It's hard to imagine that 10 years have gone by since Tommy Thayer officially took over as the “Spaceman” in Kiss. It seemed only fitting that the Spaceman should don the Les Paul. However, as fate would have it, Thayer has been a longtime Les Paul player, even back in his days in Black and Blue.
Massachusetts-based metal band Killswitch Engage have set Disarm the Descent as the title for their upcoming sixth studio album. It will be the first album to feature vocalist Jesse Leach since 2002's Alive or Just Breathing.
If you consider yourself a staunch traditionalist, play only the blues or neoclassical shred, and think The Edge’s playing sounds weird, turn the page now. On the other hand, if Radiohead, Sonic Youth and David Torn are on your iPod’s playlist, read on. The Electro-Harmonix Superego is a category-defying effect pedal that falls into a foggy region between reverb, sustainer and synth engine and generates some of the most mysterious and ethereal textures ever to emanate from a guitar. Offering simple but powerful controls and an effect loop, the Superego delivers a seemingly endless variety of textures, keyboard-like tones and soundscapes that will inspire adventurous players for a lifetime.
The Jason Becker Not Dead Yet 2 Concert will take place 7 p.m. January 23 at Slim's in San Francisco, California. The guitar-heavy bill will feature Steve Morse, Uli Jon Roth, Richie Kotzen, Gus G of Firewind and Ozzy Osbourne's band, Michael Lee Firkins, Jude Gold, Gretchen Menn and more.
We recently caught up with guitarist Jonatan Ramm of Swedish powerhouse Graveyard. The band, which wears its vintage influences proudly on its sleeve, have cultivated a unique '70s metal feel that has caught of the ears of the metal community.
Jack White is set to appear on the latest episode of the PBS music series Austin City Limits tomorrow, January 5. You can watch a preview clip of White performing "Love Interruption" from the show below.
It might well have been the end of the Who had Townshend not conceived a grand plan to write a full-blown rock opera. “We were feeling quite out of touch and out of place,” he explains, “thinking, God, we’re not selling singles anymore and neither do we fit into this new psychedelic era. We’re not an experimental band like the Pink Floyd. We’re not a guitar-based blues band like Cream. We don’t have the kind of extreme genius of Hendrix. What do we do? And I started to look at composition as a big issue.”