News en Born of Osiris' Lee McKinney on Pantera's 'Cowboys From Hell' — The Record That Changed My Life <!--paging_filter--><p><strong>Pantera</strong><br /> <em>Cowboys From Hell</em> (1990)</p> <p>My dad turned me on to all the metal I listened to when I was younger. We’d listen to a lot of Randy Rhoads and Ozzy Osbourne. </p> <p>But when he played Pantera’s <em>Cowboys from Hell</em> for me, that was what really made me want to play metal and be in a band. That Pantera record changed everything for me. I was probably 12 when I first heard it, which was about 10 years after the record came out, and I would look up all their videos online. </p> <p>I remember the "Primal Concrete Sledge" video in particular. It was live, and so crazy. Pantera had that clicky kick drum and rhythmic chugging, and of course Dimebag Darrell’s lead work. The groove behind <em>Cowboys from Hell</em> was a different take on the other stuff I was listening to at that time, and it really drew me in.</p> <p>Unfortunately I never got to see Pantera live, which is a major bummer. But traveling on the Mayhem festival, I’ve met a lot of people that were close to Dime, like Rita [Haney, Dimebag’s longtime girlfriend]. It’s cool to hear all the stories about him. He seemed like such an awesome guy. </p> <p>To this day, I still listen to Pantera. We tour a lot with another band from our label, Sumerian, called After the Burial. When we get with them, it always turns into a Pantera listening party, and <em>Cowboys from Hell</em> is always in the mix.”</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/pantera">Pantera</a> </div> </div> </div> </fieldset> Born of Osiris July 2014 Lee McKinney Pantera The Record that Changed My Life News Features Magazine Fri, 01 Aug 2014 13:54:57 +0000 Lee McKinney 25 Things Every Guitarist Should Know <!--paging_filter--><p><em>Many people believe that possessing talent alone is enough to guarantee an artist success in the music business. Nothing could be further from the truth. In a perfect world, the best musicians — the best guitarists — would be amply rewarded for their abilities. The music business, however, is far from perfect. </em></p> <p>And unless you're one of the blessed few (such as Eddie Van Halen) who can single-handedly change the course of guitar history, the harsh reality is that killer chops and perfect time impress only other guitarists, not the people who hire you or buy the records.</p> <p>Talent, of course, is any artist's basic bread and butter, but whether you're a fingerpicker or a two-handed tapper, in order to survive the music business and distinguish yourself from the thousands of other guitarists who are after your gig, you must boast some other essential qualities. These range from good people skills to practical, common-sense approaches to your business (Fact it, that's what it is), both of which will help you stand out from the pack — and believe me, there's nothing more frightening that a pack of hungry, feral guitarists. </p> <p>For your edification, I have crunched these qualities — the many do's and don'ts of guitar existence — into 25 hardheaded, clearly wrought maxims. Learn them, memorize them, master them and imbibe. You'll be a better person for it, a better guitarist, and you just may make your way from the garage to the arena stage.</p> <p><strong>01. Nobody likes an asshole</strong></p> <p>Reality check: Most musicians don't give a damn whether you're the second coming of Jimi, Eddie or Buck Dharma. They just want someone with a good attitude who will play the parts correctly. And since most of your time is spent offstage, relating with the other musicians on a personal level becomes as important as relating to them musically. Remember-no one is indispensable. Just ask David Lee Roth.</p> <p><strong>02. Having a great feel is your most important musical asset</strong></p> <p>No one will want to play with you if you have bad time. You must have a great feel-it's that simple. By "great feel" I mean the ability to lock in with the rhythm section and produce a track that grooves. If there's one thing I would recommend you to constantly work on, it's developing your groove. Listen to the greats to learn how grooves should be played: from rock (Led Zeppelin's "Whole Lotta Love" to 16th-note funk (James Brown's "Sex Machine") to blues shuffle ("Pride and Joy" by Stevie Ray Vaughan). Tape yourself (with a metronome) playing them-you'll be able to isolate and work on your problem areas. Or pick up the excellent JamTrax series (Music Sales), a series of play-along tapes covering everything from blues to alternative to metal, to stay in shape. This is the one area where you should be most brutal in your self-assessment. You'll be a much better player for it.</p> <p><strong>03. Develop your own sound </strong></p> <p>There's no better way to learn how to play than to cop licks from your favorite guitarists. The problem to watch out for is when you start sounding too much like your favorite player. Remember, rules, especially musical rules, are made to be broken.</p> <p><strong>04. Be on time</strong></p> <p>You wouldn't believe how many musicians don't believe that punctuality is important. It is crucial.</p> <p><strong>05. Listen, listen, listen!</strong></p> <p>When you're on stage or in the studio, don't be in your own world-listen and interact with the other musicians you're working with. React to what they're playing. Don't play too loud or get in the way when someone else is soloing. Put their egos ahead of yours-your number will always be called if the other musicians feel that you made them sound better.</p> <hr /> <p><strong>06. Know what you want to be</strong></p> <p>The most successful people in the music business are totally focused-they have specific goals in mind and do whatever is necessary to achieve them. The simple realization that you don't have to be a musician to be a rock star and don't have to be a rock star to be a musician can spare you years of cynicism and bitterness.</p> <p><strong>07. Play for the song, not for yourself</strong></p> <p>It's imperative to play what's idiomatically correct. For example, don't play Yngwie licks on Bush's "Glycerine" or a noodly jazz solo on Soundgarden's "Outshined," no matter how much it impresses you. I learned this the hard way while auditioning for a punk singer. I thought I'd show her what a good, well-rounded musician I was and ended a thrash song in A with an Am(add9) chord, instead of a more appropriate A5. I was promptly shown the door.</p> <p><strong>08. Play with musicians who are better (and better known) than you</strong></p> <p>There's no faster way to improve and jump up to the next level than to play with great musicians. You'll learn the tricks of the trade, and pick up on their years of experience in the trenches, as well. But if you want to be a star, there's no better way to kick-start your career than by ingratiating yourself with someone famous and be seen sycophantically swilling drinks with him or her at the coolest bar in town.</p> <p><strong>09. Less is more</strong></p> <p>Most players you hear or read about pay lip service to what has become the guitardom's ultimate cliché. The fact is, though, what's glibly easy to say is not necessarily easy to do. I learned this on a gig backing up a singer on a cruise ship (It was the actual "Love Boat!"). Back then, I couldn't read music or play over changes very well, so during the first show, in abject fear, I played very sparsely-only what I was sure would work. After the show, the singer told me she had never worked with so sensitive an accompanist.</p> <p><strong>10. Image does matter</strong></p> <p>This is one of the sad truths about the music business. The good news, however, is that not every musical situation calls for the same image. So use some common sense-if you're going to be auditioning for a wimpy jangle band, don't come dressed like a Marilyn Manson cast-off.</p> <hr /> <p><strong>11. It's essential to have a great touch, or vibrato</strong></p> <p>There are players who say it took them 10-15 years to develop a great vibrato. They're the lucky ones-most never find it. Your touch is like your fingerprints-it's what distinguishes your blues playing, for instance, from that of countless other guitarists. Think of B.B. King or Jimi Hendrix-they are instantly recognizable. There are two main types of vibrato: one generated by the wrist (a la Hendrix and B.B. King) and the other from the fingers (favored more by classical guitarists). To determine which type works for you, check out your favorite guitarists' vibratos and try to imitate them. You can also pick up B.B. King's video <em>Bluesmaster</em> (Volume 1) to see his unique "bee-sting" vibrato demonstrated in-depth.</p> <p><strong>12. Get your sound/tone together</strong></p> <p>I can't emphasize enough how important this is. Know your gear well enough so that it works for you, not against you. For example, if you're looking for a Stevie Ray tone, you won't get it with a Les Paul going through a Marshall. You'll need a Strat running through a Fender Bassman (with an Ibanez Tube Screamer for extra punch). Unless you're a studio tech-head, a great guitar and amp (with an overdrive or chorus pedal) will probably sound 10 times better than a refrigerator full of rack-mounted shit (believe me, I've been there).</p> <p><strong>13. Practice what you don't know, not what you do know</strong></p> <p>In order to improve, you must practice. That sounds frightening, but let me reassure you that good practicing doesn't necessarily entail sitting grimly in a basement (while the other kids are outside playing), mindlessly running scales and arpeggios-you can get all the technique you need by learning licks from your favorite guitarists. For example, Eric Johnson's intro to "Cliffs of Dover" is a veritable lexicon of minor-pentatonic ideas. Here are the three axioms of good practicing:</p> <p>A. Master small bits of music first (no more than four to eight notes at a time), then connect them to form longer passages.<br /> B. Start out playing new ideas at a slow tempo (this builds muscle memory), then gradually work up to speed. It's much better to play slow and clean than fast and sloppy.<br /> C. Always practice with a metronome</p> <p><strong>14. Get your business chops together</strong></p> <p>Business chops are just as important as musical ones, if not more so. If you want to make money as a musician, you have to start seeing yourself as a business and your music as a product. Acting against the stereotype of a musician (you know — stupid, drunk and gullible), as hard as that may be, will show club owners and record execs that you're not a pushover.</p> <p><strong>15. Be fluent with both major and minor pentatonic scales</strong></p> <p>In rock, pop, blues or country situations, knowing these scales will enable you to get by 80 percent of the time. I heartily recommend my book <em>Practical Pentatonics</em> (Music Sales)-a nifty little volume that covers just about all you need to know to be comfortable using the pentatonic scale in real-life gigging situations.</p> <hr /> <p><strong>16. As soon as you learn something cool, apply it immediately to a real-life musical situation</strong></p> <p>Many guitarists learn tons of licks that sound great when played in the practice room. But the minute they get on stage, they have a hard time integrating this new material into their playing. Before you learn something new, you should have an idea where you could fit it in.</p> <p><strong>17. Learn as many melodies as you can</strong></p> <p>Not only does learning melodies to tunes (any tunes) increase your repertoire, it also (subconsciously) gives you an incredibly distinct edge in developing your phrasing. Ideally, you should be able to duplicate any melody you hear.</p> <p>A. Listen to how singers interpret melodies and try to mimic their phrasing on the guitar.<br /> B. Try to play back any, and I mean any, melody you hear-be it a TV commercial, nursery rhyme or the Mister Softee ice cream truck theme.<br /> C. Always learn a melody on more than one place on the guitar neck. You want to play the melody, not have the melody play you.</p> <p><strong>18. Know your place</strong></p> <p>When a bandleader asks you to play something a certain way, smile and do it! Don't argue. Don't pout. Don't think you know better. Don't be an asshole. You'll have plenty of time to be in charge when your three-disk epic rock opera adaptation of The Jeffersons gets picked up.</p> <p><strong>19. Contrary to popular belief, taking lessons and listening to other styles of music doesn't hurt</strong></p> <p>It never hurts to broaden your scope, no matter how great a player you already are or how much you think you've already learned all there is to know. Opening your mind to other styles and techniques makes you a better, more well-rounded musician. Period. A great teacher can inspire and enable you to develop as a creative, exciting player.</p> <p><strong>20. Learn as many tunes as possible, from start to finish</strong></p> <p>It doesn't matter what style you like to play in, the more tunes you know, the easier it is to get a gig or kick ass on a jam session. And there's no excuse for not doing it-even if you're not at the point where you can learn tunes off the recording, you can avail yourself of the hundreds of transcription books out there. Heck, you can learn five new tunes a month just by reading <em>Guitar World</em>!</p> <hr /> <p><strong>21. Develop authority as a player</strong></p> <p>You have to get to the point where you feel as creatively comfortable in front of hundreds of people as you do in front of your sister and the dog. And the only way you can attain that authority is by putting in the time. Playing at home only gets you so far-it's imperative that you play out as soon as you can. Attend jam sessions. Take less-than-ideal gigs, just for the experience. Take any gigs, for that matter-it's the experience that counts!</p> <p><strong>22. Hang out with other musicians</strong></p> <p>The best way to get contacts and gigs is to be seen and heard. How can anyone recommend you if they don't know who you are? As unpleasant and greasy as this may sound, do your best to befriend other guitarists. Though there's intense competition amongst players, most of your work will come as a result of recommendations made by other guitarists.</p> <p><strong>23. Know the fundamentals</strong></p> <p>Being able to hear common chord changes will help you learn tunes off the radio faster. Knowing a little basic theory will help you with your songwriting and your ability to intuitively come up with rhythm parts. For example, knowing that the harmonic structure of most blues tunes is I-IV-V (C-F-G) and that early rock ballads were usually built on I-vi-IV-V progressions (C-Am-F-G) will help you to play just about any tune in those genres or compose one of your own. One more plug: you also might want to check out my book <em>The Advanced Guitar Case Chord Book</em> (Music Sales) to get an idea of how to apply cool chord voicings to common progressions in all types of music.</p> <p><strong>24. Be careful out there</strong></p> <p>As soon as you or your band become somewhat popular, all sorts of characters are going to start crawling out of the gutter with designs on you. Have fun, but don't go overboard. And always keep an eye on your equipment-it's your life's blood. And try to save some cash.</p> <p><strong>25. Don't shit where you eat</strong></p> <p>Don't fuck the singer. Don't fuck the drummer's girlfriend. Don't fuck the drummer's dog. Don't fuck the drummer. Don't backstab your bandmates. Don't pocket tips. Don't be an asshole!</p> GW Archive Guitar World Lists News Features Magazine Fri, 01 Aug 2014 13:46:47 +0000 Askold Buk DVD Combo Pack — 'Talkin' Blues' Parts 1 and 2 — on Sale at Guitar World Online Store <!--paging_filter--><p>The <em>Talkin' Blues</em> DVD Combo Pack is <a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=TalkinBluesCombo">available now at the Guitar World Online Store</a> for a special sale price — $24.95 (down from $29.98)!</p> <p>Get both <em>Talkin' Blues</em> DVDs from Keith Wyatt in this special combo offer! That's four hours of in-depth video lessons on essential blues elements and guitar-playing techniques.</p> <p>Don't miss out on this amazing blues tutorial at a great price!</p> <p><strong><em>Talkin' Blues</em> DVD Part 1:</strong></p> <p> Precision string bending<br /> Low-register phrasing for musical effect<br /> How to use fills effectively<br /> Chicken-pickin' phrases for a funky feel<br /> How to bring your licks to life with accented notes<br /> Jazz-blues techniques:extensions, alterations and substitutions<br /> How to make licks groove with swinging eighth notes</p> <p><strong><em>Talkin' Blues</em> DVD Part 2:</strong></p> <p> "Street Jazz" chord extensions and alterations<br /> Soloing over chord substitutions<br /> How to play like Blink Blake and Charlie Christian<br /> How to match the solo to the song<br /> "Dead thumb (or pick)" technique<br /> Conversational phrasing<br /> Sixth and ninth chords<br /> The New Orleans sound</p> <p>Your instructor: For more than 35 years, Wyatt has been active as a guitarist and educator specializing in American music. He is a prolific author of books, instructional videos and columns on subjects ranging from theory and ear training to beginning guitar methods and blues and "roots" styles. Since 1978, Keith has been an instructor at the world-famous Musicians Institute in Los Angeles, where he also serves as Director of Curriculum. Since 1996, he has been touring internationally and recording with LA's legendary Blasters. </p> <p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=TalkinBluesCombo">This combo pack is available now at the Guitar World Online Store!</a></strong></p> News Features Fri, 01 Aug 2014 13:44:40 +0000 Guitar World Staff Johnny Depp and Aerosmith Perform "Big Ten Inch Record" — Video <!--paging_filter--><p>Johnny Depp keeps turning up at Aerosmith shows. Not in the audience, mind you. On stage.</p> <p>Just a few weeks ago, he performed "Train Kept A-Rollin'" with the band in Mansfield, Massachusetts. </p> <p>This past Wednesday night, he showed up on the other coast — at the Forum in Inglewood, California — to play Bull Moose Jackson's "Big Ten Inch Record." Aerosmith originally recorded the tune for 1975's <em>Toys in the Attic.</em></p> <p>You can check out a bit of fan-filmed footage of the event below. As always, let us know what you think of it in the comments or on Facebook!</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/aerosmith">Aerosmith</a> </div> </div> </div> </fieldset> Aerosmith Johnny Depp Videos News Fri, 01 Aug 2014 13:42:30 +0000 Guitar World Staff Gus G Premieres Music Video for "Blame It on Me" Featuring Mats Levén <!--paging_filter--><p>Today, presents the premiere of a new music video from Ozzy Osbourne/Firewind guitarist Gus G — "Blame It on Me," featuring Mats Levén of Candlemass.</p> <p>The track is from Gus' solo debut, <em>I Am The Fire</em>, which was released March 18 via Century Media Records.</p> <p>Gus handles all guitar, bass and keyboards on the album. </p> <p>He's also joined by a host of friends and guests, including drummers Jeff Friedl (A Perfect Circle, Puscifer, Devo) and Daniel Erlandsson (Arch Enemy), bassists David Ellefson (Megadeth), Billy Sheehan (Mr. Big, David Lee Roth) and Marty O'Brien (Tommy Lee, We Are the Fallen) and vocalists Leven, Blake Allison (Devour The Day), Michael Starr (Steel Panther) and many more.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/gus-g">Gus G</a> </div> </div> </div> </fieldset> Candlemass Gus G Mats Levén Videos News Fri, 01 Aug 2014 13:28:31 +0000 Guitar World Staff Kirk Hammett, Exodus, Death Angel Members Perform Judas Priest's "Grinder" and Metallica's "Seek & Destroy" — Video <!--paging_filter--><p>Below, check out some fan-filmed footage of Metallica's Kirk Hammett performing Judas Priest's "Grinder" and Metallica's "Seek &amp; Destroy" with Exodus and Mark Osegueda of Death Angel. Note that Metallica bassist Robert Trujillo joins the band for "Seek &amp; Destroy." </p> <p>The jam session took place last Friday, July 25, at Hammett's "Fear FestEvil After Party" at the San Diego Comic-Con International. </p> <p>As we have reported 17,000 times, Hammett was a member of Exodus' original lineup before replacing Dave Mustaine in Metallica in 1983. </p> <p>As always, be sure to let us know what you think in the comments or on Facebook! We admit the videos are on the dark side, the sound is actually pretty decent.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/exodus">Exodus</a> </div> <div class="field-item even"> <a href="/judas-priest">Judas Priest</a> </div> <div class="field-item odd"> <a href="/metallica">Metallica</a> </div> </div> </div> </fieldset> Exodus Judas Priest Kirk Hammett Metallica Videos News Fri, 01 Aug 2014 13:12:57 +0000 Guitar World Staff Black Veil Brides' Jake Pitts on Metallica's Black Album — The Record That Changed My Life <!--paging_filter--><p><strong>Metallica</strong><br /> <em>Metallica</em> (The Black Album) (1991)</p> <p>Metallica’s Black Album (<em>Metallica</em>) definitely changed the way I looked at the guitar and what my goals were going to become in life. </p> <p>I can’t remember the exact moment I discovered the album, but I do remember I was around 13 years old and had gotten this new cool toy for my birthday called the Rhythm Bandit. It was a little device you would hook up to your CD player and flip a switch that was supposed to isolate the rhythm guitar. </p> <p>I remember sitting in the living room of our little house in Boise, Idaho, for hours and hours, learning every song on the Black Album with the help of the Rhythm Bandit, which allowed me to hear the guitar parts better. </p> <p>I actually went to one of my guitar lessons and said I wanted my guitar to sound like Metallica, but I wasn't talking about my playing—I was talking about tone. </p> <p>I don’t know anyone who understands tone at that age, as most kids just want to crank the gain to 10, but I've always had a good ear for sound. I never would have thought back when I was sitting on my living room floor learning those songs that I would be doing one of my albums with the legendary Bob Rock himself.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/metallica">Metallica</a> </div> </div> </div> </fieldset> August 2014 Black Veil Brides Jake Pitts Metallica The Record that Changed My Life Interviews News Features Magazine Fri, 01 Aug 2014 10:52:13 +0000 Jake Pitts We Are The In Crowd's Jordan Eckes and Cameron Hurley's Summer Tour Survival Guide — Warped Tour <!--paging_filter--><p><em>In this new feature from the August 2014 issue of <em>Guitar World</em>, the guitarists of Avenged Sevenfold, Morbid Angel, Trivium and other metal acts tell how they'll beat the heat and tame the crowds on the season's biggest tours.</em></p> <p><strong><em>TODAY: We Are The In Crowd's Jordan Eckes and Cameron Hurley — WARPED TOUR</em></strong></p> <p><strong>Jordan Eckes</strong></p> <p><strong>Tips for playing in extreme heat?</strong></p> <p>Stay hydrated and don’t play on an empty stomach! The last thing you want to do is pass out onstage and cause a panic. Trust me: playing on 120-degree days is no joke. </p> <p><strong>One item you’ll carry with you at all times this summer?</strong></p> <p>Sunglasses.</p> <p><strong>Considerations when playing an outdoor show versus an indoor show?</strong></p> <p>When you’re running entirely DI like we do, there will be times when the wind will completely throw the sound around, so you need to be aware of that. And we always need to be prepared for rain. </p> <p><strong>Primary gear you’ll be playing this summer?</strong></p> <p>Nothing too fancy, just my Music Man Reflex custom and an Avid Eleven Rack for amp simulation. For a long time I used a JCM 900 through a Palmer PDI-03 speaker simulator, but it makes life so much easier having a two-space rack. Once everything is mixed at front-of-house, it’s really hard to tell what's “real” and what’s digital these days.</p> <p><strong>Tips for winning over a tough crowd?</strong></p> <p>If a crowd isn’t feeling your set, there’s really not much you can do besides try to pump them up. Talk about whoever’s headlining that day, and try to interact with the crowd instead of playing your set as fast as possible.</p> <p><strong>Advice for a band just starting to play live?</strong></p> <p>Get your drummer on a click. It will make your live show more enjoyable and you’ll grow tighter as a band. Don’t be afraid of laying out banter for your set before a show. Make sure your lead singer knows what he or she needs to say before a particular song. Just have fun—and, please, use a floor tuner!</p> <p><strong>Cameron Hurley</strong></p> <p><strong>Your sweatiest concert ever?</strong></p> <p>It was at the Cockpit in Leeds, England, on our headlining tour of the U.K. earlier this year. The venue is shaped like a giant soup can, and when it’s packed it feels like you’re playing in one, too. Our clothes didn’t dry for about two days after that.</p> <p><strong>Tips for playing in extreme heat?</strong></p> <p>Pace yourselves, stay hydrated, and try not to drink too much alcohol before you play. There isn’t much more you can do about the heat, so you’d better get used to standing around in sweat-soaked clothes.</p> <p><strong>One item you’ll carry with you at all times this summer?</strong></p> <p>I tend to lose most of things I should carry on me at all times. But one thing I’ll never tour without is my FGN Masterfield guitar. It’s a beautiful, Japanese-made semi-hollowbody, and I can get just about any sound I’m looking for out of it.</p> <p><strong>Considerations when playing an outdoor show versus an indoor show?</strong></p> <p>Don’t underestimate how much the sun will wear you down. The first few times you have to play outside in the middle of the summer, you’ll feel like you just ran a triathlon. If it's really sunny and you use a lot of pedals, try putting them somewhere onstage where there’s shade. There’s nothing worse than looking down at your tuner and seeing nothing but the glare from the sun.</p> <p><strong>Primary gear you’ll be playing this summer?</strong></p> <p>Over the past few years, we’ve slowly transitioned to having a fully digital setup. I’m playing an Avid Eleven Rack with a MIDI-controlled pedal board. It’s simple and easy to travel with, and it’s very convenient to transition from using it for writing and demoing when we’re off tour to using it as a live rig on tour.</p> <p><strong>Tips for winning over a tough crowd?</strong></p> <p>Some crowds are harder to please than others. On a good day, everything just connects, the crowd is responsive, and we put on a show we feel great about. Other days you need to put in more work, raise the energy and get in their faces a bit more. Don’t lose confidence if the crowd doesn’t seem blown away. Chances are there was at least one person who loved it, and they’ll remember it.</p> <p><strong>Advice for a band just starting to play live?</strong></p> <p>When you’re first starting out, you might be more worried about playing a perfectly tight set and forget that you also need to put on an entertaining show. Keep the crowd engaged, and get them involved with the show so they can connect with more than just the music.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> 2014 Summer Tour Survival Guide August 2014 Cameron Hurley Jordan Eckes We Are The In Crowd Interviews News Features Magazine Fri, 01 Aug 2014 10:45:56 +0000 Jeff Kitts, Sammi Chichester Periphery's Misha Mansoor Discusses Dream Theater's 'Metropolis Pt. 2: Scenes from a Memory' — The Record That Changed My Life <!--paging_filter--><p><strong>Dream Theater</strong><br /> <em>Metropolis Pt. 2: Scenes From A Memory</em> (1999)</p> <p>“This is the album that got me into progressive music and made me think differently about guitar.</p> <p>"It’s the most formative album for me in deciding I was going to be a musician and take guitar seriously. Before hearing <em>Scenes from a Memory</em>, I was mostly a drummer. I was probably 15 or 16 when my friend from high school played it for me. </p> <p>"I had heard the name Dream Theater before, but I didn’t pay attention because sometimes the word prog gets a bad rap, so I kinda wrote them off. But my friend lent me the album along with their DVD, <em>Metropolis 2000: Scenes from New York</em>, where they play the album live. The combination of hearing the record and also seeing that they could actually play that stuff live was amazing. They nail it. I didn’t even know it was possible, and it rocked my world. </p> <p>“Before that, I played guitar a little bit, but it was mostly about playing drop-D power chords. Nothing serious. But the possibilities of what music could be expanded so much after I heard <em>Scenes from a Memory</em>. It was a mind fuck. I stopped playing drums and took guitar seriously. I sat down and learned as much of the solos and riffs on that album as I could. That’s how I started developing my chops. </p> <p>“The beauty of John Petrucci is that he’s the whole package. Shredders are a dime a dozen, but this guy writes some of the sickest riffs and best songs ever. I wanted to emulate him and absorb as much of his music as possible. I didn’t even want to be original. Dude, I wanted to straight up be John Petrucci! </p> <p>"<em>Scenes from a Memory</em> was my introduction to Dream Theater, and it’s still my favorite record by them. It has so much sentimental value for me because it had such a big impact on my guitar playing.”</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> Dream Theater July 2014 Misha Mansoor Periphery The Record that Changed My Life Interviews News Features Magazine Fri, 01 Aug 2014 10:27:50 +0000 Misha Mansoor The Doors' Robby Krieger Discusses Bob Dylan's 'Bringing It All Back Home' — The Record That Changed My Life <!--paging_filter--><p><em>Robby Krieger of the Doors chooses and discusses the record that changed his life.</em></p> <p><strong>Bob Dylan</strong><br /> <em>Bringing It All Back Home</em> (1965)</p> <p>“This guy from Marblehead, Massachusetts, who I knew in school named Bill Phinity turned me onto Bob Dylan. </p> <p>"We had a jug band called the Back Bay Chamberpot Terriers. This was the same time that Jerry Garcia, Bob Weir and Pigpen were playing in a jug band before they formed the Grateful Dead, but they were a lot better than us. Our only gig was for the Ladies Auxiliary. We played a bunch of Dave Van Ronk stuff. </p> <p>“I was 19 and attending [The University of California] Santa Barbara when <em>Bringing It All Back Home</em> came out. I was taking a lot of acid in those days, and everything Dylan said just really connected with me. There are a lot of great songs on that album—‘Maggie’s Farm,’ ‘Mr. Tambourine Man,’ ‘It’s All Over Now, Baby Blue.’ ‘Subterranean Homesick Blues’ is one of my favorites. That was actually the first rap song as far as I’m concerned. Dylan used the words like notes. He didn’t really care what they said, just how they sounded. </p> <p>“I always liked the way that Dylan played guitar, although I never tried to copy the way he played.</p> <p>"I was always amazed by how he could play guitar and sing or play harmonica at the same time. But the spirit of Dylan’s music has always stayed with me through everything I’ve done with the Doors and the Robby Krieger Band.”</p> <object width="620" height="365"><param name="movie" value="//;hl=en_US" /><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><embed src="//;hl=en_US" type="application/x-shockwave-flash" width="620" height="365" allowscriptaccess="always" allowfullscreen="true"></embed></object><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="/bob-dylan">Bob Dylan</a> </div> <div class="field-item even"> <a href="/doors-0">The Doors</a> </div> <div class="field-item odd"> <a href="/robby-krieger">Robby Krieger</a> </div> </div> </div> </fieldset> Bob Dylan July 2014 Robby Krieger The Doors The Record that Changed My Life Interviews News Features Magazine Fri, 01 Aug 2014 10:25:20 +0000 Robby Krieger Prestige Guitars at 2014 Summer NAMM: Musician Pro — 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>While we were at the show, we stopped by Prestige Guitars' booth. Our visit is chronicled in the video below. </p> <p>In the clip, we get the lowdown on the particulars of Prestige's Musician Pro hollow-body electric guitar. </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="">2014 Summer NAMM photo gallery.</a></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Prestige Guitars Summer NAMM 2014 Videos Electric Guitars News Gear Fri, 01 Aug 2014 10:22:22 +0000 Guitar World Staff Lullwater: The Story Behind "Albatross" — Exclusive Video <!--paging_filter--><p>Today, presents the premiere of an exclusive new video by Georgia rockers Lullwater. </p> <p>In the clip, which you can check out below, Lullwater singer/guitarist John Strickland discusses the band's single, "Albatross," and its accompanying music video.</p> <p>“'Albatross' is a hard-hitting track that let us express what the band was going through at the time," Strickland says. </p> <p>"During the recording process, we were able to capture genuine emotion that is the driving force behind the song. We couldn't be happier with the way things are going now. We're excited 'Albatross' is catching on and the fans are digging it. Without them we wouldn't be able to do what we love."</p> <p>"Albatross" is from the band's self-titled 2013 album. To check out the official "Albatross" music video, <a href="">head here.</a> </p> <p>Lullwater will make a special appearance at <a href="">Inked Out NJ</a> September 13 and 14 while continuing to play dates across the U.S. — as they've been doing steadily over the last year.</p> <p>For more about Lullwater, visit their <a href="">official website</a> and <a href="">Facebook page.</a></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Lullwater Videos News Fri, 01 Aug 2014 10:20:33 +0000 Damian Fanelli The Feed Premiere New Album, 'Outsider' — Exclusive <!--paging_filter--><p>Today, presents the exclusive premiere of <em>Outsider</em>, the new album by the Feed.</p> <p>The album — a collection of scuzzed-out jams that rock like T. Rex at a Spoon show — marks the return of the band after a three-year hiatus and their first release since their <em>Sawhorse Sessions</em> EP in 2011. It will be released August 5.</p> <p>The Feed’s primary songwriter, vocalist/keyboardist Dave Grelle, can't help but rave about guitarist Jordan Heimburger’s playing on <em>Outsider</em>.</p> <p>"Jordan is the ideal guitarist for the Feed," Grelle says. "Since we pull influences from everywhere, it’s important to have a guitarist who’s well versed in every genre. Whether it’s his Stonesy slide work or psychedelic fuzz, he always plays just what the song calls for.</p> <p>"When writing tunes, I leave plenty of room for the players to put their own stamp on them. I usually have a pretty good idea of what I’m going for, but the guitar parts Jordan orchestrates on the fly are always way cooler than what I originally heard in my head."</p> <p>Heimburger, a recent addition to the band, is noticeably pumped up about <em>Outsider</em>.</p> <p>"This was a super-fun recording session because I was able to set up alone in the big room at Sawhorse Studios in St. Louis and really let the volume rip," he says. </p> <p>"We played all the tracks live with the other three dudes in the second room across the hall pumped through my headphones. It was cool to have space to get loud without bleed and essential for me to be in the same space with the amp for all of that harmonic interaction and vibe. </p> <p>"I tracked all but one of the songs through a '66/'67 Vox AC30, and the tone is basically guitar straight in. I fell in love with that amp and got a little choked up when I had to give it back to the good friend who lent it to me for the session. All you have to do is play all right and the track sounds killer! My main guitar was a St. Louis-built custom Strat style by K-Line Guitars. </p> <p>"It was so cool to go to Chris's shop and hand pick the woods, finish, pickups and be in touch throughout the build. The other guitars on the record were an American Ash Telecaster and a Telecaster Deluxe. For some of the more overdriven sounds, I used a Boss EQ as a frequency-shaped clean boost to push tubes, which is my go-to for live solos and to dirty up tone without the compression of dynamics a distortion box adds."</p> <p>For more about the Feed, follow them on <a href="">Facebook.</a></p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src=";auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true"></iframe></p> The Feed News Fri, 01 Aug 2014 10:18:43 +0000 Damian Fanelli Guitarist Dick Wagner Dead at 71; Worked with Alice Cooper, Lou Reed <!--paging_filter--><p>Guitarist Dick Wagner, who was best known for his work with Alice Cooper and Lou Reed, died today in Scottsdale, Arizona. He was 71.</p> <p>Wagner had contracted a lung infection after heart surgery and died following respiratory failure, <em>Billboard</em> reports.</p> <p>Only last week, Wagner posted this message to fans through his Facebook account: “I love you all very much. I can't wait to play for you all again one day soon. Thank you for all your kind wishes.”</p> <p>Alice Cooper was among the first to pay his respects:</p> <p>“Even though we know it's inevitable, we never expect to suddenly lose close friends and collaborators,” he said. “Dick Wagner and I shared as many laughs as we did hit records. He was one of a kind. He is irreplaceable.</p> <p>“His brand of playing and writing is not seen anymore, and there are very few people that I enjoyed working with as much as I enjoyed working with Dick Wagner. A lot of my radio success in my solo career had to do with my relationship with Dick Wagner. Not just on stage, but in the studio and writing.</p> <p>“Some of my biggest singles were ballads what I wrote with Dick Wagner. Most of <em>Welcome to My Nightmare</em> was written with Dick."</p> <p>Gene Simmons of Kiss described Wagner as “the consummate gentleman axeman” in his tribute.</p> <p>The guitarist had famously overcome a series of medical issues during the past decade, retraining himself on guitar after a stroke paralyzed his left arm. He re-emerged to begin recording, writing and performing shows.</p> <p>Wagner was born in Iowa and later settled in Saginaw, Michigan. He was a key figure in southeastern Michigan’s emergent rock scene in the 1960s, a guitarist who made his name with the Bossmen and the Frost.</p> <p>In 1972, Wagner moved to New York and formed Ursa Major, which included Billy Joel on keyboards and Rick Mangone on drums. The band toured with Jeff Beck and then with Cooper.</p> <p>In 1973, Wagner was recruited by Bob Ezrin for Lou Reed's band, along with guitarist Steve Hunter. Soon after, Wagner and Hunter were joined by Prakash John, Pentti "Whitey" Glan and Ray Colcord for Reed's <em>Rock 'n' Roll Animal</em> tour. The band toured internationally with Reed, culminating in the <em>Rock 'n' Roll Animal album</em>, which was recorded live at the Brooklyn Academy of Music in December 1973.</p> <p>Wagner was recruited by Cooper for his 1975 album, <em>Welcome to My Nightmare</em>, and went on to work with a host of A-list artists, including Peter Gabriel and Rod Stewart. Legend has long held that Wagner was a secret hired hand on albums by several high-profile bands.</p> <p>“He was just a humble and talented guy, and I think that's why Jack Douglas and those guys loved him — he was just this consummate pro,” Brian Pastoria, a Detroit musician and studio operator who worked with Wagner, told the <a href="">Detroit Free Press</a>. “I think Dick Wagner took Alice to another level in his career. He was already the showman at that point, but musically he had to show that he really had it.”</p> <p>Wagner lived in Arizona in later years, but regularly made his way back to Michigan, including a June 29 show in Owosso, his final home-state performance.</p> <p>Wagner — who released the 2012 memoir <em>Not Only Women Bleed, Vignettes from the Heart of a Rock Musician</em> — remained prolific through the end, said manager and business partner Suzy Michaelson.</p> <p>“He was very proud of his songwriting, and very proud that he was coming back and playing really, really well again after having been paralyzed, and all the different things he’d been through,” Michaelson told the <em>Detroit Free Press</em>.</p> <p>Michaelson said a memorial tribute will take place in Michigan. </p> Dick Wagner News Thu, 31 Jul 2014 20:40:55 +0000 Guitar World Staff Exodus Reveal Cover Art for New Album, 'Blood In, Blood Out' <!--paging_filter--><p>Legendary thrash metal band Exodus have revealed the art for their upcoming album, <em>Blood In, Blood Out</em>, which will be released in the fall via Nuclear Blast. </p> <p>The cover was illustrated by Swedish artist Par Olofsson, who also created the art for Exodus' 2008 album, <em>Let There Be Blood</em>.</p> <p>“I fed [Olofsson] the title and he immediately came up with the final concept, and it’s perfect," said Exodus guitarist Gary Holt. "One of my favorite covers we’ve ever done, and it fits the title and theme to a T!”</p> <p>Note that you can see a larger version of the cover art below.</p> <p><em>Blood In, Blood Out</em> is the band's 10th studio album. It marks their first release with returning vocalist Steve “Zetro” Souza since 2004’s <em>Tempo Of The Damned</em>. It also features Metallica guitarist (and former Exodus guitarist) Kirk Hammett on one song, "Salt in the Wound." </p> <p>"It felt really casual, really cool — just like it did back in 1980 when we were all just hanging out back in the day," Hammett told <em>Rolling Stone</em>. "Me, recording a solo on their album was a huge thing for me. Other than the Exodus demo that's been heard by a lot of people, it's the only time I ever recorded with Exodus. It was a huge thing for me." </p> <p>Exodus are also hitting the road, as you can see below:</p> <p><strong>EXODUS in South America</strong></p> <p>08/10 – Montreal, WC @ Heavy MTL - Main Stage B at 1:30PM<br /> 10/01 - Belem, Brazil @ Botequim<br /> 10/02 - Brasilia, Brazil @ CEDEC<br /> 10/04 - Sao Paulo, Brazil @ Carioca Club<br /> 10/05 - Rio De Janeiro @ Brazil Circo Voador<br /> 10/07 - Asuncion, Paraguay @ Kop Town<br /> 10/09 - Buenos Aires, Argentina @ Groove<br /> 10/11 - Santiago, Chile @ Club Kmasu Premier<br /> 10/12 - Antofagasta, Chile @ Rock and Soccer<br /> 10/14 - Lima, Peru @ Centrica<br /> 10/16 - San Jose, Costa Rica @ Club Pepper's<br /> 10/18 - Mexico City, Mexico @ Circo Volador</p> <p><strong>EXODUS in North America with Slayer and Suicidal Tendencies</strong></p> <p>11/11 – The Fox Theater - Oakland, CA (2nd show added!)<br /> 11/12 – The Fox Theater - Oakland, CA<br /> 11/14 – The Forum - Inglewood, CA<br /> 11/15 – Comerica Theatre - Phoenix, AZ<br /> 11/17 – Coca Cola Bricktown Events Venter - Oklahoma City, OK<br /> 11/18 – ACL Live at the Moody Theater - Austin, TX<br /> 11/19 – Verizon Theatre at Grand Prairie - Grand Prairie (Dallas), TX<br /> 11/21 – Hard Rock Café/Hard Rock Live - Orlando, FL<br /> 11/22 – The Tabernacle - Atlanta, GA<br /> 11/24 - Empire - North Springfield, VA (just added – EXODUS ONLY)<br /> 11/23 – The Fillmore - Charlotte, NC<br /> 11/25 – Washington Avenue Armory - Albany, NY<br /> 11/26 – Sands Bethlehem Event Center - Bethlehem, PA<br /> 11/28 – The Palladium - Worcester, MA<br /> 11/29 – Wellmont Theatre - Montclair, NJ<br /> 11/30 – Tower Theater - Upper Darby (Philadelphia), PA<br /> 12/02 – Agora Theatre - Cleveland, OH<br /> 12/03 - Madison Theatre - Covington, KY (just added – EXODUS ONLY)<br /> 12/04 – Egyptian Room at Old National Centre - Indianapolis, IN<br /> 12/05 – The Fillmore Detroit - Detroit, MI</p> <p><img src="/files/imce-images/attachment.jpg" width="620" height="620" alt="attachment.jpg" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/exodus">Exodus</a> </div> </div> </div> </fieldset> Exodus News Thu, 31 Jul 2014 20:11:22 +0000 Damian Fanelli