and Facebook page.

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