News en ‘Reckless’: Songwriter Jim Vallance Discusses Working with Bryan Adams <!--paging_filter--><p> In the context of songwriting partnerships, few teams have been as long-lasting — or as successful — as that of Jim Vallance and Bryan Adams. </p> <p>Since being introduced by a mutual friend in a music store in 1978, Vallance and Adams have written hits that appear on Adams’ albums <em>You Want It, You Got It; Cuts Like a Knife;</em> and the 1984 monster, <em>Reckless</em>, which sold more than 5 million copies in the U.S. alone.</p> <p>Adams will celebrate the 30th anniversary of <em>Reckless</em> in November with a four-disc, super-deluxe reissue package that includes bonus-track demos recorded in Vallance’s basement studio in 1983 and '84.</p> <p>Over the years, Vallance has continued to flex his songwriting muscle, penning hits with Aerosmith, Ozzy Osbourne, Scorpions and Lita Ford, to name just a few. </p> <p>I recently spoke to Vallance about the <em>Reckless</em> sessions, his time working with Adams and his upcoming projects. </p> <p><strong>GUITAR WORLD: When you think back to the <em>Reckless</em> album, what’s the first thing that comes to mind?</strong></p> <p>Mostly, I remember how much work we did. Bryan and I got together in my basement studio every day for a year ... noon 'til midnight. Some days were more productive than others, but we always put in the time and did the work.</p> <p><strong>What were those songwriting sessions like?</strong></p> <p>Bryan and I had a daily routine. He would arrive at noon, we'd have a sandwich and a cup of tea and then we'd go downstairs and get to work. We'd start by deciding if we were going to write a fast song or a slow song and then we'd set up a "drum loop" for inspiration. Usually, Bryan would play guitar and I'd play bass or piano. We'd jam for hours until one of us played or sang something interesting. Then we'd spend time fleshing out the idea or we'd jam some more until another idea materialized. We repeated the routine every day for months. It was always productive. There were very few wasted sessions.</p> <p><strong>I’d like to get your thoughts on a few tracks from <em>Reckless.</em> "Run to You."</strong> </p> <p>"Run to You" was written for our producer friend Bruce Fairbairn. He needed a song for Blue Oyster Cult. They didn't like the song, so Bryan recorded it himself.</p> <p><strong>"Heaven."</strong></p> <p>"Heaven" was written for the soundtrack of a film called <em>A Night in Heaven.</em> It was a dreadful film, but we got a decent song out of it!</p> <p><strong>"Somebody."</strong></p> <p>"Somebody" was one of those songs where we jammed for a few hours until something happened.</p> <p><strong>Bryan has often mentioned the sexual references in “Summer of '69.” Can you tell me the real story?</strong></p> <p>Bryan and I were talking about it recently. We were both in the room when "Summer of '69" was written, yet we have very different recollections about what inspired the song. </p> <p>I remember when we wrote the lyric I was thinking about all of the things that had happened to me during the summer of 1969: first girlfriends, first bands, lots of great music on the radio. Think about it … you're 17, you’re a budding musician and there's new music being released by the Beatles, Creedence Clearwater Revival, Jimi Hendrix, Johnny Winter and the Band. Not to mention Woodstock!</p> <p><strong>What role (if any) did you play in the recording process for the album?</strong></p> <p>I avoided the studio during the <em>Reckless</em> sessions. To be honest, I would have liked a bigger role, but if I'd been in the control room with Adams and [Bob] Clearmountain [producer], there would have been "too many chefs." My suspicions were confirmed a few years later during the <em>Into the Fire</em> sessions. </p> <p>I arrived at the studio one day when they were recording guitars. I made a fairly innocent comment about the guitar sound and Bob "lost it." He went nuclear on me. To his credit, he apologized a few minutes later, but my point is, it can get tense in the control room. Sometimes it's better to stay away. </p> <p><strong>Can you tell me something that not many people know about the album?</strong></p> <p>I attended Tina Turner's vocal session for "It's Only Love." As soon as she started singing, my heart sank. Our track was in the wrong key for Tina's vocal range! I thought we'd blown it, but Tina and Bryan tried a few things. They nudged the melody up a third and suddenly, we were back in business and Tina nailed it! What a thrilling moment that was. It was very exciting to witness.</p> <p><strong>How did you get started in songwriting?</strong></p> <p>Blame the Beatles. I was 11 when I saw them on television and knew right away that I wanted to be a musician. I started playing drums and guitar, but songwriting didn't happen until I was 15 or 16. I had an uncle who wrote songs, and that helped humanize it for me. I realized you didn't have to be a Beatle. Anyone could have a go at it.</p> <p><strong>You mentioned the process you used when you wrote with Bryan. Was this the same for some of your other collaborations? Namely Aerosmith, Ozzy, Lita Ford, Scorpions?</strong></p> <p>When I was working with Bryan in the 1980s, we didn't have any time constraints. We just kept writing until we had enough songs for an album. If it took a year, like it did with <em>Reckless</em>, then it took a year. Plus, we lived near each other so getting together was easy. </p> <p>It was different with artists like Aerosmith. They'd come to Vancouver or I'd go to Boston. There were also significant costs involved (flights, hotels, rental cars, restaurants) so the record company expected results. I was under a lot of pressure to deliver album-worthy songs, but I didn't mind. In fact, deadlines can be quite inspiring. It's a bit like school, where the teacher says, "I want a 20-page essay by Friday." You don't have a choice. You just do it or you get a failing grade. People don't know this, but songwriters don't get a salary. We only get paid if the album sells, and that's assuming your song makes it on the album in the first place! </p> <p><strong>What projects are you working on right now?</strong></p> <p>A few years ago I decided I only want to write with Bryan. I've done the 50-artists-a-year thing and it's a recipe for burn-out. I don't want to do that anymore. With Bryan, it's still a lot of work, but we know when to take a break. We pace ourselves. Bryan has three albums on the go. He's just released an album of cover songs (<em>Tracks Of My Years</em>) which includes one new Adams-Vallance original, "She Knows Me." </p> <p>In November, Bryan's releasing a 30th anniversary edition of <em>Reckless</em> with seven bonus tracks. Six of the bonus tracks are <em>Reckless</em>-era demos; recorded in my basement studio in 1983 and '84. We remixed them from the original 16-track tapes, but we didn't replace or re-record anything. It's me on bass, drums and keyboards, Bryan on guitar and sometimes Keith Scott playing lead. They're raw demos, never intended for release.</p> <p>But the project I'm most excited about is an album of all-new material, hopefully ready for release in 2015. I think it's our best songwriting since <em>Reckless.</em> One of our heroes, Jeff Lynne, is producing. It's such a thrill working with Jeff!</p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href=""></a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="">Twitter @JimEWood.</a></em></p> Bryan Adams James Wood Jim Vallance Interviews News Features Wed, 01 Oct 2014 20:32:42 +0000 James Wood Glenn Proudfoot Shares Transcription of New Song, "Angel" <!--paging_filter--><p><a href="">Early last month, posted the exclusive premiere of "Angel,"</a> a new instrumental track by guitarist and frequent <em>Guitar World</em> contributor Glenn Proudfoot.</p> <p>Today, we have the sequel, if you will! It's the official transcription of the song, courtesy of Proudfoot.</p> <p>The song is from his new album, <em>Ineffable</em>, which is available for pre-order through <a href=""></a> and <a href="">iTunes</a>.</p> <p>"I always love to write solo pieces for the electric guitar," Proudfoot says about "Angel," which you can check out below. "It has the ability to sound so sweet and angelic but then, with the flick of a switch, can go to the other end of that spectrum and be totally brutal. </p> <p>"This is why, every day, I can ground myself with this amazing instrument. You really have the world at your fingertips. It allows you to convey every possible feeling you could have.</p> <p>"This piece is based around the use of harp harmonics. I've always been fascinated with the harp, the long rolling effortless arpeggios and the beautiful way harp players shape chords. </p> <p>"The sound is created by using the harp harmonics then finger picking and legato to create the free-flowing sound. I also use wide interval chordal shapes more like a pianist to give it that spacious feeling. </p> <p>"This is a very special piece of music for me. I feel incredibly blessed to be sharing it with you."</p> <p>You can follow Proudfoot on <a href="">YouTube</a> or <a href="">Facebook.</a> </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></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 Angel -PDF on Scribd" href="" style="text-decoration: underline;" >Angel -PDF</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_98480" width="100%" height="600" frameborder="0"></iframe></p> Glenn Proudfoot Videos News Wed, 01 Oct 2014 19:40:13 +0000 Damian Fanelli Proceeds from Orion Guitar Gear's Pink Panther Strap to Raise Funds for Breast Cancer Awareness <!--paging_filter--><p>Orion Guitar Gear has announced its new Pink Panther guitar strap. </p> <p>Proceeds from the sale of the strap will raise funds for breast-cancer awareness through <a href="">Susan G. Komen Greater New York City</a>. </p> <p>The Pink Panther is made of premium-quality pink leather, metallic silver leather stars and gunmetal hardware and is backed with premium-quality black leather on the back side for extra comfort. This unique strap will draw attention and show support for breast-cancer research.</p> <p>Orion Guitar Gear, which was founded in 2012, is based in New York City and has gained recognition as the maker of top-quality straps worn by artists such as Chris Cornell, Reignwolf, Ed Roland, Jerry Cantrell, Tyler Bryant and many others.</p> <p>For more about Orion Guitar Gear, visit <a href=""></a>.</p> <p><img src="/files/imce-images/PINK%20PANTHER%20out%20of%20case%20close-up%20%28black%20background%29.jpg" width="620" height="394" alt="PINK PANTHER out of case close-up (black background).jpg" /></p> Orion Guitar Gear Accessories News Gear Wed, 01 Oct 2014 17:57:56 +0000 Guitar World Staff Kirk Hammett Lesson: How to Play Metallica's "Master of Puppets" <!--paging_filter--><p>Here's one fresh from the <em>Guitar World</em> video archives! </p> <p>It's a clip that appeared on the disc that accompanied our January 2006 issue, which features Metallica's Kirk Hammett on the cover.</p> <p>In the first part of the video, Hammett shows you how to play Metallica's classic "Master of Puppets." After that, Metallica buddy Zach Harmon invites the <em>Guitar World</em> cameras to take an exclusive tour of Metallica HQ, gear and all. Enjoy!</p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at --><script language="JavaScript" type="text/javascript" src=""></script><object id="myExperience3815669424001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="3815669424001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. 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If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/metallica">Metallica</a> </div> </div> </div> </fieldset> January 2006 Kirk Hammett Metallica Videos News Lessons Magazine Wed, 01 Oct 2014 16:45:09 +0000 Guitar World Staff ‘Something Supernatural’: Crobot Guitarist Chris Bishop Talks New Album and Gear <!--paging_filter--><p>There once was a time when rock radio was dominated by great riffs, a period when the only thing that mattered was that unmistakable guitar sound that instantly identified a band or song. </p> <p>Thankfully, the four members of Crobot — Brandon Yeagley (lead vocals), Chris Bishop (guitar), Jake Figueroa (bass) and Paul Figueroa (drums) — have made it their mission to bring back elements of those days.</p> <p>Crobot’s new album, <em>Something Supernatural</em>, was produced by Machine (Clutch, Lamb of God, Cobra Starship, Gym Class Heroes) and will be released October 28 on WindUp. It incorporates a lot of riff-heavy groove and funk mixed with a modernized spin.</p> <p>I recently spoke with Bishop about the new album, his gear and more. As a bonus, we're also presenting the worldwide premiere of the new video for “Skull of Geronimo,” which was created by Bishop (who also happens to be a visual artist). Check out the interview and “Skull of Geronimo” below!</p> <p><strong>GUITAR WORLD: How would you describe <em>Something Supernatural</em>?</strong></p> <p>I like to say it’s like “Clutch meets Funkadelic” with a little bit of doom tossed in there. It’s definitely on the heavier side of things. </p> <p><strong>What was the writing process like?</strong></p> <p>We rehearsed and wrote the album in this shed behind Brandon’s house. It was inside this room that was filled with deer heads and things like that [laughs]. It was a super-cool place to jam in. </p> <p>Most of the songs started out as previous ideas or as riffs and structures I brought to the table. Others would come out of jams where Jake would come up with a riff. That’s the beauty of being a riff-rock band. Sometimes the coolest pentatonic riffs are the ones people connect with the most.</p> <p><strong>What can you tell me about the song “Nowhere to Hide”?</strong></p> <p>That song was one of the first ones we collectively wrote as a band when we got together with Jake and Paul. I remember we wanted to write a song similar to Mountain’s “Mississippi Queen,” with a heavy riff and groove people will remember.</p> <p><strong>What about the track “Skull of Geronimo”?</strong></p> <p>That was written during that same session. Jake and I were in the writing room mapping out really technical riffs that just went on forever. We eventually cut them down and put a little Rage Against the Machine flair to it. That’s how the chorus riff came to be. For the verses, we wanted to take it in more of an ambient Soundgarden kind of direction. I really like that whirly delay sound on the guitar. </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><strong>What was it like working with Machine?</strong></p> <p>It was amazing. Machine did some of our favorite albums of all time, and working with him was like having a fifth member of the band. He’s someone you can really trust to help you make the decisions you need to make. The recording tricks and tones he gets and the way he pulls creative things out of you that you never knew that you had is incredible. </p> <p><Strong>Tell me a little about your musical upbringing and the origin of Crobot.</strong></p> <p>I first started learning how to play guitar when I was 10 and got good at it pretty quick. I took a little break while I was in high school to play baseball but still continued to play. My mom was the one who always said I needed to move and become a musician. So once I turned 20, I moved to Pennsylvania, where I met Brandon and we started Crobot. </p> <p><strong>Who were some of your influences?</strong></p> <p>The one player that influenced me the most and to this day I still love is Audley Freed (Cry of Love). I hear a lot of his influence in my own playing. I’m also a big fan of Rage Against the Machine and Clutch. Tim Sult’s simplicity and the way he uses effects is phenomenal.</p> <p><Strong>What’s your current setup?</strong></p> <p>I’m all Orange and have used them for years. I also play Telecasters. My main one right now is a 60th anniversary American Tele. My back up is a '72 Tele Custom with P90’s in it. My pedal board has two fuzzes, two octaves, a wah and a tuner. I also have a really crazy oscillator delay that I had modded a bit. I took out the tap and changed the knobs around so I could manipulate it with my foot. I use that to build tension. You can definitely hear it in the songs. It almost sounds like a spaceship taking off.</p> <p><strong>What excites you the most about <em>Something Supernatural</em>?</strong></p> <p>We made a bold statement with this album and had a lot of people behind us who really believed in what we were doing. Machine really knew what we were going for as far as hard-hitting grooves and powerful riffs — and who doesn’t love that?</p> <p><em>For more about Crobot, visit <a href=""></a>.</em></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href=""></a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="">Twitter @JimEWood.</a></em></p> Chris Bishop Crobot James Wood Interviews News Features Wed, 01 Oct 2014 15:43:24 +0000 James Wood Guitar World Presents Girl Rockers at CBGB Festival in New York City <!--paging_filter--><p>The third annual <a href="">CBGB Music &amp; Film Festival</a> will take over Manhattan October 8 to 12 — providing five days of incredible concerts, art exhibitions, movies and entertainment-industry shoptalk. </p> <p>And <em>Guitar World</em> will be right in the thick of things. </p> <p>On Saturday night (October 11), we're hosting a kick-ass evening of music featuring four of the most exciting up-and-coming female-fronted alternative and punk rock bands in New York City at Manhattan’s legendary R Bar on 218 Bowery (right across from where CBGB used to be).</p> <p>C’mon out and join <em>Guitar World</em> Editor-in-Chief Brad Tolinski, have some beers and watch these women work it!</p> <p>The bill includes:</p> <p><strong>9:45 p.m. Wise Girl</strong><br /> With a sound somewhere between Nineties alternative and riot grrrl, Wise Girl is a sharp, power pop foursome that draws from the past but produces something wholly modern. 2013 marked the release of the band’s first, full-length, debut, <em>You’ll Just Have To Wait</em>. The album is a 10-track LP filled with power chords, driving beats and fabulously quirky lyrics.</p> <p><strong>9 p.m. Izzy Zay &amp; The Inmates</strong><br /> Vocalist/guitarist Izzy Zay is a very strange and mysterious girl. She speaks fluent English, French, Portuguese and Spanish, so it’s often difficult to pin down where she’s from or where she’s been. With her beautifully resonant voice and evocative lyrics, she explores the same subconscious landscapes and symbolic terrain as the Doors or perhaps Syd Barrett’s Pink Floyd. The band features <em>Guitar World</em>’s Brad Tolinski on guitar and violin.</p> <p><strong>8:15 p.m. Sharkmuffin</strong><br /> Sharkmuffin's name fits. The Brooklyn three-piece outfit crafts adorable pop music with jagged, garage-aged fangs. With lyrical subjects including incest, mythical bestiality and homicidal heroin using femebots, girl group-esque hooks are paired with heavy Seventies-inspired guitar riffs to create the raw sound of these punk-rocking debutants. With these guys, it's no secret the end goal is fun</p> <p><strong>7 p.m. Party Lights</strong><br /> Party Lights unabashedly wears their power pop hearts on their sleeve. The bastard child of Cheap Trick and the Go-Go's, the Brooklyn quartet doesn't see a problem with worshiping at the altar of the Knack and the Real Kids every now and again (and again and again). Songs about revenge, heartbreak and bad choices might be bad for real life but are songwriting gold, and luckily — depending on who you ask — Party Lights has been through it all, surviving by the skin of their teeth. </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Brad Tolinski CBGB Izzy Zay Party Lights News Wed, 01 Oct 2014 15:16:46 +0000 Guitar World Staff Stéphan Forté Premieres New Song, "Enigma Opera Black" — Exclusive <!--paging_filter--><p>Today, presents the exclusive premiere of "Enigma Opera Black," a new song by French guitar virtuoso Stéphan Forté.</p> <p>It's the title track from Forté's new album, which will be released October 28. </p> <p>Guitar fans also will appreciate the appearance of master U.K. guitarist Andy James, whose guitar solo can be heard from 04:05 to 04:48.</p> <p>This is Forté’s first studio album in three years and the first to be released on his new label, Zeta Nemesis. The guitarist was able to swing for the fences in a way he hadn’t in the past. The result is a fresh neo-classical, metal masterpiece.</p> <p>“I’ve been listening to a lot more modern kinds of stuff, whether it’s metal or classical, and I wanted to do an instrumental album, but not the kind of cliché Neo-Classical Eighties kind of thing,” Forté said. “Even though my first album is not really like that, it can have that kind of feeling. It’s still dark and metal and heavy, but I really wanted to move to something more modern.”</p> <p>Forté incorporated an array of lower-end instruments to bring metal music into a contemporary mind frame. </p> <p>“Even though I’m not a big fan of the word ‘djent’ because I think nowadays it means just about anything, I kind of like the thought of using lower range instruments,” he said. “The fact that we’ve been using seven or eight string basses makes everything sound a bit more modern.” </p> <p>Recorded at X Fade Studios in Nanterre, France, <em>Enigma Opera Black</em> was co-produced by Forté’s Adagio bandmate and keyboard player Kevin Codfert. The duo spent a year writing, recording and mixing the material.</p> <p>“I took my time,” Forté said. “I really wanted to take my time and to be happy with every note, and even though I’m not happy with every note now, at least I’m close and created something that I enjoy listening to.” </p> <p><em>Enigma Opera Black</em> is <a href="">available for pre-order HERE.</a> Be sure to follow Forté on <a href="">Facebook.</a></p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src=";auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true"></iframe></p> Adagio Andy James Stéphan Forté News Wed, 01 Oct 2014 14:48:33 +0000 Damian Fanelli Led Zeppelin Premiere "The Rain Song" (Mix Minus Piano) from 'Houses of the Holy' Remaster — Listen <!--paging_filter--><p>As we've been reporting, the latest wave of Led Zeppelin remasters will be released October 28.</p> <p>This time, Led Zep fans can prepare for new-and-improved versions of <em>Led Zeppelin IV</em> and <em>Houses of the Holy.</em></p> <p>Speaking of which, it seems a previously unreleased track from the remastered <em>Houses of the Holy</em> has turned up online. Below, check out "The Rain Song (Mix Minus Piano)." It's a more intimate take on the classic 1973 cut, with more emphasis on the guitars.</p> <p>In a statement, Jimmy Page said "'The Rain Song' is the sort of piece of music Led Zeppelin could approach and do so successfully and so masterfully. This whole genre of the sensitivity, where it can sort of caress you, it’s something that I’ve always been very proud of. The companion disc version is really a good blend of everything that’s actually being played.”</p> <p>Have a listen and let us know what you think in the comments or on Facebook!</p> <p><iframe src=",AAAAAyiIY-k~,nwbxG65xosVBVgJSVwpV9i97G_fBTMnA&amp;bctid=3787247347001&amp;width=620&amp;height=345&amp;autoStart=false" width="630" height="420" frameborder="0" scrolling="no"></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> </div> </fieldset> Led Zeppelin News Wed, 01 Oct 2014 14:38:55 +0000 Guitar World Staff Jimmy Page Plans on Starting New Band and Performing Material Spanning Entire Career <!--paging_filter--><p>Yesterday (Tuesday, September 20), Jimmy Page got a wee bit bent out of shape at all the "Led Zeppelin reunion" questions being posed at London's Olympic Studios.</p> <p>Page, who was there to discuss and preview the upcoming remasters of <em>Led Zeppelin IV</em> and <em>Houses Of The Holy</em> (<em>Guitar World</em> was in the house, by the way), answered one reunion question like this:</p> <p>"I don't think it looks as though that's a possibility or on the cards, so there's not much more I can say about that. I'm not going to give a detail-by-detail account of what one person says or another person says. All I can say is it doesn't look likely, does it?"</p> <p>When asked if Robert Plant was the reason for the holdout, Page responded, "I've just said it doesn't look very likely."</p> <p>Page also discussed the idea of hitting the road. </p> <p>"If I was to play again, it would be with musicians that would be … some of the names might be new to you. I haven't put them together yet, but I'm going to do that next year. If I went out to play, I would play material that spanned everything from my recording career right back to my very, very early days with the Yardbirds. There would certainly be some new material in there as well…</p> <p>"I love playing live, I really do. Live concerts are always an interesting challenge because it means you can always change things as you're playing every night. You can make it even more of an adventure. I would play all of the things I'm known to play — instrumental versions of 'Dazed And Confused' etc., etc."</p> <p>The new Led Zeppelin remasters will be released October 28.</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="/jimmy-page">Jimmy Page</a> </div> </div> </div> </fieldset> Jimmy Page News Wed, 01 Oct 2014 14:26:29 +0000 Guitar World Staff Mass Effect: The Top 50 Stomp Boxes, Devices and Processors of All Time <!--paging_filter--><p>Has any piece of musical equipment proliferated more, or more rapidly, than the humble electric guitar effect unit? </p> <p>Though there is no official tally, suffice it to say that thousands of stomp boxes, effect devices and processors have been created for the electric guitar over the past 60 years (and that’s not including rackmount effects). Conceivably, more than half of those devices are distortion, fuzz and overdrive effects.</p> <p>So how did we come up with a list of the top 50 electric guitar effects of all time? Actually, it was easy, as most of these stomp boxes and devices turn up in the pages of this magazine on a regular basis every time we ask artists what they use in the studio and onstage.</p> <p>Other effects got the nod for being the first of their kind (like the DeArmond Tremolo Control, which dates back to the Forties and was the first optional effect device) while a few passed muster for being undeniably cool or influential — even if they’re so rare that it will cost you a few thousand bucks to score one on eBay.</p> <p>Popularity also was a critical factor in our choices, although we generally passed over a few best-selling reissues or boutique clones in favor of the real deal. So even though the Bubba Bob Buttcrack Tube Overdrive may sound more soulful than an original Tube Screamer, if it’s little more than a copy with slightly upgraded components, it didn’t make the cut. </p> <p>If you love effects like we do, we hope you'll find this top-50 list a useful guide to discovering the classic effect boxes that have shaped the guitar sounds of rock, metal, blues, punk and many other styles. And if you're like us, it will undoubtedly compel you to plunk down a chunk of cash for a collectible pedal or two on eBay. Don't say you weren't warned.</p> 2011 Articles Boss GW Archive Ibanez July 2011 Roland Guitar World Lists Effects July News Features Gear Magazine Wed, 01 Oct 2014 13:43:58 +0000 Chris Gill Weezer's Rivers Cuomo Talks New Album, 'Everything Will Be Alright in the End' <!--paging_filter--><p><em>This is an excerpt from the all-new November 2014 issue of Guitar World. For the rest of this story, plus our cover feature on Jeff Beck and ZZ Top's Billy Gibbons, not to mention features on Eddie Van Halen/MXR, George Thorogood, the guitar pick revolution, Nita Strauss and Black Veil Brides, plus gear reviews (Epiphone, Zoom, Gretsch, TC-Helicon, Mesa and more) and lessons by Marty Friedman and Steel Panther's Satchel, <a href=";utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=WeezerExcerpt">check out the November 2014 issue of Guitar World!</a></em></p> <p><strong>Weezer Heads Prevail: Unfazed by perennial reports of rock’s death, Weezer carry on with <em>Everything Will Be Alright in the End</em>, their ninth, and latest, studio album.</strong></p> <p>“Rock is dead. Guitar is dead.” </p> <p>Weezer’s ninth studio album, <em>Everything Will Be Alright in the End</em>, opens with these two dire statements, both uttered before the opening riff of “Ain’t Got Nobody” kicks in. </p> <p>“All those voices you hear on the record are the voices that we’ve heard in our lives and in our careers in recent years,” explains Rivers Cuomo, Weezer’s primary songwriter, lead guitarist and vocalist. </p> <p>Thankfully, it seems that Cuomo and the rest of the band—guitarist Brian Bell, drummer Patrick Wilson and bassist Scott Shriner—chose to ignore the naysayers whispering in their ears. “Ain’t Got Nobody” is unabashedly rocking and guitar driven, and if anything, <em>Everything Will Be Alright in the End</em> sounds more like a rebirth for Weezer than a last gasp. </p> <p>Hard-edged numbers like the declamatory “Back to the Shack” and the pounding “I’ve Had It Up to Here” are arena-ready anthems, while more emotionally raw numbers like “The British Are Coming” and “Foolish Fathers” feature the plaintive yowl that turned the band’s second album, 1996’s <em>Pinkerton</em>, into a celebrated emo-rock cult classic years after its release and initial commercial failure. </p> <p><em>Everything Will Be Alright in the End</em> also marks the return of producer Ric Ocasek, who previously worked with Weezer on their 1994 self-titled debut (known by fans as the Blue Album) as well as on their also-eponymous 2001 comeback (dubbed the Green Album). The band spent three three-week stretches with the Cars frontman at Los Angeles’ storied Village Recorder studios, and according to Cuomo, this third-time collaboration was a charm. </p> <p>“Recording this record felt like much more of a creative process than making the first album,” he says. “Because when we made that record, we’d been playing the songs for a year and a half in the clubs and there had been several rounds of demos. It felt like the songs were pretty much done and there wasn’t room for much more creativity once we got into the studio. </p> <p>"And then when we made the Green Album, I didn't want to hear from anyone. This time, there were a lot more unfinished parts, and there was a lot more work left to be done, so it was wonderful to have this amazing creative talent sitting there right next to us in the trenches.”</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><Strong>EXCERPT: A lot of the lyrics on the new record seem to explore Weezer’s relationship to their fans and how that relationship has evolved over the years.</strong></p> <p>We’ve gone through many different phases. Even when we made our second record, <em>Pinkerton</em>, I already had a feeling like, Well, we’ve established this amazing style on the first record, but already I want to do something different. And I assumed that everyone was going to come along with me. </p> <p>But a lot of the fans of the first album were not fans of the second album, so then it became this whole issue of, What am I supposed to do here? I have this instinct to try all of these different things and to go off in all of these crazy directions, but at the same time, you can’t really take for granted this amazing connection that happens between us and an audience. I mean, we were really lucky to have that kind of experience on our first record and touch the heart of an audience in such a profound way. And you can’t really take that lightly and just say, “Well, maybe let’s do a hip-hop album next time.” </p> <p>And ever since then, we’ve related to the question of how to find balance in different ways. At times we’ve rebelled and said, “Well, we’re not going to care about anything we’ve done or what anyone’s saying around us; we’re just going to go off and do whatever’s striking us at the moment.” And that was definitely a big part of our process—figuring out how to balance all of the different things that we value. </p> <p><strong>Did you approach songwriting any differently for this album? Some of the tracks have really expansive arrangements. </strong></p> <p>I wrote a lot of the more exploratory music on piano, and the foundation of the song would be one long extremely emotional jam—a rough outline of the emotion—that I would record on a Dictaphone. I’m not very good at piano, and that limitation can be a strength for me, as I don’t have muscle and finger memory and playing habits like I do on the guitar. </p> <p>Also, the piano is wonderful because you’ve got two hands that have equal power to do rhythm, melody and counterpoint, so they can both go off and do whatever they want. Counterpoint is my absolutely favorite part of music, so that was extremely liberating. </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><strong>Does the formal musical training that you received in college come into play when you’re devising the contrapuntal movement?</strong></p> <p>In those moments of composition, it’s all very much flow and not doing things because I was taught them in counterpoint class. But I think there’s a part of my brain that is at least aware when I’m doing parallel or contrary or oblique motion. So part of my mind is watching the process as it’s happening. </p> <p>And I do feel that while I have a natural instinct for counterpoint—a real enjoyment of it—I also have learned a lot in school and from books as well by playing contrapuntal music on both piano and guitar. I have some good books of Bach keyboard music transcribed for guitar, and there’s always a nylon-string guitar hanging on the wall in my house and a bunch of classical guitar books to grab. I kind of do that just for fun. </p> <p><strong>It also sounds like you’re really having fun playing lead guitar on this record. There’s an almost subversive nature to the way that you pepper the solos on songs like “Ain’t Got Nobody” with dissonant phrases and chromaticism. </strong></p> <p>The trick for me was how to make it sound new and not cliché. Rock guitar has been around for decades now, and there are so many strong traditions, and so much of it is just burned into my fingers. So, nine times out of 10, when I pick up the guitar to jam something, it sounds pretty cliché. </p> <p>One way that I get around that is, before I even pick up the guitar, I record myself singing the guitar solo, and then I go back and I learn it on guitar. I sing things that I would never think to play with my fingers. On the solo to “Ain’t Got Nobody,” which I really love, it actually took me a long time to learn how to articulate what I had sung, and I ended up doing some really nontraditional, non-guitaristic things. </p> <p><em>This is an excerpt from the all-new November 2014 issue of Guitar World. For the rest of this story, plus our cover feature on Jeff Beck and ZZ Top's Billy Gibbons, not to mention features on Eddie Van Halen/MXR, George Thorogood, the guitar pick revolution, Nita Strauss and Black Veil Brides, plus gear reviews (Epiphone, Zoom, Gretsch, TC-Helicon, Mesa and more) and lessons by Marty Friedman and Steel Panther's Satchel, <a href=";utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=EVHMXRExcerpt">check out the November 2014 issue of Guitar World!</a></em></p> <p><em>Photo: Emily Shur</em></p> <p><img src="/files/imce-images/1114_Gib%26Beck.jpg" width="620" height="805" alt="1114_Gib&amp;Beck.jpg" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/weezer">Weezer</a> </div> </div> </div> </fieldset> November 2014 Rivers Cuomo Weezer Interviews News Features Magazine Wed, 01 Oct 2014 13:42:13 +0000 Tom Beaujour Neil Young: Learn 'The Story Behind Every Song, 1966-1992' <!--paging_filter--><p>Iconoclast, innovator and influence on generations of musicians, Neil Young has recorded more than 40 albums in a 35-plus-year career. </p> <p>In <em>Neil Young: The Story Behind Every Song, 1966-1992</em>, Nigel Williamson explores Young's repertoire, from the early days with Buffalo Springfield to the plaintive troubadour of <em>After the Gold Rush</em> through 1992. </p> <p>With detailed accounts of the creation of his classic songs, this is an essential companion for Young's devoted fans.</p> <p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=NeilYoungStory">This book is available now at the Guitar World Online Store for $14.95</a>.</strong></p> <p><iframe width="620" height="360" 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="/neil-young">Neil Young</a> </div> </div> </div> </fieldset> Neil Young News Features Wed, 01 Oct 2014 13:40:17 +0000 Guitar World Staff The Shivas Premiere New Song, "Ride On" — Exclusive <!--paging_filter--><p>Today, presents the exclusive premiere of "Ride On," a new song by the Shivas.</p> <p>The track is from the Portland band's new album, <em>You Know What To Do</em>, which will be released October 28 on Olympia-based label K and on cassette via Burger Records. </p> <p>Having drawn comparisons to bands like Thee Oh Sees and Black Lips, the Shivas blend elements of surf-pop, garage-rock and good old fashioned rock and roll, dousing their hook-filled melodies with a healthy dose of reverb. </p> <p>Recorded at K's own Dub Narcotic Studios and mixed on tape by Calvin Johnson, <em>You Know What To Do</em> is a collection of fuzzy, frenetic jams and hazy slower tunes that feature dreamy male and female harmonies. </p> <p>The Shivas have shared stages with the Dandy Warhols, Spiritualized, the Fresh &amp; Onlys and La Luz and will kick off a North American tour October 1 in support of the new album. You can check out their current tour dates below the Soundcloud player.</p> <p>For more about the Shivas, visit <a href=""> and <a href="">their Facebook page.</a></a></p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src=";auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true"></iframe></p> <p><strong>See the Shivas in Action:</strong></p> <p>10/1: San Francisco, CA @ Elbo Room<br /> 10/2 Ventura, CA @ The Garage<br /> 10/4: Pioneertown, CA @ Pappy &amp; Harriet's (Desert Stars Festival)<br /> 10/5 El Centro, CA @ Strangers<br /> 10/6: Phoenix, AZ @ Trunk Space<br /> 10/7: El Paso, TX @ Monarch<br /> 10/8: Austin, TX @ Hotel Vegas<br /> 10/9: New Orleans, LA @ Circle Bar<br /> 10/10 Atlanta, GA @ Mammal<br /> 10/11: Jacksonville, FL @ Underbelly<br /> 10/12 Winston-Salem, NC @ Reanimator<br /> 10/13 Baltimore, MD @ The Crown<br /> 10/14 Philadelphia, PA @ Kung Fu Necktie<br /> 10/15: New York, NY @ Cake Shop<br /> 10/16: Brooklyn, NY @ Palisades<br /> 10/18: Toronto, ON @ Smiling Buddha<br /> 10/19 Detroit, MI @ Jumbo's<br /> 10/20: Chicago, IL @ Subterranean<br /> 10/21: Lafayette, IN @ The Spot Tavern<br /> 10/22: Lexington, KY @ Green Lantern<br /> 10/23: Knoxville, TN @ Pilot Light<br /> 10/24: Nashville, TN @ Grimey's<br /> 10/25: Kansas City, MO @ Minibar<br /> 10/26: Lawrence, KS @ Replay Lounge<br /> 10/28: Denver, CO @ Lion's Lair<br /> 10/29 Salt Lake City, UT @ Diabolical Records<br /> 10/30: Boise, ID @ The Crux<br /> 10/31: Bainbridge Island, WA @ Mushrooms and Airplanes House<br /> 11/1: Vancouver, BC @ Rickshaw<br /> 11/8: Portland, OR @ Bunk Bar (record release show)</p> The Shivas News Wed, 01 Oct 2014 13:36:49 +0000 Damian Fanelli D’Addario and Rolling Stone Seek the Next Generation of Guitar Heroes with “The Next Young Gun” Contest <!--paging_filter--><p>D’Addario and Rolling Stone are in search of the guitar greats of tomorrow with “The Next Young Gun.” </p> <p>This contest is a continuation of the 30-week Young Guns series on, which showcased artists Kurt Vile, Blake Mills, Tosin Abasi, Guthrie Trapp, Gary Clark Jr. and many more. </p> <p>This series premiered in conjunction with the release of D’Addario’s NYXL guitar strings, which were designed to bend farther, sing louder and stay in tune better than any string in history. </p> <p>To be considered for The Next Young Gun, guitarists are asked submit a video of themselves playing their own original songs, licks, riffs or solos to <a href=""></a> before October 13. </p> <p>D’Addario and <em>Rolling Stone</em> will choose up to eight finalists on October 30 and open online voting from November 5 to November 24, with a distinguished panel of musicians acting as additional judges. Participants and voters on social media can use the hashtag, #nextyounggun to keep the conversation going. The winner will be announced December 8.</p> <p>The grand prize includes a profile and coverage on, a trip to Los Angeles to record at some of the country’s top studios (including Swinghouse and TRS West), a gig at an LA club and a one-year supply of D’Addario strings. Every entrant will receive a free set of D’Addario NYXLs.</p> <p>Visit <a href=""></a> and <a href=""></a> to see D’Addario’s commitment to nurturing creativity and performance.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-09-30%20at%203.03.11%20PM.png" width="620" height="467" alt="Screen Shot 2014-09-30 at 3.03.11 PM.png" /></p> Videos News Tue, 30 Sep 2014 19:05:35 +0000 Guitar World Staff Review: Prestige Eclipse Cedar/Rosewood Guitar <!--paging_filter--><p><em>These videos and audio files are bonus content related to the October 2014 issue of </em>Guitar World<em>. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the <a href=";utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=OctoberVideosPage">Guitar World Online Store</a>.</em></p> <p>Today’s assortment of acoustic guitar flavors is almost as varied and vivid as that of electric guitars—from the baritone bellow of a jumbo dreadnought to the polite parlance of a petite parlor instrument. </p> <p>Prestige’s Eclipse Series falls squarely in the middle of the pack, where it adheres to the traditional ideal of an acoustic guitar as vocal accompaniment. </p> <p>The latest addition to the series is the auditorium-sized Cedar/Rosewood, a stunning piece of craftsmanship that creates its high-energy response with a select cedar top and exotic tonewoods. </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Acoustic Nation October 2014 Prestige Guitars Gear Acoustic Guitars News Gear Magazine Tue, 30 Sep 2014 18:33:56 +0000 Eric Kirkland, Video by Paul Riario