News http://www.guitarworld.com/taxonomy/term/4/all en Brandon Kinney Talks Songwriting and Getting His Start In Nashville http://www.guitarworld.com/brandon-kinney-talks-songwriting-and-getting-his-start-nashville <!--paging_filter--><p>When Brandon Kinney arrived in Nashville 20 years ago, he knew he wanted to work in the music industry. What he didn’t know was that he would find his niche crafting songs for other artists, and he certainly didn’t expect to become one of Music Row’s most in-demand songwriters.</p> <p>It was a long, slow road from student at Belmont University to publishing deals with Sony ATV, Love Monkey Music and Tom-Leis Music. </p> <p>Along the way, Kinney worked day jobs, made inroads via colleagues who were already signed and even signed a recording contract as a solo artist. In 2005, Lonestar gave him his first hit when they recorded “You’re Like Coming Home.” His phone started ringing, and in 2009, “Boots On,” a co-write with Randy Houser, became BMI’s second-most-performed song of the year. </p> <p>Since then, Kinney has been on a winning streak, landing cuts and writing hits for numerous country artists — Randy Travis, Willie Nelson, Jake Owen and Luke Bryan are a few of the names who have recorded his songs. In 2012, “Outta My Head” became a hit for Craig Campbell and was the second-longest-charting song in Billboard history, holding steady for 54 weeks.</p> <p>Kinney was at the Sony offices for a writing appointment when he took some time to discuss songwriting, Nashville then and now, and what he has learned since signing his first deal.</p> <p><strong>GUITAR WORLD: What attracted you to the guitar, and when did you begin writing songs?</strong></p> <p>My dad bought me an electric guitar, but we traded it in for an acoustic pretty quick because, starting out, I wasn’t as much into playing licks or lead parts, and I thought that’s all the electric guitar was for. I said, “I’m going to get an acoustic so I can actually play a song.” I didn’t know anything about playing guitar. </p> <p>My interest in music was probably infused in me from birth, because my parents used to turn the radio to a country station and put it in my room by the crib, so that when they had friends over I wouldn’t wake up because I could deal with the noise. They said I was dancing all the time when the radio came on. I just loved music. My mom played piano in church and she would get me up to sing at evening services. </p> <p>I was playing football, loving football, and I was also into bicycles. I got a head injury from a bicycle accident and it put me out of football completely at the start of my eighth-grade year. My dad played guitar a little bit when he was a kid, and he showed me how to play “Wipeout.” I was bummed out because I couldn’t play football anymore, so he said, “Why don’t we get you a guitar?” We got a guitar and I stayed in my room for hours every day. </p> <p>That’s all I wanted to do. That probably went on for a month and a half before I started getting interested in writing. I looked at the credits on Paul Overstreet’s record and noticed that there were other writers on there with him. One night, around 1:30, I couldn’t sleep, and this lyric and melody popped into my head. I got up and wrote it in about 30 minutes. I didn’t have a recorder because I wasn’t planning on writing anything. I was not prepared. I was afraid I might forget it, so I played it about a thousand times. I stayed up until probably 3 or 4 in the morning trying to remember it. The next morning I played it again and I played it for both of my parents. They loved it. And I got a recorder.</p> <p><strong>Were you attracted more to lyrics or melodies, or was there a difference?</strong></p> <p>I’ve never separated the two. I loved song lyrics, but I looked at it as a whole thing. I wasn’t focused on just writing a good lyric. I wrote what came from the heart the first time, and I thought, That rhymes and that’s cool. But there was no focus primarily on one or the other. To me, it was one vehicle. </p> <p><strong>When did it become obvious that it was time to move to Nashville?</strong></p> <p>My dad always encouraged me to be an artist. He thought I needed to be up there like George Strait! I didn’t do much in high school to let people know that I was even interested in music, besides playing in church. I went to Jacksonville Junior College in Jacksonville, Texas. I played a talent show there and people seemed to be into it. I put my guitar away for a while and didn’t write because I’m so one-track-minded that I couldn’t make my grades and write songs and play guitar at the same time. I thought I maybe wanted to be a pilot or an engineer. It was always in the back of my mind that I wanted to sing and write songs, but I didn’t understand that you can get a publishing deal and write songs for somebody else to record. I hadn’t gotten that far in the process. </p> <p>When I went to Belmont [Kinney relocated to Nashville in 1994], I was thinking more about sitting at a console and recording, because I’m not a great guitar player. I play enough to sing my songs. I got here and I started meeting other people who wrote songs. I took publishing classes and I realized you can actually do this for a living. That’s when I started leaning toward it as a career. I was just doing it because I loved it and I got a little attention! It was fun. I wanted to be an artist, too, but there are too many talented singers here that can’t get it going and I didn’t want to fall into that, so I focused on writing. </p> <p>When I graduated, I started plugging songs for a company out of San Antonio. I did that for a year and half. I didn’t get my first writing deal until 2001. Between 1997 and 2001, I drove a Coca-Cola truck and worked for a cell phone company to make ends meet. It allowed me to come to Music Row and do some writing with my buddies. One of them that I had gone to college with had gotten a publishing deal, so he could do demos and they were pitching his songs. I was able to keep my foot in that door until I signed my first deal and was able to quit my day job.</p> <p><strong>What was the music scene like in Nashville when you arrived?</strong></p> <p>It was rocking! Garth Brooks was there and country music was hotter than it had ever been. It was a money-making machine. They were signing all kinds of artists, a lot of songwriters had deals, and it seemed there weren’t any hard times at all, but then again, I was still in school, so I wasn’t in the middle of it. It was still somewhat hard to get in, but I got my internships, and nearly every act seemed to be doing good and selling millions of records. Around 1997 or 1998, it started slowing down. I remember people saying, “It’s about to make a turn. It’s going to be coming back to traditional pretty soon.” I think some of them are still saying that. It was a good time to come in. It’s still good times; sales are picking up for some artists. But I don’t think we’ll ever see it like the early ’90s again.</p> <p><strong>Has downloading affected country music the way it has affected other genres?</strong></p> <p>That has been part of the problem. It has affected a lot of people. One of my buddies had 6 million plays on Pandora and he got under $600 for all of those plays. There’s Pandora and downloading, and they’re starting to find ways to monitor that, but you still have the pirates and all of that stuff going on where they’re getting it for free, and legitimate companies are not paying what they should.</p> <p><strong>You toured after releasing your album. What did you learn from performing live and how have those lessons helped you as a songwriter?</strong></p> <p>I opened for Sara Evans, so her crowd was a little tamer. She played a lot of theaters, so there were a lot of women and the boyfriends of the girls that wanted to be there. I thought that it was going to be a disaster, because my music was more for the beer-drinking crowd with a weird sense of humor. I put songs on my record that nobody else wanted to cut because they were afraid to cut them, and rightfully so! In that situation I learned that you can’t judge the crowd and say, “They’re not going to like this.” You’ve got to throw it out there and see what happens. They like to have a good time. You can’t play ballad after ballad, and tearjerker after tearjerker, because people come there to escape their normal life and you don’t want to bring them down. So I tried to keep it upbeat, keep them laughing, and keep them feeling good. </p> <p>When I write for other artists, I’m picturing them onstage and thinking, What is going to get the crowd into this? It’s not just the lyrics or the melody; sometimes it’s the production, so when I produce a demo that my publishing company is going to pitch to an artist, I think, What’s going to get the crowd fired up? What’s going to make the artist feel cool and look cool? That’s pretty much what I pulled from touring. What was good about being onstage is that I got to witness what worked and what didn’t, but at the same time, every artist is different. There are artists who can sing ballad after ballad, but they’re not singing to 18- to 25-year-olds who are drinking beer and wearing bikini tops. It’s probably an older crowd. If you’re writing for an artist who gets their sales from that audience, then you play it safer and you write deeper stuff. But when somebody’s drunk, they don’t want to get too deep. </p> <p><strong>At what point did you feel that you “got it” as a songwriter — that you understood the craft and had the material to take to audiences?</strong></p> <p>I’ve always had an idea, but in the past four years I feel more confident than I’ve ever felt. I feel like this is my time. Before, especially when I was in my artist deal, I was writing a lot of funny songs. People loved them, but nobody would record them because they were a little bit too quirky, and they were afraid that listeners would going to get tired of hearing them. I’ve dialed in a little bit more in the past four years. That’s a long time to wait, but I’ve hit and missed since 2001. I’ve been more consistent in dialing in what I want to say. I never really cared before. I just said, “Well, this sounds like a hit,” or “I’m just going to write my song and not worry about it.” Now it’s “What do these guys want?” I’ve buckled down more and I’ve grown a lot as a writer. They say that the best way to get good is to write with someone who’s better than you, and I’ve tried to do a lot of that and learn from them.</p> <p><strong>Your songs have positive, upbeat lyrics and melodies. Are you happy by nature, or are happy songs just more radio-friendly?</strong></p> <p>I’ve always been that way. Any time I’ve tried to write a “downer” song, it brought me down and I said, “Screw it, I just want to go home.” I like to have fun. I was raised around goofy people. Everybody was always cracking jokes and having a good time. We had our serious moments, but I always seemed to thrive a little bit more when I could laugh or get to rocking. I enjoyed Merle Haggard and all that stuff, I listen to that too, but I don’t want to listen to downer songs all the time. When I write, if I’m going to sit here for six or seven hours, I can't sit here depressed, trying to find out what this song needs. </p> <p>“Outta My Head” was kind of a sad song, but it was still upbeat, it had some passion to it, and it was fun to write. As long as I’m having fun in the writing session, I think I write a better song, and that’s why I stick with those topics. I have my share of leaving songs and all that, but it’s rare that I ever write a song where I’m sitting at the house, on the couch and drinking, because I know that an artist is not going to want to self-loathe all the way through the song. Nobody wants to do that in front of a crowd unless it’s a killer song. If it’s a killer idea, I’ll do it because I get excited about it, but most of the time I like to keep it upbeat. </p> <p><em>Photo: Stephen Gilbert</em></p> <p><em>Read more of Brandon Kinney’s interview <a href="http://www.examiner.com/article/brandon-kinney-writes-the-songs-that-make-the-whole-country-world-sing">here</a></em></p> <p><em>— Alison Richter</em></p> <p><em>Alison Richter interviews artists, producers, engineers and other music industry professionals for print and online publications. <a href="http://www.examiner.com/music-industry-in-national/alison-richter">Read more of her interviews right here.</a></em></p> http://www.guitarworld.com/brandon-kinney-talks-songwriting-and-getting-his-start-nashville#comments Alison Richter Brandon Kinney Interviews News Features Wed, 30 Jul 2014 18:44:29 +0000 Alison Richter http://www.guitarworld.com/article/21962 ‘Musuem’: Former White Lion Vocalist Mike Tramp Talks New Music, Guitars and Touring http://www.guitarworld.com/musuem-former-white-lion-vocalist-mike-tramp-talks-new-music-guitars-and-touring <!--paging_filter--><p>For former White Lion vocalist Mike Tramp, it’s no longer about filling arenas, selling T-shirts or playing the old songs. Today, Tramp focuses on one main thing: following his heart. </p> <p>It’s why he’s spent the better part of the past two years touring the world with just a guitar, playing everywhere from sports bars to small hunting lodges deep in the Pennsylvania wilderness, places where Tramp says he feels right at home.</p> <p>And although there have been glimpses of Tramp’s inner-self in his White Lion past (“When the Children Cry” comes to mind), perhaps there's no better reflection of Tramp’s soul than his new album, <em>Museum</em>, which will be released August 18.</p> <p>From the Seventies vibe of songs like “Down South” to his own frustration (“Trust in Yourself”) and personal healing (“Better”), Tramp’s pain, love and frustration are on full display. Listening to <em>Museum</em>, one quickly discovers the bloodline that is Mike Tramp. There’s no makeup or make believe. Just plenty of truth. </p> <p>I recently spoke to Tramp about his new album, gear and the satisfaction he gets from his vagabond touring lifestyle.</p> <p><strong>GUITAR WORLD: How would you describe this new album as a whole?</strong></p> <p>It's a true reflection of me as a songwriter and about not being controlled by the “image” anymore. It’s knowing that the guidelines, doors and walls that surrounded White Lion back in the Eighties just don’t exist for me anymore. I’ve taken a step to try to create something that's recognizable and has connections to my past, but is still part of the future.</p> <p><strong>Why the title <em>Museum</em>?</strong></p> <p>I fell in love with music when I was growing up in the late Sixties and Seventies, back when so many bands would just record an album and not worry about whether or not it would fit in with the other songs they’ve done before. I remember being in the studio and saying, "This is like being inside of a museum in its own time." These are displays of songs that represent who I am.</p> <p><strong>How did you approach writing for this album?</strong></p> <p>Anytime I sit down with a guitar, I’ll write a song. I might not finish it, but it's always in my head and in my hands. I've left myself open and free to go into the studio and start the song and see where it's going to take me. There are no barriers anymore. For this album, there were songs I specifically wrote from a different point of view, one of them being “Down South." </p> <p>It started as a guitar riff I had written years ago on electric. Originally, I was thinking it might be along the lines of an AC/DC riff. I remember I asked Soren Andersen (co-producer) to give me a beat loop for the song, and the second he did that, I wrote the rest of the song. I used that same formula for "Slave," another guitar-oriented track. Both songs started from the riff.</p> <p><strong>What can you tell me about the song “Trust in Yourself”?</strong></p> <p>I was raised a casual Christian. When I came to America in the Eighties and was introduced to some of ways people were using religion as a tool and watching how the government was able to get away with all kinds of things, it really turned me off. All of the things that control human beings; where bit by bit people started giving up their own judgment of life. If you can't find trust in yourself, then it doesn't feel right to my soul.</p> <p><strong>What was the recording process like?</strong></p> <p>When Soren and I get together, it's like two people at each other's houses, ordering pizza and watching movies. It's that kind of environment. We think so much alike and at the same time we think opposite, so we’re able to create these really great songs. It's a great process and I treasure every moment.</p> <p><strong>Will you be touring in support of the new album?</strong></p> <p>Yes, I'll be starting a European tour next month once the album is released and I'll be back in the U.S. sometime next March.</p> <p><strong>What are some of the differences between the way you tour now as opposed to the way you did when you were with White Lion?</strong></p> <p>With White Lion, I remember sitting on the tour bus while we were pulling in and I remember having to find the dressing rooms in the back of the arenas. Now I’ll pull up to the venue and walk in the front door. Sometimes it might be a sports bar or a dive out in the middle of the woods, but I'll go in and meet the club owner, have a beer, set up and play. It's a completely different world and feels like I'm visiting old friends. </p> <p><strong>Tell me a little about your setup.</strong></p> <p>I play Martin guitars exclusively. I've grown up with them and now have four great ones I use. I've also added just a little loop and a keyboard pad to my sound to help fill it out and give some of the old White Lion songs a little bit of a beat. I've found a happy medium and I'm excited to take this new music out there.</p> <p><strong>Over the course of your career, is there one memory that stands out above all others?</strong></p> <p>There would probably have to be one from each decade. Although I played Madison Square Garden with White Lion and AC/DC, the memories of that experience are hard for me to remember. But then I played a hunting cabin out in the hills of Pennsylvania and it's something I'll never forget. Lately, the highlights are musical because I'm so proud of these songs and the production. In the end, I think the overall highlight for me will be from being able to identify, adapt and change with the times.</p> <p><strong>A lot of artists have started to form “super group” side projects with other musicians for an album and tour. Do you ever see yourself taking part in something like that?</strong></p> <p>You can never say never. I do get offers from time to time, but right now I don't feel there's anything I could do better than what I'm doing right now. It certainly would have to be a collaboration with other people who feel the same as I do. It’s got to be for musical satisfaction. Some people think you only want to go back to that one and only place, but I already have those albums. When you want to hear a young Mike Tramp in his prime, you listen to <em>Pride</em>. To hear the next step, you listen to <em>Freak of Nature</em>. Now there are the solo albums where I'm dealing with the issues affecting me. They're all different chapters of my life.</p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href="http://gojimmygo.net/">GoJimmyGo.net</a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="https://twitter.com/JimEWood">Twitter @JimEWood.</a></em></p> http://www.guitarworld.com/musuem-former-white-lion-vocalist-mike-tramp-talks-new-music-guitars-and-touring#comments James Wood Mike Tramp White Lion Interviews News Features Wed, 30 Jul 2014 18:26:47 +0000 James Wood http://www.guitarworld.com/article/21971 Vandenberg's MoonKings Premiere "Lust and Lies" Music Video — Exclusive http://www.guitarworld.com/vandenbergs-moonkings-premiere-lust-and-lies-music-video-exclusive <!--paging_filter--><p>Today, GuitarWorld.com presents the exclusive premiere of "Lust and Lies," the new music video from Vandenberg's MoonKings.</p> <p>The song is from the band's self-titled album, which will be released August 5 (released February 24 overseas). </p> <p>The album, which marks the return of Adrian Vandenberg to the world of music, is Vandenberg's first collection of new material in 16 years. Joining the former Vandenberg and Whitesnake guitarist are Jan Hoving (vocals), Sem Christoffel (bass) and Mart Nijen Es (drums). </p> <p>"'Lust and Lies' is one of my fave tracks from the debut album by my brand-spankin' new band, Vandenberg's MoonKings," Vandenberg told GuitarWorld.com. </p> <p>"It's got all the ingredients of what makes me just as excited and proud about my bunch as I was when I just started listening to Zep, Free, Hendrix, Cream, etc., and playing my Les Paul: pure, undiluted, unpolished, raw, dynamic, energetic, groovin' blues-rock-based rock played live, straight from the heart on to analog tape by four guys who are in this biz for the music. What you see and hear is exactly what you get!"</p> <p>For more about Vandenberg's MoonKings, visit <a href="http://www.moonkingsband.com/">moonkingsband.com</a> or <a href="https://www.facebook.com/moonkingsband">facebook.com/moonkingsband</a>.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/UWmFIfZ2rJ4" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/vandenbergs-moonkings-premiere-lust-and-lies-music-video-exclusive#comments Adrian Vandenberg Vandenberg's Moonkings Videos News Wed, 30 Jul 2014 15:25:26 +0000 Damian Fanelli http://www.guitarworld.com/article/21988 Metallica in Istanbul, Turkey: Rehearsal, "...And Justice for All" and "Turn the Page" — Video http://www.guitarworld.com/metallica-istanbul-turkey-rehearsal-and-justice-all-and-turn-page-video <!--paging_filter--><p>As you probably know by now, the staff over at MetallicaTV (the band's official YouTube channel), like to stay busy. </p> <p>Late last week, they posted the latest behind-the-scenes video from Metallica's never-ending road show. This time, you get to see a fly-on-the-wall clip of the band's July 13 show (and pre-show) in Istanbul, Turkey.</p> <p>The clip shows the band rehearsing a few tunes, then performing "...And Justice for All" and "Turn the Page" at the actual show. Enjoy!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/fiBzOQSNtLM?list=PLJvQXRgtxlulYgB1tznRR0h8biN2QCiM7" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/metallica-istanbul-turkey-rehearsal-and-justice-all-and-turn-page-video#comments Metallica Videos News Wed, 30 Jul 2014 14:59:54 +0000 Guitar World Staff http://www.guitarworld.com/article/21987 Buddy Guy Covers Stevie Ray Vaughan's "Long Way from Home" — Video http://www.guitarworld.com/buddy-guy-covers-stevie-ray-vaughans-long-way-home-video <!--paging_filter--><p>Blues legend George "Buddy" Guy was born on this date — July 30 — in 1936, as the U.S. was struggling to unfetter itself from the tenacious grasp of the Great Depression.</p> <p>It's ironic that when I need a lift from depression (great, middling or otherwise), I can simply watch this well-worn video of Buddy Guy performing "Long Way From Home," a track from <em>Family Style,</em> the 1990 album by the Vaughan Brothers, Stevie Ray and Jimmie Vaughan.</p> <p>It was recorded May 11, 1995, for PBS's <em>Austin City Limits</em> and released more than a year later as a CD and video called <em>Tribute to Stevie Ray Vaughan</em>, a star-studded SRV tribute hosted by Jimmie, who appears in the video below. The DVD features performances by Jimmie (We dig his true-to-the-original version of "Texas Flood"), Eric Clapton, B.B. King, Robert Cray, Dr. John, Bonnie Raitt and more.</p> <p>The clip is special because it's a composite of everything that's intriguing — and/or off the wall — about Buddy Guy. There's the theatrics as he makes right-hand gestures and facial expressions while fretting notes with his left hand; there's his slightly off-pitch, 16-second-long, just-plain-crazy sustained note; his undeniable stage presence, a bit of flash at the end — and let's not forget the vocals, for which Guy rarely receives enough credit. </p> <p>As always, enjoy!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/CmM3MbFhlaE" 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="/buddy-guy">Buddy Guy</a> </div> <div class="field-item even"> <a href="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/buddy-guy-covers-stevie-ray-vaughans-long-way-home-video#comments Buddy Guy Damian Fanelli Stevie Ray Vaughan Videos News Wed, 30 Jul 2014 14:48:07 +0000 Damian Fanelli http://www.guitarworld.com/article/21986 10-Year-Old Guitarist Blazes Her Way Through Slayer's "War Ensemble" — Video http://www.guitarworld.com/10-year-old-guitarist-blazes-her-way-through-slayers-war-ensemble-video <!--paging_filter--><p>Check out this recently posted (July 15) video of Audrey, a 10-year-old diminutive metaller, as she blazes her way through Slayer's furious "War Ensemble" on Rocksmith (a guitar-based game we've covered on GuitarWorld.com several times).</p> <p>We don't know a lot about Audrey, but we <em>do</em> know that's her little sister, Kate, doing all the insane screaming over to the left. </p> <p>This wee bit of info was posted by Audrey along with the video:</p> <p>"I last played this in January. I couldn't pass without X back then but was glad to get a Gold Pick this time! Also, CRAZY KATE!!!!! She surprised me with her SCREAMSSSS!!! Thanks for watching!"</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/kFd2Mi2FTzs" 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="/slayer">Slayer</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/10-year-old-guitarist-blazes-her-way-through-slayers-war-ensemble-video#comments Slayer Videos News Wed, 30 Jul 2014 14:25:21 +0000 Damian Fanelli http://www.guitarworld.com/article/21985 Dear Guitar Hero: Buddy Guy Discusses Muddy Waters, Fender Strats, Touring with The Rolling Stones and More http://www.guitarworld.com/dear-guitar-hero-buddy-guy-discusses-muddy-waters-fender-strats-touring-rolling-stones-and-more <!--paging_filter--><p><em>He’s been called the greatest living guitarist by Eric Clapton, he’s played with blues legends like Muddy Waters and Howlin’ Wolf, and his new double album, </em>Rhythm and Blues<em>, is a powerhouse set with guest shots by Aerosmith, Kid Rock, Gary Clark Jr., Beth Hart and Keith Urban. But what </em>Guitar World<em> readers really want to know is....</em></p> <p><strong>What’s the most important thing you learned from Muddy Waters? — Marc Merriwether</strong></p> <p>That you should play music for the love of it, not for the money. It’s 57 years since I first arrived in Chicago from Baton Rouge, Louisiana, and when I came here I didn’t have the slightest idea that I would be good enough to play guitar with Muddy or even make a record. I was working as a custodian at Louisiana State University in Baton Rouge. </p> <p>But I come up to Chicago, and the next thing I know, Muddy was asking me to play. And I found out that the money Muddy was making wasn’t much more than I was making working day jobs at LSU. But here’s Howlin’ Wolf, Muddy Waters, Little Walter, Sonny Boy Williamson…and they were having so much fun just playing. And I learned that they were playing for the love of music, not the love of money. </p> <p><strong>What are you driving these days? — Butch Teagarden</strong></p> <p>I’m into classic cars, man. I got a ’55 T-Bird, a ’58 Edsel and all them old cars. I got a lot of what they call “vintage” cars. Eric Clapton can spot one of them a mile away and then asks me how much I want for it. Eric talked me into buying a Ferrari about 20 years ago. </p> <p>I read that they had caught him driving one in Europe, and I think he was doing 170 miles an hour. The cops couldn’t catch him. They had to tell ’em to stop him in the next town. I asked him about it and he said, “Man, you must get a Ferrari. It sits down.” But that damn thing … You know, when you get to my age, there isn’t a lot of room inside a Ferrari. It’s like a prop plane. Even them big jumbo planes, if you go into the cockpit to see the pilot, he don’t have much room to move around or cross his legs and stuff. And every time I get in a Ferrari, I feel like I’m flying a plane. </p> <p><strong>Your string bends have always been awesome. What gauge strings do you use? — Paolo Sandoval</strong></p> <p>I was using very thin strings in the early days, when I made my first record, “Sit and Cry and Sing the Blues,” in 1958. I laugh about it now because they’d break so easily, being so thin. But they were real easy on your fingers. The thing is, I couldn’t always afford new strings when they broke. I’d go play a gig at night and I didn’t have but one string and could not afford another one. So I had to get heavier strings. </p> <p>Later on guys like Hendrix and Stevie Ray were using the really thick haywire strings, which would cut the tip of your finger if you bent them in the B.B. King style. B.B. King used to put glue on the tips of his fingers to protect the skin and keep them from bleeding. So right now I’m using an 11 for my first string, a 13 to 14 for the second, probably a 16 to 18 for the third. And for the wound strings I think I start around 28 and go up to 35 for the fifth string and maybe 40 for the number-six string. </p> <p><strong>What was it like opening the Rolling Stones in the Seventies? — Idriss Moussaka</strong></p> <p>In 1970, me and Junior Wells opened a whole tour for the Rolling Stones throughout Europe. And when you open a show for them, some fans are gonna look up and say, “That’s not the Rolling Stones!” Sometimes the few people there who knew us—two or three maybe—were okay. </p> <p>But the rest of the 40, 50 or 60 thousand were saying, “Who the hell is this?” A lot of people weren’t ready for me and Junior back then. But I kept saying to myself, “Well, they got us out here. Play a few licks and maybe you’ll sell a few more records next time you make one because somebody saw you with the Rolling Stones.” But it was exciting. And even today I get people right now coming up and saying, “I didn’t know who you was till I saw you on a stage with the Stones.”</p> <p><strong>How and when did you first know that that Fender Stratocaster was the guitar for you? — Doug Polanski </strong></p> <p>I saw the late Guitar Slim play when I was still very young. That was the first time I saw a Strat. He had a 100-foot cord coming in the door, playing “I Done Got Old.” And I’m saying, “Is that a guitar? What the hell is that?” Later on, I played with a guy named Big Poppa [Tilley]. He had a little three-piece band, two guitars and drums, and he played a little harmonica. And he bought a Strat for me to play in his band. </p> <p>That was the first time I got to play one. When I first came to Chicago, I had a Gibson Les Paul, but I was so in love with the Strat. So when the Les Paul got stolen, I got my first Strat, a ’57. One reason why I fell in love with the Strat back then was that acoustics and other guitars weren’t built so solid. If something happened, they could crack easy and all of that. Back then I couldn’t afford a new guitar if something happened to mine. </p> <p>And I found out the Strat has a steel rod in the neck and it was a solid piece of wood, so if you drop it you might scratch it, but you couldn’t hurt it. That’s what made me fall in love with it. Plus, Leo Fender had that tone and that sound on it, man. So I got hooked with that experience. </p> <p><strong>How did you like recording “Messin’ with the Kid” with Kid Rock on your new album? — Peter Brown </strong></p> <p>We had a great time. “Messin’ with the Kid” was the biggest record by my late musical partner, Junior Wells. And I always said, “You know, I’m waitin’ on Kid Rock to do this song.” He laughed when I told him, and said, “Man, I’ll come in and do it. I never thought of that.” I told him, “I beat you to it.” Kid Rock and I go back a long way. He’s into the deep blues. </p> <p>He was there when they honored me at the Kennedy Center awards at the White House last year. He said, “I wouldn’t miss it for the world.” Every musician you know of, even some of the hip-hoppers, are into some of the things we did way back then. </p> <p><strong>What is the real origin of the polka dots on your Strat? — Mia Sanderson</strong></p> <p>Well, I’m the oldest boy in my family. There were five of us: three boys and two girls. And when I left Louisiana for Chicago 57 years ago, my mother had a stroke and didn’t want me to go. She wasn’t even able to walk or talk right anymore, but she got to where she could understand a few things and I could understand her. </p> <p>And I wanted to make her feel good, so I say, “Well, I’m gonna go to Chicago and make more money than I’m making here, and I’m gonna be sending you money back and you’ll see how well I’m doing. I’m gonna drive back down to you in a polka-dot Cadillac.” I knew I was lying to her. And when she passed away in 1968, I said to myself, “You lied to your mama and never got a chance to tell her you were lying.” That bothered me. </p> <p>And one day I said to myself, “You know what? I’m gonna see if Fender will make me a polka-dot Strat.” At first they said they couldn’t do it, but then they hired a guy who said, ‘We can do it.’ They made me one or two, and then they tried it out at the NAMM show. </p> <p>They made 100 or 200, just to see what would happen, and they let me know the 200 were gone before they even got there. These days, I think I own about seven or eight of them. But I got some sons and grandsons come up to see me now. And sometimes I open up a case after they leave and the guitar is gone!</p> <p><strong>“Poison Ivy” is a track you originally cut for Vanguard Records in 1968. What made you want to revisit it on <em>Rhythm and Blues</em>? — Mike Mulcahy</strong></p> <p>Did I record it before? I don’t remember that. I know I would sing it in person. But I wanted to do it on my new album to honor the late Willie Mabon, who had a hit on Chess Records with “Poison Ivy” [in 1954]. When we got in the studio we were doing mostly new songs, but I wanted to honor a few people like Willie Mabon, Junior Wells and Guitar Slim by doing some of their songs. </p> <p><strong>What do you think of the new young generation of blues guitarists? — Bob Andres</strong></p> <p>I think they’re great. Gary Clark Jr., he’s a young man who plays on my new album. I’m really pulling for him, because it takes young people to keep the blues alive. Like another young guy I’m promoting—Quinn Sullivan. When I first met him, he was seven and he was playing as well as Eric Clapton, me, B.B. King or Jeff Beck or any of those guys. </p> <p>How did he learn all that at seven years old? Here I’m 77 and I still haven’t found some of those notes! He just turned 14 and we got a CD coming out on him soon. You know, we don’t get much airplay on the blues anymore, for some strange reason, until some young kid come along. That’s what happened with the British guys, like the Stones and Clapton. They opened the door. And Stevie Ray and all of them. Youth is the one to keep the blues going. That’s what makes the world go ’round, and that is what we need for the blues. I know it would put a big smile on Muddy’s face.</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="/buddy-guy">Buddy Guy</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/dear-guitar-hero-buddy-guy-discusses-muddy-waters-fender-strats-touring-rolling-stones-and-more#comments Buddy Guy Dear Guitar Hero GW Archive October 2013 Interviews News Features Magazine Wed, 30 Jul 2014 14:13:33 +0000 Alan di Perna http://www.guitarworld.com/article/19129 September 2014 Guitar World: The Black Keys 'Turn Blue,' Return of Judas Priest, Eric Clapton Speaks, Amazing Practice Amps http://www.guitarworld.com/september-2014-guitar-world-black-keys-turn-blue-return-judas-priest-eric-clapton-speaks-amazing-practice-amps <!--paging_filter--><p><strong>The all-new September 2014 issue of Guitar World is <a href="http://guitarworld.myshopify.com/products/guitar-world-september-2014-the-black-keys/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWSEP14">available now!</a></strong></p> <p>In the September 2014 issue of <em>Guitar World</em>, we talk with <strong>Dan Auerbach</strong> of <strong>the Black Keys</strong>. Auerbach tells how the group made its latest hit album, <em>Turn Blue</em>, in the midst of personal hardship, using a handful of guitars, amps and effects and whole lotta spontaneous inspiration. Then, the guitarist reveals his gear. Learn which guitars, amps and effects are behind the band's strange musical brew.</p> <p>Then, <em>Guitar World</em> focuses on <strong>Judas Priest</strong>. A few years ago, it looked as though Judas Priest were finished. But with the ferocious new album <em>Redeemer of Souls</em>, the Metal Gods have regained their mojo. </p> <p>Next, the GW editors come up with a list of 10 vintage guitars that at one point were considered mutant oddities from an alternate universe. But in the hands of <strong>Muddy Waters, Jack White, Dan Auerbach</strong> and other visionary players, these pawnshop rejects became six-string superheroes.</p> <p>Finally, legend <strong>Eric Clapton</strong> salutes and pays tribute to his friend and inspiration <strong>J.J. Cale</strong> and talks about <em>The Breeze</em>, his new star-studded tribute to the late Oklahoma guitarist and songwriter.</p> <p>PLUS: <strong>Neal Schon</strong>, 17 Best Practice Amps, <strong>Dave Mustaine, Linkin Park</strong> and much more!</p> <p><strong>Five Songs with Tabs for Guitar and Bass</strong></p> <p>• Judas Priest - "Electric Eye"<br /> • Cream - "Sunshine of Your Love"<br /> • Animals As Leaders - "CAFO"<br /> • Ed Sheeran - "Sing"<br /> • Black Keys - "Lonely Boy"</p> <p><strong><a href="http://guitarworld.myshopify.com/products/guitar-world-september-2014-the-black-keys/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWSEP14">Head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/september-2014-guitar-world-black-keys-turn-blue-return-judas-priest-eric-clapton-speaks-amazing-practice-amps#comments September 2014 News Features Wed, 30 Jul 2014 14:12:41 +0000 Guitar World Staff http://www.guitarworld.com/article/21881 A Camp with Bite: The Winery Dogs' First-Ever Dog Camp — Review http://www.guitarworld.com/camp-bite-winery-dogs-first-ever-dog-camp-review <!--paging_filter--><p>Every year, Full Moon Resort, a cozy plot of land in Big Indian, New York, hosts a series of Music Masters Camps. </p> <p>Music Masters Camps offer attendees the chance to get hands-on learning experience from a host of musical greats, including Paul Gilbert and Dweezil Zappa — and to meet and play with like-minded musicians from around the globe. </p> <p>Last week, the Winery Dogs — guitarist Richie Kotzen, bassist Billy Sheehan and drummer Mike Portnoy — hosted their first-ever Dog Camp, and I was fortunate enough to attend. </p> <p>Monday, July 21, also known as arrival day, featured an open bar (which ceased to be an open bar sooner than my bassist, James, and I would have preferred). There was an opportunity to chat with some of the other campers, plus a Q&amp;A/meet-and-greet with the band and counselors. </p> <p>Counselors (beyond members of the Winery Dogs) included John Moyer of Disturbed/Adrenaline Mob fame, Dylan Wilson and Mike Bennett (bass and drums for Richie Kotzen’s solo band, respectively) and Dave Wood, an accomplished jazz guitarist. Afterwards, we ate an excellent dinner and headed to a building called the Roadhouse to watch an intimate performance by the Winery Dogs.</p> <p>Day 2 began with Richie’s clinic. He discussed everything from his fingerstyle technique to his vocals and songwriting approach. This was followed by Dave Wood’s clinic, “Jazz Funk Guitar 101," during which he spoke about improv, interesting scale tones, mixing records and one of my favorite moments of the Camp: networking and being kind to your fellow musician. We had lunch, followed by visits to what were called “Discovery Rooms,” select classes with various counselors that took place in different locations all over the campgrounds. Since they took place simultaneously, they provided a much more one-on-one atmosphere. </p> <p>The first day of Discovery Rooms, James and I made our way to Billy Sheehan’s tent. He answered questions tirelessly, let campers play his bass, gave James some great exercises for his right hand and jammed with everyone and anyone for about two and a half hours. I can only imagine he was exhausted, but that didn’t stop him from talking to whoever approached him, even after the event was over. Afterwards, we made our way to dinner and then the Roadhouse, this time for a powerhouse performance by Richie’s solo band.</p> <p>Day 3 kicked off with Mike Bennett’s class, “Demystifying Drumming." After giving a wonderful description of his own back story and development, he gave useful advice on odd time signatures, playing styles, dynamics and his approach to playing musically. </p> <p>Billy’s class followed shortly. Again, he answered questions and discussed his rig, signal chain and playing. We had lunch, and then it was time once again for Discovery Rooms. This time, James went to Dylan Wilson and Dave Wood’s room, and I went to Richie’s. </p> <p>Richie answered a variety of questions and then pulled players up individually to work on whatever they felt was weakest in their playing. He gave me some killer exercises for utilizing odd passing tones and a few licks to put them in a musical context. Meanwhile, in Dylan and Dave’s room, Dave Wood took the time to write out a chart and explain its practical application to help James in his quest to utilize more “outside” tones. After dinner, Bennett, Wilson and Wood performed as a jazz trio, one of the highlights of the week. </p> <p>Day 4, the last full day, opened with John Moyer’s clinic, “Live Performance Do’s and Don’ts.” He discussed everything from being on time to connecting with your audience to utilizing a proper power stance. This was followed by Dylan Wilson’s clinic, “Bass for Hire,” where he discussed pocket playing, learning material, choosing proper attire/sound for a gig and networking. </p> <p>Later that night, the Winery Dogs played a killer set at the Roadhouse. Afterwards, everyone grabbed drinks together and Billy DJ’d a set of old bootlegs, deep cuts and rare recordings, all while telling amazing stories about the material, his early years and everything else you could imagine. </p> <p>Overall, it was a tremendously unique experience. If they choose to do it again next year, I’ll see you there, campers!</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="/billy-sheehan">Billy Sheehan</a> </div> <div class="field-item even"> <a href="/richie-kotzen">Richie Kotzen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/camp-bite-winery-dogs-first-ever-dog-camp-review#comments Billy Sheehan Mike Portnoy Richie Kotzen The Winery Dogs Blogs News Tue, 29 Jul 2014 18:37:30 +0000 Nick Vallese http://www.guitarworld.com/article/21983 Joy Premiere New Song, "Driving Me Insane" — Exclusive http://www.guitarworld.com/joy-premiere-new-song-driving-me-insane-exclusive <!--paging_filter--><p>Today, GuitarWorld.com presents the exclusive premiere of "Driving Me Insane," a new track by Southern California psychedelic savages Joy.</p> <p>The band's new album, <em>Under the Spell of Joy,</em> will be released August 19 via Tee Pee Records.</p> <p><em>Under the Spell of Joy</em> is the follow-up to the band's 2012 self-titled debut and was recorded and mixed by ASTRA guitarist Brian Ellis. It features eight smoldering songs that suck the listener into a a surging sea of searing solos and psychedelic swagger.</p> <p>Joy features Zach Oakley (guitar), Paul Morrone (drums) and Justin Hulson (bass). To keep track of the band, follow them on <a href="https://www.facebook.com/pages/JOY/121824034518659">Facebook.</a></p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/160683673%3Fsecret_token%3Ds-hlbxx&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true"></iframe>​</p> http://www.guitarworld.com/joy-premiere-new-song-driving-me-insane-exclusive#comments Joy News Tue, 29 Jul 2014 17:58:54 +0000 Damian Fanelli http://www.guitarworld.com/article/21982 Sterling by Music Man at 2014 Summer NAMM: Steve Lukather Signature, Ray34 Bass, Ray35 Classic Active Bass and More — Video http://www.guitarworld.com/sterling-music-man-2014-summer-namm-steve-lukather-signature-lk100d-ray34-bass-ray35-classic-active-more-video <!--paging_filter--><p>As always, several members of the <em>Guitar World</em> crew were on hand at the 2014 Summer NAMM Show in lovely and talented Nashville, Tennessee, taking pics, getting the latest gear news and shooting plenty of videos.</p> <p>We had a chance to visit the Sterling By Music Man booth while we were at the show. The highlights of our visit are chronicled in the video below.</p> <p>In the clip, we get an exclusive look at many of Sterling's signature models, such as the Steve Lukather Signature LK100D, the Ray34 bass, the Ray35 Classic Active bass and more!</p> <p>Take a look and tell us what you think in the comments below or on Facebook. And while you're at it, be sure to check out our massive <a href="http://www.guitarworld.com/2014-summer-namm-show-photos-gear-galore-nashville">2014 Summer NAMM photo gallery.</a></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/7fvkgangfUs" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/sterling-music-man-2014-summer-namm-steve-lukather-signature-lk100d-ray34-bass-ray35-classic-active-more-video#comments Sterling by Music Man Steve Lukather Summer NAMM 2014 Videos Bass Guitars Electric Guitars News Gear Tue, 29 Jul 2014 17:14:01 +0000 Guitar World Staff http://www.guitarworld.com/article/21981 Led Zeppelin Announce 'Led Zeppelin IV' and 'Houses of the Holy' Reissue Details http://www.guitarworld.com/led-zeppelin-announce-led-zeppelin-iv-and-houses-holy-reissue-details <!--paging_filter--><p>Led Zeppelin have announced deluxe reissues of 1971's <em>Led Zeppelin IV</em> and 1973's <em>Houses of the Holy</em>. </p> <p>The two reissues are due for an October 28 release, and, like the reissues of the band's first three LP's, each album will include a remastered copy of the original album, with a second disc of previously unreleased music culled from the band members' vaults. </p> <p>Each release will also be available as a single album, a single vinyl LP, a deluxe double-LP, digital download and a super deluxe box set that features the CDs, LPs, a download card, an 80-page hardbound book with previously unseen photos and memorabilia and a high-quality print of the album cover.</p> <p>Here are the track listings for the deluxe editions' companion audio discs (the songs remain the same on the original LPs):</p> <p><strong><em>Led Zeppelin IV</em> (Companion Audio)</strong></p> <p>01. "Black Dog," Basic Track With Guitar Overdubs<br /> 02. "Rock and Roll," Alternate Mix<br /> 03. "The Battle of Evermore," Mandolin/Guitar Mix From Headley Grange<br /> 04. "Stairway to Heaven," Sunset Sound Mix<br /> 05. "Misty Mountain Hop," Alternate Mix<br /> 06. "Four Sticks," Alternate Mix<br /> 07. "Going to California," Mandolin/Guitar Mix<br /> 08. "When the Levee Breaks," Alternate U.K. Mix</p> <p><strong><em>Houses of the Holy</em> (Companion Audio)</strong></p> <p>01. "The Song Remains The Same," Guitar Overdub Reference Mix<br /> 02. "The Rain Song," Mix Minus Piano<br /> 03. "Over the Hills And Far Away," Guitar Mix Backing Track<br /> 04. "The Crunge," Rough Mix - Keys Up<br /> 05. "Dancing Days," Rough Mix With Vocal<br /> 06. "No Quarter," Rough Mix With JPJ Keyboard Overdubs - No Vocal<br /> 07. "The Ocean," Working Mix</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> http://www.guitarworld.com/led-zeppelin-announce-led-zeppelin-iv-and-houses-holy-reissue-details#comments Led Zeppelin News Tue, 29 Jul 2014 17:10:08 +0000 Jackson Maxwell http://www.guitarworld.com/article/21975 Alex Lifeson and Geddy Lee of Rush Choose 22 Songs That Inspired Them Most http://www.guitarworld.com/rush_60_minutes_with_alex_lifeson_and_geddy_lee <!--paging_filter--><p>In this interview from 2009, Rush’s guitarist — Alex Lifeson — and bassist — Geddy Lee — choose 60 minutes' worth of the music that is closest to their hearts, essentially putting together the ultimate Rush-approved "mixed tape."</p> <p><strong>ALEX LIFESON:</strong></p> <p><strong>“SINK THE BISMARCK”</strong> Johnny Horton, <em>Greatest Hits</em> (1990)</p> <p>I fell in love with music because of this song. It was the first single I bought. I was around 11 years old, which was about a year before I started playing guitar. </p> <p>It’s a song about the Bismarck, a German battleship that sunk during World War II. It’s a very thematic, rousing song. I think I mowed two lawns or something to make enough money to buy it.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/KecIdlEAKhU" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“FOR WHAT IT’S WORTH” </strong> Buffalo Springfield, <em>Buffalo Springfield</em> (1966)</p> <p>This was the first rock song that had a big influence on me. I remember hearing it on the radio in my dad’s car when I was a kid. Buffalo Springfield were unlike the other bands of the ‘San Francisco sound’; they were more country sounding. Stephen Stills and Neil Young trade leads on this one. </p> <p>I like Young’s very fast vibrato and edgy, truncated playing style, particularly on his soloing, whereas Stills’ sound is sweeter and smoother. This is still one of my all-time favorite songs. In fact, Rush did a version of it on our covers tribute EP, <em>Feedback</em>.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/DIoKr9VDg3A" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“SHAPES OF THINGS” </strong> Jeff Beck, <em>Truth</em> (1968)</p> <p>This is another song we covered on <em>Feedback</em>. Jeff Beck has a tone like no one else, maybe because he doesn’t play with a pick very much. He also has a very strong left hand and can move the strings almost effortlessly. </p> <p>He’s still cranking it out today, but he doesn’t put out albums as often as I’d like; he works only when he feels like it. Before <em>Truth</em>, Beck was an integral part of the Yardbirds, and their recording of this song is great. But this version, with Rod Stewart’s voice on top, adds a whole new element to the song. </p> <p>It sounds tougher, bigger and beefier.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/0pzMjZSchFg" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“MY GENERATION” </strong> The Who, <em>The Who Sings My Generation</em> (1965)</p> <p>Pete Townshend is one of my greatest influences. More than any other guitarist, he taught me how to play rhythm guitar and demonstrated its importance, particularly in a three-piece band. </p> <p>His chording and strumming always took up the right amount of space. The first time I heard this song was in the basement of Rush’s original drummer, John Rutsey. John had two older brothers, both of whom were music fiends, and they always had whatever new album had just come out.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/uswXI4fDYrM" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“ARE YOU EXPERIENCED” </strong> Jimi Hendrix, <em>Are You Experienced</em> (1967)</p> <p>This was another record I heard for the first time at Rutsey’s place. What attracts me to this song is all the backward stuff. It sounds so alien but so right and perfect. </p> <p>Hendrix was a natural genius who played many beautiful styles. Talent as great as his doesn’t come through life very frequently. Hendrix was one in a billion.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/k66ED403Al8" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong> “ALL ALONG THE WATCHTOWER” </strong> Jimi Hendrix, <em>Electric Ladyland</em> (1968)</p> <p>This is one of the most beautiful songs and arrangements ever recorded. Hendrix took a Bob Dylan folk song and turned it into a symphony. The acoustic guitar on this song [<em>played by Dave Mason</em>] has such beautiful compression. </p> <p>It doesn’t slap you; it caresses you. This song grabs your heart and sails away with it; it sounds unlike anything anyone has ever done. That was the magic of Hendrix: even if you copied what he recorded and tried to play like him, it could never be the same.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/z_L4RtU1iRg" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“HOW MANY MORE TIMES” </strong> Led Zeppelin, <em>Led Zeppelin</em> (1969)</p> <p>Of any guitarist, Jimmy Page was my biggest influence. I wanted to look, think and play like him. Zeppelin had a heavy influence on Rush during our early days. Page’s loose style of playing showed an immense confidence, and there are no rules to his playing. </p> <p>I met Page at a Page/Plant concert in Toronto in 1998. I was acting like a kid, all googly eyed. I was freaking out and my hands were shaking. I was so thrilled to meet him because his work meant so much to me.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/NBqbuGgt0Us" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“KASHMIR” </strong>Led Zeppelin, <em>Physical Graffiti</em> (1975)</p> <p>This is an absolutely brilliant song, an all-time classic. ‘Kashmir’ has such a wonderful, exotic Middle Eastern feel to it — it’s like no other song of its era — and <em>Physical Graffiti</em> is a mind-blowing album. </p> <p>In a roundabout way, ‘Kashmir’ influenced ‘A Passage to Bangkok’ [<em>2112</em>], which has a similar sort of odd-tempo arrangement to the verses.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/sfR_HWMzgyc" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“(I CAN’T GET NO) SATISFACTION” </strong> The Rolling Stones, <em>Hot Rocks, 1964–1971</em> (1972)</p> <p>This was the second single I bought. One summer when I was 12, I went to Yugoslavia to visit my relatives. I took one record with me — this one. I played it for my relatives because I wanted my cousins to hear it. </p> <p>The Stones had that bluesy, dirty, bad-boy image, which I much preferred to cleaner-sounding bands like the Beatles or the Searchers. The Stones were more dangerous than other bands of the Sixties. It looked like they had more fun than the Beatles — like they stayed up later.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/3a7cHPy04s8" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“COMFORTABLY NUMB” </strong> Pink Floyd, <em>The Wall</em> (1979)</p> <p>David Gilmour is so well respected, and while he’s often overlooked among guitarists, I think people who appreciate rock guitarists regard him as one of the best. </p> <p>He’s a brilliant player and has such passion and feel. You can sense he’s a smart man: you can hear how he puts it all together and how it fits, which is a real testament to his songwriting. He’s such a bluesy player, to boot. My eyes water whenever I hear this song. </p> <p>Pink Floyd have such incredible arrangements; their songs are rich and complex but not particularly complicated. They can take as long as they want to tell you a story, but it’s always interesting.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/y7EpSirtf_E" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>“IN THE DEAD OF NIGHT” </strong> U.K., <em>U.K.</em> (1978) <p>Allan Holdsworth has an amazing, out-of-this-world liquidity. What a genius! His fingers are constantly moving. Pulls make up the bulk of his playing; I don’t think he does much picking. </p> <p>I was listening to Holdsworth around the time of <em>Moving Pictures</em> [<em>1981</em>], and you can indirectly hear his influence on my playing on ‘YYZ.’</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/hMu7XUc9OcI" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“THIRD EYE” </strong> Tool, <em>Ænima</em> (1996)</p> <p>Adam Jones is a fabulous guitarist and songwriter, and Tool are such a powerful band. You know it’s Tool when you hear them, because they’re intensely dynamic, yet heavy, even when they’re playing is light. I listened to this album over and over; I don’t do that very often. </p> <p>Tool have an interesting, intelligent approach to song construction and lyrics. It’s just too bad we don’t hear from them more often.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/7zV78IgXzB0" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“AH VIA MUSICOM” </strong> Eric Johnson, <em>Ah Via Musicom</em> (1990)</p> <p>I’ve never heard anybody with a better tone than Eric Johnson! He played with us on a couple of tours and I’d watch his performance most every night. </p> <p>There’s a smoothness to his playing that is so elastic. Eric is very accurate and articulate but soulful at the same time. If anybody could come close to playing like Hendrix, he could.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/bVdb9KHfFKM" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>GEDDY LEE</strong></p> <p><strong>“THICK AS A BRICK” </strong> Jethro Tull, <em>Thick As a Brick</em> (1972)</p> <p>In my view, this is the first truly successful concept album by a British prog-rock band. They even brought a flute into heavy rock music. How dare they! [<em>laughs</em>] </p> <p>Their music is so brilliantly written and well put together, what with its hard-to-play parts and odd time signatures, not to mention the great guitar sounds of the totally underrated Martin Barre. </p> <p>And I love how, no matter what influences they brought into the music, from classical to folk, they always did it in a rock context.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/u9bk2MrMGaA" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“TIME AND A WORD” </strong> Yes, <em>Time and a Word</em> (1970)</p> <p>I didn’t know who Yes were until a friend loaned me this record. I was totally amazed. I’d never heard a band like this, and I’d never heard a bass player placed so upfront in the mix. </p> <p>Chris Squire had such a driving, aggressive sound, and it made this such a pivotal, influential song for me. Squire’s melodies were brilliant, and they were definitely out there. </p> <p>But they were always essential to the skeletal forms of those songs; he never wandered off out of context. His lines help hold the songs together.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/AaYUSokuRTo" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“HOW MANY MORE TIMES” </strong> Led Zeppelin, <em>Led Zeppelin</em> (1969)</p> <p>I saw them in Toronto at a little place called the Rockpile. We were in the second row, and when they played this song it just blew me away. It reaffirmed for me all the creative potential in blending hard rock with progressive music. John Paul Jones was the unsung hero in that band. </p> <p>What bass player of that period didn’t know how to play that riff? I still jam to it sometimes at soundchecks.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/NBqbuGgt0Us" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“I AIN’T SUPERSTITIOUS” </strong> Jeff Beck, <em>Truth</em> (1968)</p> <p>If I had to pick a favorite guitarist of all time, it would probably be Jeff Beck. I mean, was there a better guitar sound ever? I think this was the first great Jeff Beck ‘moment,’ the first time when you’d hear something and know that it couldn’t be anybody but him. He was such an amazing pioneer, and just an incredible stylist. </p> <p>The notes he squeezes out of that thing with a whammy bar, a volume control knob and his fingers are simply incredible.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/SYlWNb9tmtk" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>“OVER UNDER SIDEWAYS DOWN” </strong> The Yardbirds, <em>Roger the Engineer</em> (1966) <p>Jeff Beck again, playing one of the most unique guitar lines ever. It’s really hard to play that thing — it manages to grab something essential from the Eastern quarter-tone style without just being imitative of Indian music. </p> <p>And it’s the hook to a pop song — back when pop, particularly in England, could be a platform for experimentation and innovation. Beck, Page, Clapton and some other Brits really discovered a totally new sound. </p> <p>They figured out how to get a pop angle on the blues by electrifying it, and it became a profound way for guitarists to speak through music.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/MLv7viCMGo8" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“WATCHER OF THE SKIES” </strong> Genesis, <em>Foxtrot</em> (1972)</p> <p>This is a very strange, ominous tune from very early Peter Gabriel-era Genesis. The time signature was completely odd — it was a little like Yes, but darker and much more theatrical. </p> <p>The music wasn’t about people stepping out and doing bluesy solos; they were taking a high level of musicianship and weaving it into the guts of the song, playing with layers of melody, odd time signatures and strange guitar riffs. What fascinated me was how these intricate parts all supported one another — and the song.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/57HicYcY4Ow" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>“3/5 OF A MILE IN TEN SECONDS” </strong> Jefferson Airplane, <em>Bless Its Pointed Little Head</em> (1969) <p>A great live record, where the band takes some risks and really changes the arrangements, especially rhythmically. Jack Casady, one of the truly great, underrated bass players, is the star of this record. </p> <p>His tone was very different from other American bassists; it was edgier, and his riffs were really challenging — they aggressively pushed the songs along. I like when a bass player gets a little pushy and won’t keep his place. He steps out of line, but in a great way.”</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/E2tr-UctURQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“SPOONFUL” </strong> Cream, <em>Fresh Cream</em> (1966)</p> <p>‘Crossroads’ was the song you had to learn to play if you were in a band. Clapton just flies through that song. But for me, ‘Spoonful’ was more about Jack Bruce’s great voice and adventurous playing. Bruce, like all the bass players I’ve mentioned, wasn’t content to be a bottom-end, stayin'-the-background bassist. </p> <p>He’s playing a Gibson bass obviously too loud, to where it’s distorting the speakers. But it gave him this aggressive sound and a kind of spidery tone, and I love everything about it.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/Y-lRmVOGw3M" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“MY GENERATION” </strong> The Who, <em>Live at Leeds</em> (1970)</p> <p>What an amazing guitar sound on this album! And [<em>Pete</em>] Townshend even plays a few solos, which he usually never does. Was there anybody better at expressing themselves through power chords? </p> <p>I just loved that record, and I know Alex did, too. Every time we jammed as a young band we would wind up jamming parts of that record.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/uY9sDk6NyQY" frameborder="0" allowfullscreen></iframe></p> <p>Can't get enough Rush? <a href="http://secure.nps1.net/guitarworld/index.php?main_page=product_info&amp;cPath=5&amp;products_id=13&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=60MinutesWith">Check out Guitar Legends: Rush, which is available now at the Guitar World Online Store.</a></p> <p><em>Photo: rush.com</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/geddy-lee">Geddy Lee</a> </div> <div class="field-item even"> <a href="/rush">Rush</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/rush_60_minutes_with_alex_lifeson_and_geddy_lee#comments 60 Minutes Alex Lifeson Geddy lee GW Archive Rush Interviews News Features Tue, 29 Jul 2014 16:38:11 +0000 Guitar World Staff http://www.guitarworld.com/article/964 'Learn Slide Guitar' DVD Teaches Slide Scales, Improvising, Muting, Vibrato and More http://www.guitarworld.com/learn-slide-guitar-dvd-teaches-slide-scales-improvising-muting-vibrato-and-more <!--paging_filter--><p>The <em>Learn Slide Guitar</em> DVD is <a href="http://store.guitarworld.com/collections/dvds/products/learn-slide-guitar-dvd/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=SlideGuitarDVD">available now at the Guitar World Online Store.</a></p> <p>It's the ultimate DVD instructional guide to playing slide guitar like a pro. The disc, which was designed for beginning-to-intermediate guitar players, contains more than two hours of lessons that will help you play in open and standard tunings, learn slide scales for soloing in all keys, plus improvising, open-tuning chord forms, muting, vibrato, Delta and electric blues and more.</p> <p><strong>The <em>Learn Slide Guitar</em> DVD contains</strong>:</p> <p><em>Chapter 1: Introduction</em></p> <p> • Performance/DVD Objectives<br /> • Wearing the Slide: What Finger?<br /> • String Action/String Gauge<br /> • Picking: Fingers vs. Pick<br /> • Slide Types/Materials</p> <p><em>Chapter 2: Open E Tuning</em></p> <p> • Open E Tuning: E B E G# B E<br /> • Chord Forms in Open E Tuning<br /> • Slide Scales for Soloing<br /> • Slide Positioning/Intonation<br /> • Right-and Left-Hand Muting Techniques<br /> • Expanding Basic Scale Position<br /> • Using Open Strings<br /> • E Major Pentatonic<br /> • E Major Hexatonic<br /> • Medium-Slow Shuffle, Elmore James Style<br /> • Medium-Slow Shuffle, Johnny Winter Style<br /> • E Shuffle, a la Robert Johnson<br /> • Duane Allman Style<br /> • Ry Cooder Style<br /> • Derek Trucks Style</p> <p><em>Chapter 3: Open D Tuning</em></p> <p> • Open D Tuning: D A D F# A D<br /> • Johnny Winter Style</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/W61FbTm3sLU" frameborder="0" allowfullscreen></iframe></p> <p><em>Chapter 4: Open A Tuning</em></p> <p> • Open A Tuning: E A E A C# E<br /> • Chord Forms in Open A Tuning<br /> • Slide Scales for Soloing<br /> • Using Open Strings<br /> • John Lee Hooker Style<br /> • Johnny Winter Style<br /> • Robert Johnson/Sleepy John Estes Style<br /> • Muddy Waters Style</p> <p><em>Chapter 5: Open G Tuning</em></p> <p> • Open G Tuning: D G D G B D<br /> • Slide Scales for Soloing<br /> • Muddy Waters/Johnny Winter Style<br /> • Keith Richards Style<br /> • Mick Taylor Style</p> <p><em>Chapter 6: Standard Tuning</em></p> <p> • Slide Scales for Soloing<br /> • Slow Blues in E, Robert Nighthawk Style<br /> • Earl Hooker/Wah-Wah Slide Style<br /> • a la "Statesboro Blues"</p> <p><em>Chapter 7: Vibrato</em></p> <p><em>Chapter 8: Standard Tuning with a Twist</em></p> <p> • Stevie Ray Vaughan's G String up One Half Step to G#</p> <p>For more about this exclusive DVD, visit the <a href="http://store.guitarworld.com/collections/dvds/products/learn-slide-guitar-dvd/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=SlideGuitarDVD">Guitar World Online Store.</a></p> http://www.guitarworld.com/learn-slide-guitar-dvd-teaches-slide-scales-improvising-muting-vibrato-and-more#comments Mick Taylor News Features Tue, 29 Jul 2014 16:37:50 +0000 Guitar World Staff http://www.guitarworld.com/article/16398 Vox Launches Limited Versions of AC4C1-12, Night Train NT15C1-CL and Lil' Night Train Set Guitar Amps http://www.guitarworld.com/vox-launches-limited-versions-ac4c1-12-night-train-nt15c1-cl-and-lil-night-train-set-guitar-amps <!--paging_filter--><p><a href="http://www.voxamps.com">Vox Amplification</a> has announced three Special Edition versions of its current, popular guitar amplifiers. For a limited time only, the new AC4C1-12; Night Train NT15C1-CL; and Lil' Night Train NT2H-GD will offer a variety of new options for guitarists and collectors alike.</p> <p><strong><a href="http://www.voxamps.com/AC4C1-12">AC4C1-12</a></strong></p> <p>The iconic 4-watt AC4 combo amplifiers remain one of the most popular VOX tube amps, providing a simple and convenient way to enjoy the rich sound of a tube-driven amp. Previous models were equipped with a 10-inch speaker; the AC4C1-12 features a 12-inch Celestion speaker that delivers even more robust sound levels.</p> <p>With diamond grille cloth and basket-weave vinyl exterior, it also carries on the classic looks of the VOX tradition. Just as with other AC4 models, this versatile, Class A tube amp features two 12AX7 preamp tubes and an EL84 power tube and offers solid performance for practicing at home, performing live, or recording.</p> <p><strong><a href="http://www.voxamps.com/NT15C1-CL">Night Train NT15C1-CL</a></strong></p> <p>With its metallic exterior, the all-tube Night Train series emanates a distinctive look that differs from the usual VOX aesthetic. By contrast, the new Night Train NT15C1-CL combo amplifier delivers modern tones with a classic look. The front sports VOX’s trademark diamond grille cloth and gold badge, providing a traditional look that will satisfy long-time VOX fans.</p> <p>The 15-watt, EL84-powered, NT15C1-CL delivers tube tones ranging from clean to crunch, as well as high-gain sounds and everything in-between, covering any situation. The GIRTH channel has a powerful, modern high-gain sound for the guitarist who seeks an even heavier sound. The BRIGHT channel provides VOX's distinctive clean/crunch sounds and also features a THICK mode that bypasses the tone control circuit and provides a gain boost. A digital reverb designed exclusively by VOX offers studio-quality reverb sounds.</p> <p><strong>Lil' Night Train Set - Limited Gold version</strong></p> <p>The original Lil’ Night Train amplifier head and cab has been acclaimed by professionals and amateurs alike for its robust tube tone; portable and compact design; and rugged mirror-finish. This little 2-watt powerhouse is now also available as the NT2H-GD-SET, a limited edition matte gold-colored amplifier head that's paired with a speaker cabinet sporting the traditional VOX diamond grille cloth and basket-weave leather.</p> <p>Each Limited Edition model will be available in August 2014 exclusively through all U.S. Guitar Center stores, plus online through <a href="http://www.musiciansfriend.com/">MusiciansFriend.com</a>, with U.S. Street pricing as follows:</p> <p>AC4C1-12 - $349.99 | NT15C1-CL - $699.99 | NT2H-GD-SET - $329.99</p> http://www.guitarworld.com/vox-launches-limited-versions-ac4c1-12-night-train-nt15c1-cl-and-lil-night-train-set-guitar-amps#comments VOX Amps News Gear Tue, 29 Jul 2014 16:06:22 +0000 Guitar World Staff http://www.guitarworld.com/article/21980