News http://www.guitarworld.com/taxonomy/term/4/all en Jimmy Page Visits 'Ellen DeGeneres Show,' Discusses Possibility of Led Zeppelin Reunion — Video http://www.guitarworld.com/jimmy-page-visits-ellen-degeneres-show-discusses-possibility-led-zeppelin-reunion-video <!--paging_filter--><p>Jimmy Page recently visited <em>The Ellen DeGeneres Show</em> to discuss his new book and, as you'll see below, to address the "Of course, I have to ask this" topic of a Led Zeppelin reunion.</p> <p>In the clip, Page says Robert Plant has become "very difficult" lately; he even tells host Ellen DeGeneres that she really should be addressing her reunion question to Plant.</p> <p>Page also sort of denied the rumors that Plant turned down an offer of $800 million to take part in a Led Zeppelin reunion.</p> <p>"I don't know anything about it," Page said. "No, I really don't. I've heard all manner of detail on this and I thought, 'Well, I don't know anything about this.' I didn't know anything about it all."</p> <p>Note: The top video has better audio and dives right into the reunion conversation. The bottom video contains their full conversation, but you'll need to crank it up.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/xaMccVQt21o" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/UGWP9_UZLAE" 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="/jimmy-page">Jimmy Page</a> </div> <div class="field-item even"> <a href="/led-zeppelin">Led Zeppelin</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/jimmy-page-visits-ellen-degeneres-show-discusses-possibility-led-zeppelin-reunion-video#comments Jimmy Page Led Zeppelin Videos News Mon, 24 Nov 2014 16:18:01 +0000 Guitar World Staff http://www.guitarworld.com/article/22948 Jim Dunlop Effect Pedal Throwdown, Round 3: Zakk Wylde Signature Cry Baby Vs. Cry Baby Multi-Wah http://www.guitarworld.com/jim-dunlop-effect-pedal-throwdown-round-3-zakk-wylde-signature-cry-baby-vs-cry-baby-multi-wah <!--paging_filter--><p>GuitarWorld.com's latest readers poll—the first annual Jim Dunlop Effect Pedal Throwdown—has reached Round 3!</p> <p>For the past month, we've been pitting Dunlop, MXR and Way Huge pedals against each other in a no-holds-barred shootout. Now the competition is guaranteed to get even tougher.</p> <p>Therefore, we're pulling out all the stomps! Sixteen stompboxes will go head to head — or toe to toe, if you prefer — leading up to the king of Dunlop/MXR/Way Huge pedals.</p> <p>You can check out the current bracket — with all 32 competing pedals that starting things off in Round 1 — in the <a href="https://www.scribd.com/">Scribd.com</a> window below (Be sure to click on the "full screen" button in the lower-right-hand corner to expand the bracket). </p> <p>The bracket is updated after (almost) every matchup, and matchups will take place pretty much every day, excluding weekends. Each competing pedal will accompanied by a demo video created by the Jim Dunlop company, and you'll always find a photo gallery of the competing pedals at the bottom of each matchup.</p> <h1>Today's Matchup</h1> <p>In today's matchup, the <strong>Dunlop ZW95 Zakk Wylde Signature Cry Baby</strong> goes foot to foot against the <strong>Dunlop 535Q Cry Baby Multi-Wah</strong>. Start voting below!</p> <p><strong>YESTERDAY'S RESULTS</strong>: Yesterday, the <strong>Dunlop JHF1 Jimi Hendrix Fuzz Face</strong> (61.75 percent) destroyed the <strong>Way Huge WHE 101 Angry Troll Boost</strong> (38.25 percent) to advance to the next round! <a href="http://www.guitarworld.com/tags/jim-dunlop-effect-pedal-throwdown">To see all the matchups that have taken place so far, head HERE.</a> Thanks for voting!</p> <h1>Meet the Combatants</h1> <p><strong><a href="http://www.jimdunlop.com/product/zw45-zakk-wylde-signature-wah">Dunlop Zakk Wylde Signature Cry Baby Wah</a></strong></p> <p>Modern Cry Baby Master Zakk Wylde and Dunlop have joined forces to deliver the toughest, meanest wah pedal on the planet. Built from the ground up with great tone and rugged durability in mind, this pedal can stand up to the crushing stomp of metal's reigning king of lead guitar. </p> <p>The Wylde Wah features a heavy-duty raw-metal casing and road worthy components to withstand years of ass-kicking abuse. With guts that have been finely tuned to Zakk's specs, this wah is specially voiced to deliver an extra thick and cutting tone. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/RMPzL7gZROI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong><a href="http://www.jimdunlop.com/product/535q-cry-baby-multi-wah">Dunlop 535Q Cry Baby Multi-Wah</a></strong></p> <p>The 535Q is the Swiss Army knife of wah pedals. It provides control over the most important wah parameters, making it easy for you to create your ultimate wah tone. Select the frequency center of the effect, then dial in the frequency range to be swept by the pedal. From narrow and sharp to broad and subtle, this amazing wah can deliver it. Once you've got your sound, make sure it gets heard with the adjustable, switchable boost that can create endless sustain on any note.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/jmLRkgWwGRQ" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <h1>Vote Now!</h1> <script type="text/javascript" charset="utf-8" src="http://static.polldaddy.com/p/8467915.js"></script><p><noscript><a href="http://polldaddy.com/poll/8467915/">Jim Dunlop Effect Pedal Throwdown, Round 3: Zakk Wylde Signature Cry Baby Vs. Cry Baby Multi-Wah</a></noscript></p> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View The Hellecasters Rule Sheet1 on Scribd" href="https://www.scribd.com/doc/247744087/The-Hellecasters-Rule-Sheet1" style="text-decoration: underline;" >The Hellecasters Rule Sheet1</a></p> <p><iframe class="scribd_iframe_embed" src="https://www.scribd.com/embeds/247744087/content?start_page=1&amp;view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_83777" width="100%" height="400" frameborder="0"></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/zakk-wylde">Zakk Wylde</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/jim-dunlop-effect-pedal-throwdown-round-3-zakk-wylde-signature-cry-baby-vs-cry-baby-multi-wah#comments Jim Dunlop Jim Dunlop Effect Pedal Throwdown Poll Polls Zakk Wylde Videos Effects News Features Gear Mon, 24 Nov 2014 12:04:31 +0000 Damian Fanelli http://www.guitarworld.com/article/22934 AC/DC Premiere "Rock or Bust" Music Video http://www.guitarworld.com/acdc-premiere-rock-or-bust-music-video <!--paging_filter--><p>AC/DC have premiered the official video for "Rock or Bust," the title track from their new album. </p> <p>The clip, which you can watch below, was shot in early October with director David Mallet at Black Island Studios in Middlesex, England.</p> <p>You'll notice drummer Phil Rudd isn't behind the kit in the video; he also was missing from the shooting of <a href="http://www.guitarworld.com/acdc-premiere-play-ball-music-video">the far more ridiculous "Play Ball" music video</a>. </p> <p>In both clips, Rudd was replaced by drummer Bob Richards. At the time, singer Brian Johnson told fans that Rudd was unable to participate due to an undisclosed "family emergency." </p> <p><em>Rock Or Bust</em> is scheduled for release December 2.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/_NdHySPJr8I" 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="/acdc">AC/DC</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/acdc-premiere-rock-or-bust-music-video#comments AC/DC ACDC Videos News Mon, 24 Nov 2014 12:00:35 +0000 Guitar World Staff http://www.guitarworld.com/article/22947 The Francesco Artusato Project Premiere "Our Dying Sun" Lesson Video — Exclusive http://www.guitarworld.com/francesco-artusato-project-premiere-our-dying-sun-lesson-video-exclusive <!--paging_filter--><p>Today, GuitarWorld.com presents an exclusive "Our Dying Sun" lesson video featuring Francesco Artusato of the Francesco Artusato Project.</p> <p>This is the title track from the band's new album, which was released in October by Sumerian Records. You'll also find a transcription of the "Our Dying Sun" guitar solo at the bottom of this story.</p> <p>"This is the solo from 'Our Dying Sun'," says Artusato (Devil You Know, All Shall Perish). "I start by playing a syncopated lick that superimposes a group of four over the 6/4 meter (m.2); this type of rhythmic dissonance (created via polyrhythms) sets the mood for the rest of the solo. </p> <p>"The first long phrase that appears is based around the E diminished scale; it further incorporates additional chromatic notes that push the sound even more outside (m.3-4). Here, the rhythmic dissonance of the polyrhythm transitions into the harmonic dissonance of the diminished scale. </p> <p>"This is followed by an ascending and descending sequence based around one of the two possible whole tone scales (m.5-6). I execute the ascending whole tone sequence via hybrid picking. The rising line which appears in the middle of measure 7 uses the other whole tone scale—when the last two sequences of whole tone scales are taken together, you get the entire chromatic set. </p> <p>"One thing the solo achieves is to break down the chromatic scale into different types of symmetrical sets which form most of the phrases you hear here. Lastly, a tapping line moving up the neck chromatically in quintuplets closes out this entire solo."</p> <p><em>Our Dying Sun</em> is available at <a href="https://itunes.apple.com/us/album/our-dying-sun/id913407797">iTunes</a> and <a href="https://play.google.com/store/music/album/The_Francesco_Artusato_Project_Our_Dying_Sun?id=Bn3uu2i6353vrgmrq3b7r2ctwqu&amp;hl=en">Google Play.</a></p> <p>Stay tuned to <a href="https://www.facebook.com/francescoartusatomusic">Artusato's Facebook page</a> for updates and more info. As always, tell us what you think of the video in the comments or on Facebook!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/1eYTsMycSK4" 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 &amp;quot;Our Dying Sun&amp;quot; on Scribd" href="https://www.scribd.com/doc/247964082/Our-Dying-Sun" style="text-decoration: underline;" >&amp;quot;Our Dying Sun&amp;quot;</a></p> <p><iframe class="scribd_iframe_embed" src="https://www.scribd.com/embeds/247964082/content?start_page=1&amp;view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_79123" width="100%" height="600" frameborder="0"></iframe></p> http://www.guitarworld.com/francesco-artusato-project-premiere-our-dying-sun-lesson-video-exclusive#comments Francesco Artusato the Francesco Artusato Project Videos News Lessons Mon, 24 Nov 2014 11:49:21 +0000 Damian Fanelli http://www.guitarworld.com/article/22940 Le Projet, Featuring Candlebox’s Kevin Martin and Sevendust’s Morgan Rose, Premiere "Head Down" Lyric Video http://www.guitarworld.com/le-projet-featuring-candlebox-s-kevin-martin-and-sevendust-s-morgan-rose-premiere-head-down-lyric-video <!--paging_filter--><p>Kevin Martin of Candlebox and Morgan Rose of Sevendust recently got together to form a new band, Le Projet, with Adam Kury (Candlebox) and Lenny Cerzosie (the Infinite Staircase).</p> <p>Today, GuitarWorld.com presents the exclusive premiere of "Head Down," their new lyric video. You can check it out below. As always, be sure to tell us what you think of it in the comments below or on Facebook.</p> <p>In other Le Project news, the band has started a crowd-funding campaign at <a href="https://www.indiegogo.com/projects/le-projet-album-tour">indiegogo.com</a> to help them launch a tour and new album. For all the details, <a href="https://www.indiegogo.com/projects/le-projet-album-tour">check out their campaign here.</a> In the meantime, Le Project will be entering Think Loud Studios in York, Pennsylvania, with Mike Ferretti at the helm.</p> <p>For more about Le Projet, follow them on <A href="https://www.facebook.com/leprojetofficial?ref=hl">Facebook.</a></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 https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience3905956734001" 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="3905956734001" /> </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. 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. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. 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="/sevendust">Sevendust</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/le-projet-featuring-candlebox-s-kevin-martin-and-sevendust-s-morgan-rose-premiere-head-down-lyric-video#comments Candlebox Kevin Martin Le Projet Morgan Rose Sevendust Videos News Mon, 24 Nov 2014 11:48:50 +0000 Damian Fanelli http://www.guitarworld.com/article/22941 BIG Something Premiere "Megalodon" Music Video — Exclusive http://www.guitarworld.com/big-something-premiere-megalodon-music-video-exclusive <!--paging_filter--><p>Today, GuitarWorld.com presents the exclusive premiere of BIG Something's new music video for "Megalodon."</p> <p>The song is from their new album, <em><a href="https://itunes.apple.com/us/album/truth-serum/id921356330">Truth Serum,</a></em> which was released November 4.</p> <p>"We recorded <em>Truth Serum</em> almost entirely live in the studio in order to get the best of both worlds, the energy from playing together live and the polish of the recording studio environment," said BIG Something's Nick MacDaniels. </p> <p>"This video was created in the spirit of that concept, combining studio footage from the recording of 'Megalodon' and concert footage from the Big What?, our annual summer music festival."</p> <p>Speaking of which, the 2015 The Big What? festival will take place June 25 to 27 in Mebane, North Carolina. For more information, visit <a href="http://thebigwhat.com/">thebigwhat.com.</a> To find out where to see BIG Something in November, December and January (including their November 28 show in Washington, D.C.), check out their current tour dates directly below the video. </p> <p>For more about BIG Something, visit <a href="http://www.bigsomething.net/">bigsomething.net</a> and follow them on <a href="https://www.facebook.com/theBIGsomething">Facebook.</a></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/RgRwQOfiNmw" frameborder="0" allowfullscreen></iframe></p> <p><strong>Current BIG Something Tour Dates:</strong></p> <p>Nov 26 Ziggy’s Winston-Salem, NC<br /> Nov 28 Gypsy Sally’s Washington, DC<br /> Nov 29 Skullys Music Diner Columbus, OH<br /> Dec 7 Barrelhouse South Savannah, GA<br /> Dec 12 Charleston Pour House Charleston, SC<br /> Dec 13 JJ’s Bohemia Chattanooga, TN<br /> Dec 30 The Chop Shop Charlotte, NC<br /> Dec 31 Lincoln Theatre NYE Raleigh, NC<br /> Jan 2 Martin’s Downtown Roanoke, VA<br /> Jan 3 Martin’s Downtown Roanoke, VA</p> <p>** - Baltimore Residency @ The 8x10<br /> # - Album release show/5th Annual Big Something Costume Ball</p> http://www.guitarworld.com/big-something-premiere-megalodon-music-video-exclusive#comments BIG Something Videos News Mon, 24 Nov 2014 11:48:24 +0000 Damian Fanelli http://www.guitarworld.com/article/22942 Monster Licks Unleashed with Glenn Proudfoot: Blues Scale Chaos — Video http://www.guitarworld.com/monster-licks-unleashed-glenn-proudfoot-blues-scale-chaos-video <!--paging_filter--><p>I've found that incorporating the flat 5, major 3rd or 6th into the pentatonic scale can really open up your legato possibilities.</p> <p>Obviously, there's a drastic tonal difference between these notes, but as they are being added to the minor pentatonic, tonally you can get away with it, especially when playing at speed. </p> <p>It creates a very chaotic, manic-sounding effect, which is right up my alley. </p> <p>Players often will combine lots of different modes, etc., to their soloing. I do the same but with a different approach; I base everything around the pentatonic, so instead of playing modes, I simply add the notes to the pentatonic. This way, I always have that rock base behind the sound. </p> <p><strong>The Lick:</strong></p> <p>The stretches are the main challenge here. If they're too much for you, simply move the idea up the neck into a different key where the pattern is more comfortable. Then you can slowly start to move it back down. </p> <p>Once you start to work through the legato pattern, you'll notice the pattern repeats, so the motivation should be that you'll be able to adapt this technique to create your own runs in any position. </p> <p>This sound is captured purely from blues-based scales. It is created by combining two patterns of the pentatonic, rather than playing the scale in the traditional two-note-per-string form. </p> <p>The great thing is you can adapt this idea into many different genres. You can give it a different feel or use it with a cleaner sound, etc. It doesn’t have to be played at a million mph to sound great; it can be used in many different ways. This is just an example of how far you can take the idea. </p> <p><strong>I hope you enjoy this Monster Lick Unleashed! Join me on <a href="https://www.youtube.com/user/atomicguitaraudio">YouTube right here!</a> Contact me through <a href="http://www.glennproudfoot.com/">glennproudfoot.com</a> or <a href="https://www.facebook.com/glenn.proudfoot">my Facebook page</a>.</strong></p> <p><em>Australia's Glenn Proudfoot has played and toured with major signed bands and artists in Europe and Australia, including progressive rockers Prazsky Vyber. Glenn released his first instrumental solo album, </em>Lick Em<em>, in 2010. It's available on iTunes and at <a href="http://www.glennproudfoot.com/">glennproudfoot.com</a>. His brand-new instrumental album — </em>Ineffable<em> — is out now and is available through <a href="http://www.glennproudfoot.com/">glennproudfoot.com</a> and <a href="https://itunes.apple.com/au/album/ineffable/id914342943">iTunes</a>.</em></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/JiAgKhw9g74" 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 Monster Licks - Unleashed No 4a on Scribd" href="https://www.scribd.com/doc/247980869/Monster-Licks-Unleashed-No-4a" style="text-decoration: underline;" >Monster Licks - Unleashed No 4a</a></p> <p><iframe class="scribd_iframe_embed" src="https://www.scribd.com/embeds/247980869/content?start_page=1&amp;view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_55866" width="100%" height="600" frameborder="0"></iframe></p> http://www.guitarworld.com/monster-licks-unleashed-glenn-proudfoot-blues-scale-chaos-video#comments Glenn Proudfoot Monster Licks Monster Licks Unleashed Videos Blogs News Lessons Sun, 23 Nov 2014 23:13:45 +0000 Glenn Proudfoot http://www.guitarworld.com/article/22944 Guide to The Beatles' White Album: the Recording Equipment, the Songs, the Conflicts http://www.guitarworld.com/guide-beatles-white-album-recording-equipment-songs-conflicts <!--paging_filter--><p>Having opened a Pandora's box with their critically acclaimed and commercially successful album <em>Sgt. Pepper's Lonely Hearts Club Band,</em> the Beatles faced serious competition from a variety of open-minded artists who were expanding rock music's barriers. </p> <p>Newcomers like Jimi Hendrix, Frank Zappa, Pink Floyd and the Doors, and even contemporaries like the Rolling Stones, the Beach Boys and Bob Dylan were challenging the Beatles' role as innovators. But rather than continue to pursue the psychedelic excesses of the previous year, the Beatles went in the opposite direction. </p> <p>The result was a double-album that found the group returning to a more stripped-down rock and roll sound and often eschewing electric guitars for acoustics. Popularly known as the White Album for its stark white sleeve, <em>The Beatles</em> was made during a particularly tumultuous period for the band. </p> <p>In the wake of manager Brian Epstein's death in August 1967, Paul McCartney had begun to assume more of a leadership role, creating an imbalance in the group's seemingly democratic power structure. At the same time, John Lennon, newly in love with Yoko Ono, was beginning to lose interest in the Beatles. </p> <p>George Harrison had grown tired of having his creativity quashed by Lennon and McCartney and began pushing back against their authority. Starr, meanwhile, was becoming fed up with sitting around in the studio and waiting for the others to finish writing their songs. Ironically, the group's disintegration occurred after a fruitful period of togetherness, when the four Beatles traveled to India in spring 1968 to study transcendental meditation with the Maharishi Mahesh Yogi.</p> <p>While in India they wrote more than 30 songs, many of which became the basis for the White Album, including "Dear Prudence," "Julia" and "Mother Nature's Son." Upon returning to England, the group convened at Kinfauns, George Harrison's house in Esher, to record four-track demos for the new album. By some accounts, neither Lennon nor McCartney was willing to sacrifice some of his songs to make room for others, and thus <em>The Beatles</em> became a double album.</p> <p>According to Harrison, "The rot had already set in."</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/c66NZDB_1tc" frameborder="0" allowfullscreen></iframe></p> <p>But it's also true that the Beatles' creative energy could no longer be confined to a single album—nor a single studio. As a result, when it came time to record the album, the Beatles essentially took over Abbey Road, occupying several studios at once while they recorded their new songs, often working on them individually rather than as a group.</p> <p>Anyone who walked down the halls of the facility on a June evening in 1968 probably would have been shocked by the contrast between McCartney recording the wistful "Blackbird" on an acoustic guitar in Studio Two while Lennon was in Studio Three manipulating and mutilating tape loops for "Revolution 9," his and Ono's musique concrete tape experiment.</p> <p>After McCartney's dominant role on <em>Sgt. Pepper's</em>, Lennon was eager to assert more control on the White Album. His song "Revolution 1" was the very first tune the group tackled for the record when the sessions began on May 30. </p> <p>Though Lennon insisted the Beatles release the track as their next single—the first release on their new Apple label—McCartney convinced him that the tempo was too slow and unlikely to make the song a Number One hit. Lennon relented, but on July 10, he led the group through a faster, rocking version of the tune, called simply "Revolution," which was ultimately selected as the flipside for "Hey Jude," the Beatles' debut Apple single. </p> <p>As on <em>Revolver</em> and <em>Sgt. Pepper's</em>, engineer Geoff Emerick was responsible for the song's innovative sound, most notably the heavily fuzzed-out guitar tones. To create them, Emerick plugged Lennon and Harrison's guitars (probably their Epiphone Casino and Gibson SG, respectively) directly into Studio Two's mixing console, overdriving two REDD.4 7 mic preamps to create the warm distorted tones.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/rDCu1UjezDc" frameborder="0" allowfullscreen></iframe></p> <p>"I had an idea that I wanted to try," Emerick recalled of the session in his 2006 memoir, <em>Here, There and Everywhere</em>, "one that I thought might satisfy John, even though it was equipment abuse of the most severe kind. Because no amount of mic preamp overload had been good enough for him, I decided to try to overload two of them patched together, one into the other. As I knelt down beside the console, turning knobs that I was expressly forbidden from touching because they could literally cause the console to overheat and blow up, I couldn't help but think, If I was the studio manager and saw this going on, I'd fire myself."</p> <p>Emerick didn't have to worry about being fired—on July 16, just six days after the "Revolution" session, he quit. The day before, he'd worked on a particularly grueling vocal session for the McCartney track "Ob-La-Di, Ob-La-Da," and the tension had simply become too much for him. "I was on the verge of a breakdown during the making of the White Album," Emerick says. "It was because of the emotional stress for me. I was just not into it." </p> <p>The conflicts only became worse as the work continued through the summer and into autumn. Ringo Starr was next to leave. Feeling unappreciated by his bandmates, he quit the band in the middle of recording "Back in the U.S.S.R." on August 22. In his absence, McCartney (and possibly Lennon and Harrison as well) handled drum duties on the song, as he did when the threesome recorded "Dear Prudence" on August 28. (As these are the first two songs on <em>The Beatles</em>, Starr isn't heard on the album until "Glass Onion.") </p> <p>Starr returned on September 5, but his brief exit demonstrates how strained The Beatles' relations were becoming. Even though the band members spent a considerable amount of time working separately on the album, they recorded most of the backing tracks for its 30 songs live as a group. Typically, the writer of each song would then work on overdubs alone or with another Beatie or two assisting. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/Z6ghgQe2ikA" frameborder="0" allowfullscreen></iframe></p> <p>As several tracks were being worked on at once, George Martin was unable to oversee all of the sessions. In his absence, the individual band members or Martin's assistant Chris Thomas took over. Harrison in particular seemed more empowered than he had been on previous albums. In addition to often working on his own songs in a separate studio, he made decisions without consulting anyone else, such as when he brought in Eric Clapton to play lead guitar on "While My Guitar Gently Weeps."</p> <p>Harrison recalled that Clapton's presence made his bandmates "try a bit harder; they were all on their best behavior." Harrison was also becoming less inclined to defer to Martin's authority. Once while Harrison was working on the mix for his song "Savoy Truffle," Martin said he thought it sounded too shrill and trebly. "I like it like that," Harrison said, turning his back on Martin and continuing his work.</p> <p>But amid the enmity, the Beatles were, as always, breaking new ground in the studio. By 1968, they had recorded in each of Abbey Road's three studios, but for the taping of "Yer Blues" on August 13, they found a spot that they had not used yet—a small utility closet known as the Studio Two "annexe." The tight quarters gave the recording an especially "live" sound, thanks to microphone leakage and sound-wave reflections off the walls.</p> <p>From a technological standpoint, the White Album is significant for marking the Beatles' transition to eight-track recording. In this respect, Ken Scott, who replaced Emerick in the engineer's seat, played an instrumental role. Abbey Road had purchased several 3M eight-track recorders in May 1968, but the machines required numerous modifications before George Martin would approve their use on Beatles sessions. However, during an evening of work on ''While My Guitar Gently Weeps," Scott removed one of the unmodified eight-track machines from storage when he could no longer tolerate being limited to four tracks. </p> <p>Although only 10 of the album's songs were recorded entirely on eight-track machines, by the time the album was finished, the Beatles' four-track era reached its end. Despite having more tracks at their disposal, the Beatles kept the album's music surprisingly straightforward and stripped down. </p> <p>They made up for the recordings' simplicity by offering listeners an impressively eclectic 90-minute musical journey that included acoustic folk, rock and roll, blues, country, acid rock, music-hall schmaltz, avant-garde experimentalism and smartly crafted electric pop rock. Few artists cover as much stylistic ground in their careers—the Beatles pulled off this monumental feat in a mere four and a half months.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/pBJqPxpWD5w" frameborder="0" allowfullscreen></iframe></p> <p>In the end, even the double-album format was not enough to contain all of their creative ambitions, and several of the songs they wrote during this period were put aside for later release. Some, like Harrison's "Not Guilty" and Lennon's "What's the New Mary Jane," were recorded during the White Album sessions but not issued. </p> <p>And while George Martin has always believed that the group should have trimmed the collection down to a single disk, even the most casual Beatles fan would have trouble picking five songs to cut from the White Album, let alone 15.</p> <p><strong>THE BEATLES: EXTRA FACTS</strong></p> <p><strong>Recorded</strong>: May 30 to October 13<br /> <strong>Location:</strong> Abbey Road One, Two and Three; Trident Studios<br /> <strong>Released:</strong> November 2, 1968</p> <p><strong>TRACKLISTING</strong></p> <p>Back In the U.S.S.R<br /> Dear Prudence<br /> Glass Onion<br /> Ob-La-Dt, Ob-La-Da<br /> Wild Honey Pie<br /> The Continuing Story of Bungalow Bill<br /> While My Guitar Gently Weeps<br /> Happiness Is a Warm Gun<br /> Martha My Dear<br /> I'm So Tired<br /> Blackbird<br /> Piggies<br /> Rocky Raccoon<br /> Don't Pass Me By<br /> Why Don't We Do It in the Road?<br /> I Will<br /> Julia<br /> Birthday<br /> Yer Blues<br /> Mother Nature's Son<br /> Everybody's Got Something to Hide Except for Me and My Monkey<br /> Sexy Sadie<br /> Helter Skelter<br /> Long, Long, Long<br /> Revolution 1<br /> Honey Pie<br /> Savoy Truffle<br /> Cry Baby Cry<br /> Revolution 9<br /> Good Night</p> <p><strong>RELATED SINGLES</strong></p> <p>• "Hey Jude" / "Revolution," August 30,1968 (Apple)</p> <p><strong>THE 3M M23</strong></p> <p>Abbey Road's first eight-track, the M23 was rejected by George Martin for various technical issues. The tape deck remained out of use for months while the studio's technicians modified it to his specifications. Fed up with recording on four-track, The Beatles "liberated" the M23 on September 3, 1968, and used it to record 10 tracks on the White Album.</p> <p><em>Photo: The Beatles, 1968—thebeatles.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="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/paul-mccartney">Paul McCartney</a> </div> <div class="field-item odd"> <a href="/john-lennon">John Lennon</a> </div> <div class="field-item even"> <a href="/george-harrison">George Harrison</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guide-beatles-white-album-recording-equipment-songs-conflicts#comments 2011 George Harrison Holiday 2011 John Lennon Paul McCartney Ringo Starr The Beatles Holiday News Features Magazine Sat, 22 Nov 2014 21:14:58 +0000 Chris Gill http://www.guitarworld.com/article/15212 Metallica Perform "Sad But True" on 'Late Late Show with Craig Ferguson' — Video http://www.guitarworld.com/metallica-perform-sad-true-late-late-show-craig-ferguson-video <!--paging_filter--><p>It's sad but true: Metallica's week-long residency on <em>The Late Late Show with Craig Ferguson</em> has come to a close.</p> <p>However, Friday night, they finished off their week with a bang, performing "Sad But True." </p> <p>You can check out a video of their performance below. As always, tell us what you think in the comments below or on Facebook.</p> <p>In other news, Metallica have posted a three-minute preview video for <em>Metallica: This Monster Lives.</em> To find out what we're talking about, <a href="http://www.guitarworld.com/metallica-release-trailer-new-monster-lives-feature-video">head here.</a></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/J_H9ZhYD94E" 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-perform-sad-true-late-late-show-craig-ferguson-video#comments Metallica Videos News Sat, 22 Nov 2014 21:06:10 +0000 Damian Fanelli http://www.guitarworld.com/article/22939 John Petrucci Samples Prototype Mesa/Boogie Mark 5 Twenty-Five Guitar Amp — Video http://www.guitarworld.com/john-petrucci-plays-through-prototype-mesaboogie-mark-5-twenty-five-guitar-amp-video <!--paging_filter--><p>Late last week, the gang at Mesa/Boogie posted a video of Dream Theater guitarist John Petrucci (and his signature Ernie Ball/Music Man Majesty guitar) testing out a prototype of the company's Mark 5 Twenty-Five guitar amp.</p> <p>From the company:</p> <p>"Petrucci visited the Mesa factory in April 2014 before his San Francisco show. It was a great day to have John play through an early prototype of the Mark 5 Twenty-Five for the first time.</p> <p>"We took the fly-on-the-wall approach to capture the experience and got some epic playing from John, some great tones and a bunch of good times with Mesa founder Randall Smith, "Tone Boy" Doug West and the rest of the Mesa team.</p> <p>"John played through all the various modes and many different settings through a Mini Rectifier 1x12, a Rectifier 1x12 and, at the end, a 4x12 Rectifier Standard Slant with Celestion Vintage 30s. He also played with a few different delays (TC Electronics G-Major and Jim Dunlop Carbon Copy Analog Delay) in the loop for singing solo tones.</p> <p>"Recorded with the Mark Five: 25, various cabinets (listed above) and a Shure SM57 and a Sennheiser 421."</p> <p>For more about the current incarnation of the Mark 5 Twenty-Five amp, <a href="http://www.mesaboogie.com/Product_Info/Mark_Series/mark-5-25/mark-5-25.html">head here.</a></p> <p>Check out the video below and tell us what you think in the comments or on Facebook!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/gjkfArHfV6Q" 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="/john-petrucci">John Petrucci</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/john-petrucci-plays-through-prototype-mesaboogie-mark-5-twenty-five-guitar-amp-video#comments John Petrucci Mesa Boogie Mesa/Boogie Videos News Gear Sat, 22 Nov 2014 17:51:43 +0000 Damian Fanelli http://www.guitarworld.com/article/22938 Metallica Release Trailer for New 'This Monster Lives' Feature — Video http://www.guitarworld.com/metallica-release-trailer-new-monster-lives-feature-video <!--paging_filter--><p>Metallica will release a two-disc Blu-ray edition of their 2004 documentary, <em>Metallica: Some Kind of Monster</em>, November 24.</p> <p>This updated version of the film features a new 25-minute bonus feature, <em>Metallica: This Monster Lives,</em> a followup piece filmed at the 2013 Toronto International Film Festival during the premiere of <em>Metallica Through the Never</em>. </p> <p>It finds the band and <em>Some Kind of Monster</em> co-directors (Joe Berlinger and Bruce Sinofsky) looking back at the decade since the release of the original film. </p> <p><em>Some Kind of Monster</em>, which was released July 9, 2004, followed the band through the a rough patch in their career when they battled through addiction, lineup changes, personal turmoil and the near-self-destruction.</p> <p>Below, you can check out a gripping three-minute preview of <em>Metallica: This Monster Lives</em>.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/aotoGhCUvi8" 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-release-trailer-new-monster-lives-feature-video#comments Metallica Videos News Sat, 22 Nov 2014 17:25:42 +0000 Damian Fanelli http://www.guitarworld.com/article/22937 Betcha Can't Play This: Nita Strauss Solo Lick from Alice Cooper Tour http://www.guitarworld.com/betcha-cant-play-nita-strauss-solo-lick-alice-cooper-tour <!--paging_filter--><p>Here's a brand-new edition of Betcha Can't Play This featuring Alice Cooper guitarist Nita Strauss, who visited <em>Guitar World</em> HQ last month.</p> <p>Last time, she played a <a href="http://www.guitarworld.com/betcha-cant-play-nita-strauss-descending-legato-lick-video">Descending Legato Lick.</a> This time, she demonstrates a lick from her solo spotlight section from her shows with Cooper.</p> <p>As with the other <a href="http://www.guitarworld.com/betcha-cant-play-ethan-broshs-cascading-harmonics-video">new-for-2014-and-2015 "Betcha Can't Play This" videos</a>, this is an expanded version of the usually brief "Betcha" videos on GuitarWorld.com.</p> <p>Also, note that there are no tabs, since Strauss explains key left- and right-hand techniques in the clip. </p> <p>For other recent Betcha Can't Play This columns, check out <a href="http://www.guitarworld.com/betcha-cant-play-guitarist-ethan-brosh-lays-down-challenge">Betcha Can't Play This: Guitarist Ethan Brosh Lays Down the Challenge</a> and <a href="http://www.guitarworld.com/betcha-cant-play-diminished-madness-guitarist-ethan-brosh">Betcha Can't Play This: Diminished Madness with Guitarist Ethan Brosh</a>. </p> <p>As always, good luck! We have more on the way!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/f7W24uUt4Qo" 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="/alice-cooper">Alice Cooper</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/betcha-cant-play-nita-strauss-solo-lick-alice-cooper-tour#comments Alice Cooper Betcha Can't Play This Nita Strauss Videos News Lessons Fri, 21 Nov 2014 22:19:45 +0000 Guitar World Staff http://www.guitarworld.com/article/22935 Celebrate the Holidays with 'The Ultimate Christmas Guitar Songbook' http://www.guitarworld.com/celebrate-ultimate-christmas-guitar-songbook <!--paging_filter--><p><em>The Ultimate Christmas Guitar Songbook</em> is <a href="http://guitarworld.myshopify.com/products/copy-of-fingerpicking-christmas/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=UltimateXmasSongbook">available now a the Guitar World Online Store for $19.95.</a></p> <p>The book features 100 songs in a variety of notation styles, from easy guitar and classical guitar arrangements to note-for-note guitar tab transcriptions. </p> <p>Includes: All Through the Night • Auld Lang Syne • Away in a Manger • Blue Christmas • The Chipmunk Song • The Christmas Song (Chestnuts Roasting on an Open Fire) • The Gift • (There's No Place Like) Home for the Holidays • I've Got My Love to Keep Me Warm • Jingle Bells • My Favorite Things • One Bright Star • Rockin' Around the Christmas Tree • Santa Baby • Silver Bells • Wonderful Christmastime • and more.</p> <p><strong><a href="http://guitarworld.myshopify.com/products/copy-of-fingerpicking-christmas/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=UltimateXmasSongbook">Head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/celebrate-ultimate-christmas-guitar-songbook#comments News Features Fri, 21 Nov 2014 22:00:00 +0000 Guitar World Staff http://www.guitarworld.com/article/22933 'The Turn': Live Guitarist Chad Taylor Discusses New Album, Guitars and ‘Throwing Copper’ http://www.guitarworld.com/turn-live-guitarist-chad-taylor-discusses-new-album-guitars-and-throwing-copper <!--paging_filter--><p>It was a turning point when the band Live took a self-imposed hiatus in 2009. </p> <p>Lead singer Ed Kowalczyk wanted to focus on a solo career while the band wanted to return to a more ensemble-based format. Unable to resolve their impasse, the band and Kowalczyk decided to go their separate ways.</p> <p>Enter vocalist Chris Shinn, who over the years had developed a strong rapport with members of Live. Now, after a therapeutic three-year soul search, Live are back with a new singer, album and perspective.</p> <p><em>The Turn</em>, Live's first album in eight years, reunites the band with Jerry Harrison, who produced three of the band’s previous albums — <em>Mental Jewelry</em> (1991), <em>Throwing Copper</em> (1994) and <em>The Distance to Here</em> (1999).</p> <p>The release of <em>The Turn</em> also coincides with the 20th anniversary of the group’s 8 million selling <em>Throwing Copper,</em> a monster album that yielded the band’s biggest single, “Lightning Crashes,” which was Number 1 at Modern Rock radio for 10 consecutive weeks. </p> <p>With 20 million in worldwide album sales to go along with a dynamic new lead singer and a redefined focus, Live are ready to enter the next phase of their career.</p> <p>Live consists of Chad Taylor (guitars), Patrick Dahlheimer (bass), Chad Gracey (drums/percussion) and Chris Shinn (lead vocals/guitars).</p> <p>I recently caught up with Taylor to discuss <em>The Turn,</em> guitars, the 20th anniversary of <em>Throwing Copper</em> and what he’s most looking forward to with this new version of Live.</p> <p><strong>GUITAR WORLD: It’s been five years since Live took a hiatus/break. Was the expectation always that you’d one day get back together?</strong></p> <p>The end of Live 1.0 was open-ended. What we knew at the time was that the chemistry that had been so essential to making Live exuberant, exciting and creative had just dissipated. We were a band that could have probably have used a therapist, but like most men, we just decided that separation was the best idea to try to salvage any kind of relationship we had we each other. </p> <p>During the time of the break/hiatus the clarity that helped solidify everyone's future was the fact that Ed [Kowalczyk] made it clear he wanted to make solo music, and we made it clear we wanted to make ensemble music. There's such a difference in the way you do it. You can hear in the transition of Live through our subsequent records how the band became more focused on the singer/songwriter than on ensemble creativity. In my opinion, the thing that always made Live was our ability to play off of each other. When we lost that, the spirit of the band went away. </p> <p><strong>How has the addition of Chris Shinn changed the dynamic of the band?</strong></p> <p>There were no commercial aspirations when we brought in Chris. It was originally just a group of guys getting together in a small rehearsal facility in York to make music. We played some of the older material and it felt so organic and real that we thought about what we wanted to do with it. We figured out right away that it worked musically so the next step was to see if it worked spiritually. We called it “band therapy” and knew from that point forward that there was no looking back.</p> <p><strong>How would you describe <em>The Turn</em>?</strong></p> <p>It's full of energy and confidence yet seeking at the same time. It was actually a three-year process to write this record. The first year was us just getting to know each other. Year two, we took the band on the road. That’s where we evolved and came together. Then it was just a matter of taking the energy and songwriting that we had been working on and coupling it together with Jerry Harrison. We took this big ball of energy and captured it very quickly. </p> <p><strong>What was the band’s writing process like as it pertains to <em>The Turn</em>?</strong></p> <p>In ensemble creativity the idea is to put all of the members of the band in a room and act as scribe to capture the energy that's around you. The songs are in there air and we just capture them. So it’s not so much about starting with a riff or anything like that. It’s more about being mentally and physically in the right place. </p> <p><strong>When you look back at the whirlwind that was <em>Throwing Copper</em>, what comes to mind?</strong></p> <p>I think it’s a masterful representation of the dynamic and relationship Ed and I shared as songwriters and creative visionaries. It's also the only album Ed and I ever wrote huddled together in a room. We were able to capture lightning in a bottle. The entire recording process only took about two weeks, so almost everything you hear on the album is a live performance. </p> <p><strong>What’s your current setup like?</strong></p> <p>I'm really a purist at heart. I play Les Pauls, a “Ruby Lou” Jazzmaster and Strats. I like the sounds of those through a high-gain amp. Usually, that's my Diaz CD-100's and Marshall JMP’s. They've been my go-to amps since I was a kid. Over the years, each song the band recorded required a particular gain and effects stage to create those sonic signatures. With that came the need to switch up and change those controls. </p> <p>I actually run two separate rigs. My “A” rig contains two modified Marshall JMPs and CD-100s. I rely a lot on my guitar volume so other than gain stages those amps are generally unaffected. My “B” rig is a stereo rig where all of my effects (reverb, delays and modulations) are controlled by a separate pedal. So it’s really four amplifiers in total creating one wall of sound. There's also a company that I recently incorporated that makes handmade cabinets. They’re called JANICE and have been the biggest upgrade to my sound. They're custom built by hand and have been great. It's also the first time I’ve been using Eminence speakers in addition to Celestions. They really bring out a sound that has a high end brilliance I was missing.</p> <p><strong>What excites you the most about Live 2.0?</strong></p> <p>It’s the feeling of elation I have about getting my band back and sharing the music with the fans. With each show it's a celebration of our past as well as what the band is doing now. I'm not interested in becoming a heritage rock band. I want to create new, relevant music. It's all about celebrating our relevance. Whatever audience is there to listen to guitar based rock is the audience we're going to play for.</p> <p><em>For more about Live, visit <a href="http://freaks4live.com/">freaks4live.com</a>.</em></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/turn-live-guitarist-chad-taylor-discusses-new-album-guitars-and-throwing-copper#comments Chad Taylor James Wood Live Interviews News Features Fri, 21 Nov 2014 21:42:50 +0000 James Wood http://www.guitarworld.com/article/22932 'Ouroboros': The New Orleans Suspects’ Funkified Masterpiece http://www.guitarworld.com/ouroboros-new-orleans-suspects-funkified-masterpiece <!--paging_filter--><p>You could apply the term “supergroup” to the New Orleans Suspects, and it wouldn't be hyperbole. These cats have been there, done that and have the chops to prove it.</p> <p>Saxophonist Jeff Watkins’ career includes a dozen years leading James Brown’s band; Willie Green drummed for the Neville Brothers for more than three decades; CR Gruver has played keys with Outformation and Leo Nocentelli; guitarist Jake Eckert laid it down funky for years with the Dirty Dozen Brass Band; and Reggie Scanlan’s bass provided the low-end wump for New Orleans’ beloved Radiators. </p> <p>Dig deeper and you’ll find all of these players are multi-genre monsters, with histories that span the gamut from jazz to jam.</p> <p><em>Ouroboros</em> is the New Orleans Suspects’ third album and is the best example yet of what the band is capable of. Co-produced by Eckert and Watkins, <em>Ouroboros</em> offers up big grooves and big pictures, heavily flavored with N’awlins magic and hoodoo.</p> <p>In the following conversations Reggie Scanlan and Jake Eckert share a few behind-the-scenes secrets about some of the ingredients of that magic and hoodoo. (You might be surprised …)</p> <p><strong><em>Reggie Scanlan: Keeping It Pure — and Stealing from the Greats</em></strong></p> <p><strong>GUITAR WORLD: Reggie, you cover an amazing amount of rhythmic and sonic ground on <em>Ouroboros</em>. What were you running for gear? </strong></p> <p><strong>SCANLAN</strong>: I wanted to keep the bass sound very consistent from song to song because the songs themselves were going to change so much. I basically stuck with one of my stage basses, which is an 8- or 10-year-old Fender Jazz bass. And I ran that through a SansAmp in the studio.</p> <p><strong>Tell me about the SansAmp. I’ve heard of them but don't know much about them.</strong></p> <p>It’s the best piece of gear I’ve bought, next to my bass and my Hartke cabinets, which never seem to go bad after ages. Jeff Watkins, our sax player, turned me onto the SansAmp: it’s basically a direct box that you have controls on—volume, presence, treble, bass—and you can send your signal out the way you want it. In the studio, we ran everything through the SansAmp and Jeff did his magic to make it sound killing.</p> <p><strong>The track “Hoodoos and Cunyans” is an absolute full-length feature movie in your head, and part of that vibe is what sounds to me like a big old upright bass.</strong></p> <p>Yeah! [laughs] I used my Juzek upright bass, which was made in Germany back in … 1922? … somewhere around there. It has gut strings with no pickups or anything. Totally acoustic and sounds great when you mic it. It’s just beautiful.</p> <p><strong>I know you’ve told me before about how much you enjoy playing acoustic bass. You’ve mentioned the jazz guys who were your heroes: Mingus … Paul Chambers …</strong></p> <p>Oh man, Paul Chambers. You know, it almost didn't matter what he played because his tone was so good. It was like there weren’t any bad notes. It was just this beautiful tone, pushing and pulling through the music. It was great. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/2BLRJ3yN-l0" frameborder="0" allowfullscreen></iframe></p> <p><strong>If I was trying to describe your bass voice to someone, I’d say you can get as out there and funky as anyone, but you’re never far away from your jazz roots. It’s the same basic broth anyway …</strong></p> <p>Yeah, that’s right. I mean, I steal a lot from those jazz guys. It's a good place to go to build up a library of things you can fall back on in jams and stuff.</p> <p>Something happens and you’re feeling it, but you don't know what it is … and all of a sudden you’ve got this old bass riff that Paul Chambers did as a solo and it’s the perfect thing to drop in. Nobody knows where it came from, unless they're really paying attention. [laughter] I love taking something out of one genre and putting it in another, you know? To me, that’s the fun of playing music.</p> <p>That’s one of the major lessons I learned years ago from James Booker: all of this stuff is the same.</p> <p>Everybody’s got the same bunch of notes to work with, whether it's classical or you’re doing street music. It’s what made it possible for us to be playing “Iko Iko” or something like that, and all of a sudden Booker’s piano solo would turn into a Chopin piece. And it would make sense; everything would be cool … I wouldn’t know what was happening [laughter], but to him, everything was everything. That was a major lesson: it’s all just music and everybody’s fooling with the same notes. You just mix them up differently.</p> <p><strong>That’s a great approach for anyone. I don't care if it's a kid just getting going or somebody who’s been in it a while and their attitude’s taking a bad turn: don't worry about labeling stuff, just play.</strong></p> <p>Yeah! Just play, and play something that feels good, you know? If it feels good, it's probably the right thing to play. </p> <p>It's like everything else in life. You have as much freedom as you want, as long as you don't step on the next guy’s freedom. With music, you should play what you feel, as long as you’re not stepping on the next guy or playing all over them, getting in their tonal space.<br /> <br /><br /> <strong><em>Jake Eckert: “It’s Not the Kitchen — It’s the Cook”</em></strong></p> <p><strong>GUITAR WORLD: Jake, you’re cranking out a lot of great playing on this album: from kick-ass funk grooves and nasty leads to some wickedly hot slide work. What were your weapons for the <em>Ouroboros</em> sessions?</strong></p> <p><strong>ECKERT:</strong> My main guitar is the ES-335 Gibson I’ve played for years, through the Dirty Dozen and now with the Suspects. It’s kind of been my baby. I have other 335 guitars, but that’s my main one. It’s been through the wringer: I’ve had the neck broken off on the road three times over the years. [laughter]</p> <p><strong>What year is it?</strong></p> <p>It’s a Dot Neck reissue from the early 2000s. I don't know exactly what year. It’s all stock; nothing fancy, but it sounds great and I love the way it plays.</p> <p>I also use a 1979 Strat with Pearly Gates pickups and a new PRS Starla with a Bigsby on it.</p> <p><strong>You know, I’ve heard of those, but I’ve never sat down with one. A PRS with a Bigsby …</strong></p> <p>I know: it’s kind of an oxymoron, right? [laughter] If you listen to “Walk Of Shame,” there’s this one little part where it goes to the minor on the bridge and you hear me wiggle the Bigsby … it really does sound like an old pawnshop guitar.</p> <p><strong>How about for slide? The stuff you do on “Madgalena,” for instance.</strong></p> <p>That’s my Gibson SG, a 1991 I’ve had since then. I traded a 1974 Goldtop for it.</p> <p><strong>Ooh …</strong></p> <p>Yeah, well … somebody chopped out the original humbuckers on the Les Paul and put some other ones in with a screwdriver. [laughter] I used the SG plugged directly into my Ampeg Reverb Rocket, turned all the way up. It's a great sound.</p> <p>I also have an ’89 Strat Plus with a Jeff Beck pickup in the rear position that I use for slide sometimes. </p> <p><strong>You pull some wildass bends at times during your leads, but you run fairly heavy strings, don't you?</strong></p> <p>Yeah, D’Addario EXL115s, 11 to 49. I use them for slide and regular-tuning stuff. I was using 10s for a while and switching back and forth, but I kind of grew into the feeling of the 11-gauge strings and noticed the tone was just a little bit beefier. Now I enjoy the feeling when they fight back just a hair.</p> <p><strong>You mentioned the Ampeg Reverb Rocket; what else did you use for amps?</strong></p> <p>Actually, I endorse the Mega Boogies and I used my Lone Star a lot … most of the cleaner stuff you hear is the Mesa. And along with the Ampeg, sometimes I use a 1964 Super Reverb.</p> <p><strong>Effect pedals?</strong></p> <p>I use Mesa Boogie pedals: a Grid Slammer overdrive and a Tone-Burst boost. They’re really great. They have that Mesa vibe to them. I also have an Xotic AC booster and an RC booster. </p> <p>You know, the pedals are all cool, but … I was able to record a song with Larry Carlton one time and he was using that same Ampeg Reverb Rocket I mentioned. Larry plugged into the amp and that was it, no pedals; no nothing. He started soloing … and he sounded just like Larry Carlton. </p> <p>That’s when I realized it's not the kitchen, it's the cook. [laughter]</p> <p><strong>There’s some story I’ve heard for years about Jeff Beck walking into some hole-in-the-wall guitar shop. He grabbed a totally shitbox guitar off the wall, plugged into a little amp on the floor, and let it rip. No doubt about it: it was Jeff Beck playing. </strong></p> <p>Yeah! I remember the Little Feat guys telling about Eric Clapton showing up for one of their gigs—this was post-Lowell George—and I think they had some really beat-up Dean Markley amp up there or something. It was all they had, that and an extra guitar. They said Clapton walked out, fiddled with the amp for a second and started playing.</p> <p>He just sounded like Eric Clapton. [laughter]</p> <p><em>Photo: Jeffrey Dupuis</em></p> <p><em>A former offshore lobsterman, Brian Robbins had to wait a good four decades or so to write about the stuff he wanted to when he was 15. Today he’s a freelance scribe, cartoonist, photographer and musician. His home on the worldwide inner tube is at <a href="http://brian-robbins.com/">brian-robbins.com</a> (And there’s that <a href="https://www.facebook.com/BrianRobbinsWords">Facebook</a> thing too.)</em></p> http://www.guitarworld.com/ouroboros-new-orleans-suspects-funkified-masterpiece#comments Brian Robbins New Orleans Suspects Interviews News Features Fri, 21 Nov 2014 21:20:02 +0000 Brian Robbins http://www.guitarworld.com/article/22931