News

2013 Golden Gods Video: Metallica — "For Whom the Bell Tolls"

Guitar World Staff — Thu, 23 May 2013 18:49:01 +0000

The biggest names in hard rock and heavy metal rocked Los Angeles on Thursday, May 2, at the fifth annual Revolver Golden Gods Award Show.

As always, the event featured the once-in-a-lifetime collaborations that America’s only hard-rock and heavy-metal show has become known for.

Below, check out a video of Golden Gods Awards headliners Metallica performing "For Whom the Bell Tolls."

To watch ALL the 2013 performances and awards, head here or visit GoldenGodsAwards.com.

Additional Content

Video: 14-Year-Old Tina Covers Van Halen's "Eruption" Solo

Guitar World Staff — Thu, 23 May 2013 17:40:52 +0000

While it's nothing new to find 12-, 13- and 14-year-old guitarists on YouTube who make us adults feel like, well, lame-o guitar players, we thought you'd appreciate this recently posted (May 20) video of 14-year-old "Tina" playing a convincing — and effortless — cover of Eddie Van Halen's "Eruption" solo.

In terms of extra information, all we know is that Tina was taught by Renaud Louis-Servais, who also shot and posted the video. Tina is playing a Vigier Excalibur Custom guitar.

Enjoy! And start practicing!

Living the Dream: Guitarist Ethan Brosh Talks New Album and Why He Should Be in His Favorite '80s Metal Bands

John Katic — Thu, 23 May 2013 16:41:47 +0000

Musician, producer, music publisher and impresario Mike Varney has been instrumental in launching the careers of some of the finest rock guitarists of the past 30 years.

Varney, who founded Sharpnel Records in 1980, was responsible for the success for some of the biggest names in shred, including Paul Gilbert, Marty Friedman and Jason Becker — to name just a few.

In the '80s, readers religiously checked out his "Spotlight" column in Guitar Player magazine to see which new, undiscovered guitarists he had found each month.

Today, Varney is the co-owner of Magna Carta Records, home of another hot new talent, Ethan Brosh. The young guitarist combines a deep musical knowledge, the ability to draw listeners in with catchy melodies and a style that combines to make this up-and-coming talent shine.

We recently spoke to Brosh about his background, touring with Yngwie Malmsteen and his desire to play for his favorite '80s metal bands.

GUITAR WORLD: You have quite an extensive resume that includes being a graduate and faculty member of Berklee College of Music. Can you talk about the experience of studying and teach have influenced your development as a player?

Thank you! Berklee is the best place to go to college. I had such a great time there. All the teachers are incredible musicians, as are as most of the students. One of the things that make it such a great experience is the fact that everyone is a serious musician, and that creates an environment where you experience and breathe music 24/7. Whenever I go back to teach at Berklee in the summers, I get back to that state of mind of focusing on music all the time, trying to learn new things and growing as a musician. I love that!

During the year I'm usually preoccupied with everything that has to do with my music career at this point. So going back to the Berklee state of mind keeps me sane as a musician. The great thing about teaching is you get to look closely at what you're actually doing and come up with explanations of what the true concept of music is. You learn a lot from that. Also, you get to watch a lot of students play and get lots of ideas from many other players. I don't ever underestimate any player. You can learn something valuable from anyone.

You have some really cool retro guitars in your arsenal. Is there one in particular that is your favorite?

I love guitars! It's hard to pick a favorite because they're all my babies. I also no longer believe in a perfect guitar being out there. There are lots of different types of tones and different neck feels that make sense for particular situations. If I had to pick one, I'd say it's my Japanese Strat with a Kahler. That guitar sounds and feels so good. I just love it.

Can you discuss how you came to Magna Carta Records?

I've known Mike Varney, co-owner of Magna Carta, for years. He's a good friend of mine and a guy I have a great deal of respect for. He's responsible for many of my favorite albums and the fame of many of my favorite players. Knowing that Mike appreciates my playing and released my first record means a lot to me.

Out of Oblivion took me two and a half years to create. I put everything I had into that record and wanted to make an album they couldn't refuse. I've gotten a great reaction for it and I'm looking forward to seeing what people will think about my soon-to-be-released second record, Live The Dream, which I think is better.

How did you come to work with George Lynch on "Downward Spiral"?

I got to know George through his Dojo lessons program he had a few years ago. He had a competition there the first month of it. It was about writing a good melodic hook. I submitted my tune, “The Hit Man,” and won the competition. After that I got to know George and had the pleasure of having him participate in Out of Oblivion on the tune "Downward Spiral." Some months back, we shot a video for it and that was a blast.

In 20 years I'm sure this will be an incredible memory. Actually, it already is. George is a great friend and will forever be one of my top influences. I absolutely love him. I'm trying to bring some of that guitar approach of those great players to the new generation of guitar playing. There are a lot of fast shredders out there, but I think we are missing some players with great phrasing, tone, originality, stage presence, etc.

Can you tell us a little about your band Burning Heat?

Burning Heat is my other original band, which I'll be putting a lot of my focus into at this point. We are a rock/hard rock band. Again, since the very early '90s, I can't even point out one rock and roll band. I think people still love that style and crave that kind of music, but they're just not getting it because record labels and the media are focusing on different things. We are sticking to our guns and we just want to be out there bringing the fun back to rock music. We try to write songs that are very melodic with catchy singalong choruses and great riffs and solos, of course.

We have a song called "What The Hell Happened to Rock N Roll?" that goes straight to the point, and it's a reminder of how cool rock music used to be and what we hope will get noticed again.

You have a solo album, Live The Dream. Can you talk about how you approach writing an instrumental?

Generally I look at instrumentals as songs. It's very important to have different sections and have the form make sense. The sections have to relate to one another and work together just like a hit song would. I focus a lot on melody and harmony. I don't think about it in terms of guitar licks or speed or anything of that nature.

Another thing I always keep in mind is to have every tune different than the others. It's really easy to bore a listener with instrumental music. That's why I try to keep it short and sweet and have a variety of moods and sounds throughout an album. Experiencing with different modes, keys, grooves, etc., will help keep it fresh and not redundant.

You're spending a month on the road with Yngwie Malmsteen. That has to be a trip for a player. How do you approach that?

It sure is a great honor and a dream come true. I approach it musically in a similar way to writing an album, having a variety of different tunes, bringing out the very best and keeping it interesting for people hearing my music for the first time. Stage presence and performance are also very important, and I'm constantly trying to get our shows more and more fun for everyone. I have a band with such great players, which enables me to focus on my playing and not on what would usually go wrong with players who are not very experienced.

I have John Anthony on drums, and he's as solid as it gets! Perfect tempo that never changes. My band is made up of my Berklee buddy, Giorgio Mongelli, on bass, who came from Italy to do the tour with us. And then my little sister, Nili Brosh, playing guitar along with me doing the harmonies and all. I've never felt better about a band.

Our crew guys, Nat Montalvo and Shane Quintilo, are also great guitar players and have our backs 100 percent, which makes it all possible. Of course, I want to thank Yngwie and April Malmsteen for giving us the chance to be there with them and expose our music to new people.

What's next for Ethan Brosh?

What's next for me is the official release of my second record, Live The Dream, plus more touring and probably some shows playing guitar for Michael Sweet from Stryper. The full-length debut album of Burning Heat, some instructional DVDs and many other things I'm sure are on the horizon.

One thing I would love to have happen next in my career is being the guitar player of one of the biggest '80s metal bands who are still out there playing huge venues. I would love to do that, and I'm ready to go. I don't want to step on anyone's toes or take anyone's job, but changes sometimes happen for many different reasons, and I'm looking to be in one of my favorite bands that got me into rock music in the first place.

To all my fans or the people who are just discovering my music, I'd like to take the opportunity to thank you for your time and support. It means everything to me and I'm always going to be grateful to you. Please keep in touch and live the dream!

Brosh will be on the road supporting Yngwie Malmsteen throughout May. For more information on Brosh, visit ethanbrosh.com. For information on Burning Heat, visit burningheatband.com.

John Katic is a writer and podcaster who founded the Iron City Rocks Podcast in 2009. It features interviews with countless rock, hard rock, metal and blues artists. In 2013, he started Heavy Metal Bookclub, a podcast and website devoted to hard rock and metal books.

All That Jazz: Hitting the Pocket — The Importance of Dynamics and Grooving When Soloing

Mike Stern — Thu, 23 May 2013 16:31:08 +0000

The following content is related to the July 2013 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.

Two of the most important and effective elements in creating expressive improvisations are the incorporation of dynamics and groove. Dynamics—the use of variations in volume and articulation that can span from quiet, delicate and gentle to loud, forceful and aggressive—and groove—the way in which a player chooses to place the notes against the backbeat—are both key aspects of musicality that come into play.

Awareness of one’s rhythmic pacing, or time, and the way in which it connects with a rhythm section is among the most important aspects of ensemble playing. It’s very beneficial to record yourself both when practicing and when playing with other musicians. When you listen back, you’ll be able to listen more objectively and hear if you’re playing in the pocket or if you’re rushing or slowing down, and this will serve to heighten your awareness to your groove overall.

PART ONE

PART TWO

Review: Bugera Trirec Infinium Guitar Amplifier

Erik Kirkland, Video by Paul Riario — Thu, 23 May 2013 16:30:18 +0000

The following content is related to the July 2013 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.

Bugera was the first and may still be the only budget-minded manufacturer whose all-tube, hand-built amplifiers successfully challenge and sometimes eclipse the performance of today’s elite super amps. Hearing and feeling these amps for the first time is enlightening, especially for guitarists like myself, who have—unnecessarily, it now seems—spent thousands of dollars in our search for a tube-driven amp that provides a simple but deep control set.

Bugera’s latest creation and flagship is the indomitable TriRec Infinium, an uncomplicated, all-tube, 100-watt boutique monster that delivers everything from warm cleans and vintage crunch to ultra-modern, skull-crushing gain, all at a street price under $1,000. Two years and more than $2 million were devoted to developing the TriRec’s short and pure signal paths and the Infinium technology, which monitors tube performance, vastly increases tube life and allows players to use any combination of power tubes to achieve their personal tonal nirvana.

Judas Priest Guitarist Richie Faulkner Talks Gear and 'Epitath' DVD: "It Wasn’t the Last Tour"

John Katic — Thu, 23 May 2013 16:13:30 +0000

Since joining Judas Priest in 2010, Richie Faulkner has been no stranger to the big stage.

He made his live debut with the band on American Idol, played countless shows on Priest’s Epitaph tour and witnessed the debut of Priest’s Epitaph concert film on the big screen. Along the way, the guitarist has earned the respect and support of the band's loyal fan base.

I recently spoke to Faulkner about the band's new Epitaph DVD/Blu-ray, which will be released May 28.

GUITAR WORLD: Judas Priest have a new DVD/Blu-ray, Epitaph, which is the entire 220-minute set from the last night of the Epitaph tour. For the release, you guys did a premier in theaters. Was it surreal to see yourself on that big of a screen?

Absolutely! You see yourself on YouTube in little bits and pieces, and that’s always amazing to see. I don’t think Priest has done a live show in this format in movie theaters. It’s exciting, not only to see myself but to see myself with Priest for the first time on the screen. There are no other words to describe it.

For a lot of people, this is going to be their first opportunity to see you with the band. You rose to the occasion with great playing on this DVD. Did that factor into your nerves going into that night?

I didn’t let myself become nervous. I was excited and I was confident I could do the job. I was respectful of the position I was taking on the stage. Sometimes if you let nerves into the equation they can trip you up. I knew there was no point in being nervous. I did have a point to prove to the fans — that I was capable of being there. I think that was a healthy position to be in. Because the fans are so loyal and passionate and they paid their money to come down to the show, they gave me a chance, and I can only thank them for that. Within about a minute, they had their hands in the air singing along with me. It was a great testament to the fans.

The DVD shows the final night of the tour, correct?

This was the absolute last date of the Epitaph tour. We filmed it in London, and we didn’t have any backup plans.

I was going to ask you about that. If you flub a song you don’t get a do-over!

Exactly. We were joking about it. If we’d thought about it we would have come up with a different plan. If the electrics had gone down or had any technical issues, we were in trouble. Everyone was going home the next day. There was no plan B if anything went wrong. Luckily it went off without a hitch. It was a great homecoming show for Priest to finish the tour in England in the Hammersmith. That venue has had countless, iconic live recordings done there. What better way to wrap up the tour?

You can really feel the love from the fans in the video. They are singing along to not only the classics but even to the deep tracks. You expect to hear the crowd to sing “Livin’ After Midnight,” but they are right there with you on the everything.

You can feel the comradery in the room and the fans getting swept up, even if they aren’t familiar with a song. Half-way through, they are singing along.

Every kid that ever picked up a guitar fantasizes about stepping on stage with a favorite band. Doing the tour, did you ever find yourself sort of looking around, being a fan?

You never think that that is going to happen. You don’t think you are going to get that call. You aspire to be that good. You think, “That’s what I want to do." When you are on the stage you’re focused on your role in band and your parts, but every now and then you can sit back and take it in. Like in “Diamonds & Rust,” during the acoustic guitar parts, I can look around a bit. I can watch Glenn and the sea of passionate heavy metal fans. You pinch yourself every night. It’s incredible to be up there with these guys in all these amazing places every night.

You are exclusively a Gibson man. Where did you love of them come from?

I started actually on a Stratocaster because of Jimi Hendrix. That was the dream guitar or the Holy Grail. It was more of a functional reason I went to a Les Paul. It wasn’t a calculated move. I just felt right. I liked the sound you get from the humbuckers and the weight of the wood. What I was doing and the time and since it fit what I want to do. I’ve been played them since. I am still happy with my strats though.

Do you handle your own effects on stage?

I do 99 percent of it. I don’t have a lot of effects going. I use a chorus, wah and Rotovibe and do those myself. My tech, Brian, will do a channel change when I’m out on stage. For the benefit of the show, he has the cues. I don’t have to go back to the pedal board. Just to help the continuity.

What are you using behind the scenes on tour as far as amps?

I’m using Engl Powerball II’s. I started using them right at the beginning of the tour. They have been fantastic. We did a test six months in with the spare heads. Night after night we play this amp on 11 and we compared the output to the fresh heads and they were exactly the same. They are top notch quality.

Are you actively writing a new record?

There is one in the works. It is all written. Rob, Glenn and I wrote for two months last year. It’s being tracked at the moment. I can’t really say much more than that at this point. It is sounding great, very “Judas Priest." We are happy with the way it is turning out.

Is it correct that Priest won’t do as grand of a tour but will continue to tour on a smaller scale?

I think there was confusion about the Epitaph tour. Literally it was the last world tour but it wasn’t the last tour. The band will be out again. We’ll just take it as it goes right now.

Judas Priest’s Epitaph is available on May 28 on DVD and Blu-ray from Sony Legacy. You can find more information on the band’s official website.

Photo: John Katic

Additional Content

Electro-Harmonix Introduces Next Step Pedalboard Cradle

Guitar World Staff — Thu, 23 May 2013 15:47:19 +0000

EHX has created a convenient, secure way to mount any of their innovative Next Step Effects pedals to a pedalboard.

The new Pedalboard Cradle is custom-designed of a lightweight, durable polymer.

Measuring 8.875 x 4.375 x 0.625 inches, it adheres to a pedalboard with hook and loop fastener and the pedal rocks freely and securely within the cradle. When the musician is ready to pack up their pedalboard, a security strap locks down the Next Step Effect for transport.

The Electro-Harmonix line of Next Step Effects consists of the Crying Tone Wah, Expression Pedal, Pan Pedal, Talking Pedal and Volume Pedal. More information on these products can be found at ehx.com.

The Pedalboard Cradle carries a US List Price of $16.96.

Video: Metallica Release 'Through the Never' Trailer

Guitar World Staff — Thu, 23 May 2013 14:21:21 +0000

Metallica have posted the official theatrical trailer to their new 3D film, Metallica Through the Never, and you can check it out below.

The film, which was directed by Nimrod Antal (Predators), isn't scheduled to hit theaters until September 27.

Through the Never is a narrative/concert film that uses IMAX 3D footage to highlight songs from Metallica's catalog (including "Wherever I May Roam" and "Master of Puppets," both of which are teased in the trailer). The film tells the tale of a hapless roadie named Trip (Dane DeHaan), who ends up stranded in the middle of a riot while running a crucial errand for the band during a show.

From a press release:

"Featuring dazzling pyrotechnics, the most elaborate live-performance stage ever built and imagery drawn from the band’s trailblazing iconography, the immersive 360-degree show creates a mind-bending, ear-shattering mirror image of the destruction and chaos of Trip’s journey. Metallica Through the Never's state-of-the-art 3D photography, captured using up to 24 cameras simultaneously, engulfs audiences in one of the most innovative and exciting cinematic experiences ever imagined."

Check out the trailer and tell us what you think in the comments!

Additional Content

Your Signature, Please: Five Essential Pieces of Signature Gear

Damian Fanelli, Josh Hart — Thu, 23 May 2013 14:11:28 +0000

About 10 years ago, a home-furnishings company named a line of rugs after a gorgeous movie and TV actress.

It turns out that, aside from walking, sidling and sashaying on them for a few decades, she really didn't know a lot about rugs — or furniture or pretty much anything her name still graces today. But the company put her moniker on the stuff and continues to reap the benefits that a big name (and a pretty face) can provide.

Luckily, musicians in search of quality signature gear — from guitars to amps to effects to pickups — don't have to worry about that nonsense. Generally, gear manufacturers work closely with their signature artists, in some cases, right down to the tiniest of details (Some artists repeatedly send back their signature-model prototypes until they're absolutely perfect).

So, while acknowledging the plethora of fine signature gear that's available today, here's the cream of the crop: five items that simply get it right. This list was compiled by a group of Guitar World staffers including Gear Editor Paul Riario.

Fender Eric Johnson Stratocaster

Maybe you've read it in forums or heard it from people in the know (maybe even from people whose job it is to try out Fender gear all day long), but Fender's Eric Johnson signature Strat has quietly earned a reputation as possibly one of the best instruments Fender produces on a regular basis.

At first glance, the EJ model looks a lot like other U.S.-made Strats. But once you study the details, you start to notice its refinement. In fact, EJ-model connoisseurs tend to agree that it's not one single feature that makes this guitar special — it's the way all the smaller features work together.

The guitar has a one-piece, vintage-tinted quartersawn plain maple neck (contours sanded very smooth) with a ’57-style V shape; a light, two-piece alder body with deep ’57-style body contours and cavities. It comes in 2-Color Sunburst, Black, Candy Apple Red and White Blonde. The frets are highly polished. The pickups are Eric Johnson single-coils (not over-wound at all) with countersunk screws and a five-way switch. Other features include a vintage tremolo with silver-painted block and ’57-style string recess. There's no paint between the base plate and the block.

Basically, if you're a fan of the Stratocaster in its purest form, you'll truly appreciate this model, which also packs in several practical updates for modern players.

MSRP: $2,599.99 | Check out this guitar at fender.com.

ESP LTD James Hetfield Snakebyte

When it comes to signature guitars made for the rigors of heavy metal, it's hard to beat the LTD James Hetfield Snakebyte from ESP.

The Snakebyte is a light-weight guitar that packs the heavyweight punch necessary for one of metal's marquee players. The neck is thin and comfortable, perfect for quick chord changes, and you'll find all of the high-end features of its more expensive Japanese-made cousin without sacrificing quality.

And, as an added bonus, the Snakebyte now comes stock with a set of EMG James Hetfield pickups, putting all of the Metallica guitarist's secret weapons — minus his fabled right hand — at your fingertips.

For a full test drive and review from Guitar World Gear Editor Paul Riaro, head here.

MSRP: $1,570 | Check out this guitar at esp.com.

Seymour Duncan Alnico II Pro Slash APH-2 pickups

For the die-hard Slash enthusiast, there's a whole boatload of signature gear to choose from, from the "Appetite" Les Paul to a the custom octave fuzz from Jim Dunlop.

While you could buy your way to a pretty good replica of Slash's actual rig with enough money, the best place to start might just be the Alnico II Pro Slash APH-2 pickups from Seymour Duncan.

These moderate-output humbuckers will give you just the right amount of bite for those gritty riffs while still allowing for the searing sustain necessary to unleash ripping solos. Pop them in any humbucker-friendly guitar and you'll be well on your way to channeling your favorite top-hat-wearing guitar hero.

MSRP: $269 | Check out these pickups at seymourduncan.com.

Jim Dunlop DB01 Cry Baby From Hell

Take a quick poll of metal guitarists to find out their favorite wah pedal and Jim Dunlop's Cry Baby From Hell will undoubtedly come out on top.

Made to the specifications of the late, great Dimebag Darrell, the Cry Baby From Hell features an extended sweep range knob, 6-way range selector and kick-in volume boost to take your solos over the top.

Dime, like a number of other guitarists, would often use his wah as a high-end boost for solos, leaving it fully cocked while he tore up the fretboard. Either fully engaged or used as a high-pass filter, the Cry Baby From Hell should meet all your needs and then some.

Now start getting those squeals and pinch harmonics down!

MSRP: $286.44 | Check out this pedal at jimdunlop.com

EVH 5150 III 50-Watt Head

Perhaps no one's tone is as sought-after as that of Eddie Van Halen. And fortunately for all you finger-tapping maniacs out there, almost no other guitarist has more quality signature gear on the market.

And while his Wolfgang Special guitar is top-of-the-line and the MXR Phase 90 will have you rocking the cradle with the best of them, it's his line of signature amps from EVH that have really made a mark on the world of hard rock and metal.

Even if it is a scaled-down version of its 100-watt big brother, there's no denying the EVH III 5150 50-watt head packs a lot into a small package. This three-channel amp matches up nicely with any cabinet, but you definitely can't go wrong with any of the cabs in the EVH 5150 III line. Pair it up with either the 2x12 or 1x12 and you'll have 'em dancing in the streets in no time!

MSRP: $1,333.32 | Check out this amp at evhgear.com.

Additional Content

Exclusive Album Premiere: Monster Truck — 'Furiosity'

Damian Fanelli — Thu, 23 May 2013 12:04:33 +0000

Today, GuitarWorld.com presents the exclusive premiere of Furiosity, the new album by Hamilton, Ontario, riff-rockers Monster Truck. The album will be released May 28 through Dine Alone Records.

Furiosity was produced by JUNO award-nominated Eric Ratz (Billy Talent, Three Days Grace, Cancer Bats) at Vespa Studios in Toronto and Echo Mountain Studios in Asheville, North Carolina. The album will include a bonus track, “Win/Lose,” on the digital and vinyl versions.

Monster Truck was formed in 2009 by Jon Harvey (bass, lead vocals), Jeremy Widerman (guitar, vocals), Brandon Bliss (organ, vocals) and Steve Kiely (drums, vocals). The band has released two EPs since their inception — a self-titled, self-released EP produced by Gus Van Go & Werner F (The Stills, Priestess, Les Trois Accords) and The Brown EP (produced by Ratz).

For more about the band, plus all their current tour dates, visit ilovemonstertruck.com and their Facebook page.

Tony Iommi of Black Sabbath Opens Up About His Battle with Cancer and the Struggle to Make '13'

Brad Angle — Thu, 23 May 2013 12:03:59 +0000

This is an excerpt from the July 2013 issue of Guitar World magazine. For the rest of this story, plus features on Joe Satriani, Ghost B.C., Mick Jones of Foreigner, Joe Don Rooney of Rascal Flats, plus transcriptions of "Sabbath Bloody Sabbath" and Jason Becker's "Perpetual Burn," check out the issue at the Guitar World Online Store.

2011 was well on the way to being one of the best years of Tony Iommi’s life. The guitarist was on a successful book tour to promote Iron Man, his revealing autobiography in which he talks about his life and his career with Black Sabbath.

At the same time, he was reuniting with the original Black Sabbath members—vocalist Ozzy Osbourne, bassist Geezer Butler and drummer Bill Ward—to write and record a new full-length album, the quartet’s first since 1978’s Never Say Die!

But celebration gave way to concern when Iommi discovered a lump in his groin. Doctors initially misdiagnosed the problem as nothing more than an infection, but when Iommi’s condition worsened, his doctor biopsied the mass. At a follow-up appointment, he told Iommi the result: We found lymphoma.

“Once I heard my doctor say that, my whole world changed,” Iommi says. “I thought, Bloody cancerous lymphoma? Well that’s it. I’ve had it.”

This news came as such a shock that even today, as Guitar World sits across from a healthy-looking Iommi in a cottage in rural West Midlands, England, the guitarist’s affable disposition darkens when he recalls that grim period.

“Once they diagnosed it, I had to start the treatment right away,” he says. “And it knocked me about. I’d go through stages thinking, Can I do this? And then: Of course I can do this. I don’t want to die. I want to carry on and do what I’m supposed to do.”

Iommi’s treatment included an aggressive course of chemotherapy and radiation that attacked the cancer but seriously taxed his immune system. He began to feel sicker, lose weight and weaken, and had to focus what little energy he had into fighting his illness. Plans for the Sabbath record were put on hold. But as the guitarist’s body began responding to treatment, Iommi’s creative spark was rekindled. Much to everyone’s surprise, he turned his attention back to writing the songs that would eventually make up Black Sabbath’s new disc, 13.

“They thought I would pack up,” Iommi says. “But I asked the doctor, ‘Is it okay if I work?’ And he said, ‘Yes, you’ve just got to be careful.’ So I’d go in the studio and play for a bit. Then I’d get tired and I’d have to go and sit down. The guys would tell me not to push it.”

Iommi was determined to get the album made. And as Osbourne and Butler tell us when we catch up with them in a Los Angeles recording studio, where they’re putting the final touches on the album, he rose to the occasion.

“We all rallied around him,” Osbourne says. “But it’s not like we’d be saying, ‘Are you okay? Are you okay?’ We just got on with it. Sure, he looked tired, but he was a soldier and marched on. He still had more riffs coming out of him than anyone. None of us would go, ‘Oh, he’s fucking ill again.’ We’re bros. We grew up together. It’s like a family member getting sick.”

“It brought up how we’re all just mortal beings, and we aren’t gonna be here forever,” Butler adds. “Tony and I were on the Heaven & Hell tour with Ronnie James Dio, and six months later Ronnie was dead [from stomach cancer, in 2010]. We didn’t have any inkling that was gonna happen. When Tony got the cancer, obviously that was in his mind. We didn’t know how he’d respond to the treatment. So it was like, Let’s get the album done at all costs, as long as Tony’s up to it. So we’d write for three weeks, and then he’d go for his treatment and we’d all have three weeks off. But it didn’t affect his playing at all. In fact I think it really encouraged him and kept his mind off the cancer, which is the best thing you can possibly do if you have that.”

As Iommi got stronger, his future, as well as Black Sabbath’s, started looking brighter. The band continued writing and rehearsing, and making progress on the new album. On November 11, 2011, Sabbath held a press conference at Los Angeles’ Whisky a Go-Go to officially announce that they had reformed and would record an album of new material. But in early 2012, Bill Ward surprised everyone when he announced that he would not move forward with recording, saying he felt “ostracized” by the band and calling the contract he was offered “unsignable.”

“I was shocked,” Iommi says. “We were hearing stuff from lawyers, like, ‘I’m not happy with this. I’m not happy with that.’ We waited a long time for Bill and we wanted to sort it out. But at the end of the day, especially after I was diagnosed, I thought, Fucking hell, that’s it. We’ve got to get a move on. I might pop off next year! So I emailed him and said, ‘Bill, we can’t wait any longer. We’ve got to get on with it.’ And that was it.”

The band switched gears and began auditioning drummers but didn’t find the right fit until producer Rick Rubin offered the seemingly left-field suggestion of Brad Wilk, from Rage Against the Machine and Audioslave. “We had our doubts, because they play a different, funky sort of music,” Iommi says. “But after a few days of rehearsal, we knew Rick was right. Brad was a really good player, and he was getting it. We liked his style and the way he tried different things instead of being regimented. It was sort of jazzy and loose, like Bill.”

With Wilk in place, Black Sabbath set up camp at Rubin’s Shangri-La studios in Malibu to record the album. Rubin had the band cut the basic tracks live in the studio together to help capture the vibe of the early Sabbath records. These sessions were also the first time Osbourne had tracked a studio record with Sabbath since the contentious, drug-addled experience of recording 1978’s lackluster Never Say Die! Not surprisingly, the singer felt a twinge of performance anxiety.

“The pressure on us was terrific,” Osbourne says. “I didn’t want to sound hokey, trying to cop Paranoid or Master of Reality. But at the end of the day, you just have to go with your heart and ‘let go and let god,’ as they say. I’ll know if I’m cutting corners and if I can do a better vocal take or melody.”

Photo: Travis Shinn

For the rest of this story, plus features on Joe Satriani, Ghost B.C., Mick Jones of Foreigner, Joe Don Rooney of Rascal Flats, plus transcriptions of "Sabbath Bloody Sabbath" and Jason Becker's "Perpetual Burn," check out the issue at the Guitar World Online Store.

Additional Content

'Pink Floyd: The Black Strat' Tells History of David Gilmour's Iconic Guitar

Guitar World Staff — Thu, 23 May 2013 12:02:02 +0000

Catch a rare inside glimpse of one of the world's most revered guitarists, David Gilmour, and his iconic Black Stratocaster.

Pink Floyd: The Black Strat was written by Phil Taylor, Gilmour's personal guitar technician and the band's chief backline tech since 1974. He was the only man to know Pink Floyd's equipment better than the band.

This expanded edition of the book contains new information and many unpublished photographs that further chart the Black Strat's illustrious history. Amending and elaborating on the previous edition, it also continues the story where the last one left off with all the latest live appearances, information and photographs, including Gilmour testing the Fender Black Strat replica models; performances with David Bowie, Jeff Beck and others; and much more.

Check out this book at the Guitar World Online Store.

Additional Content

The Winery Dogs — Richie Kotzen, Billy Sheehan and Mike Portnoy — to Release Debut Album July 23

Guitar World Staff — Wed, 22 May 2013 15:39:40 +0000

The Winery Dogs, a new power trio featuring guitarist Richie Kotzen (Mr. Big, Poison), bassist Billy Sheehan (Mr. Big) and drummer Mike Portnoy (Dream Theater, Avenged Sevenfold), will release their self-titled debut album July 23 via Loud & Proud Records.

The album was self-produced and mixed by Jay Ruston (Anthrax, Stone Sour, Steel Panther).

“I am so excited about the Winery Dogs and am proud and honored to be working with two of the greatest musicians on the planet," Portnoy said. "Richie Kotzen is such an unbelievable talent, as a vocalist, guitarist and songwriter. I think the Winery Dogs will finally get him the attention and recognition that he so richly deserves.

"What can be said of Billy Sheehan that hasn't been said already? He is one the true pioneers of the instrument and a legend. I am looking forward to working with the great staff of Loud & Proud Records, some of whom I worked very closely with during their time at Roadrunner and my time with Dream Theater. I look forward to continuing that relationship with the Winery Dogs!”

Stay tuned for U.S. tour news, which will be announced in the coming weeks.

For more information on the band, visit facebook.com/TheWineryDogs, twitter.com/TheWineryDogs and youtube.com/user/thewinerydogs.

Additional Content

Philip H. Anselmo & The Illegals Announce "Technicians of Distortion" North American Tour

Guitar World Staff — Wed, 22 May 2013 12:05:59 +0000

Philip H. Anselmo will hit the road for his first-ever solo tour, "Technicians of Distortion," which kicks off July 31 in Tulsa, Oklahoma.

On this tour, Anselmo will be joined by his band, The Illegals (guitarist Marzi Montazeri, bassist Steve Taylor and drummer Jose Manual Gonzalez). Tickets go on sale Thursday, May 23. Visit TheHousecoreRecords.com/ > ARTISTS for ticketing information.

Technicians of Distortion is in support of Anselmo's upcoming solo release, Walk Through Exits Only, due out July 16 (Housecore Records/Megaforce) and will take the group to 16 markets over a three-week period. Warbeast, who are signed to Anselmo's Housecore Record label and just released their new album Destroy (produced by Anselmo), along with industrial-doom and drone-metal one-man band Author and Punisher, will provide support on all dates.

"It is an incredible pleasure to do my first solo tour with my brothers in Warbeast and to introduce the mighty Author and Punisher to the extreme-music audience properly," Anselmo said. "This is a killer program of insane variety, so come out and support the gigs!"

Fans can expect a hardcore, stripped-down production that is focused on a set list that will include all songs on Walk Through Exits Only, as well as lots of extras.

With one additional date to be announced, the confirmed itinerary for the Technicians of Distortion tour is as follows:

JULY
31 Cain's Ballroom, Tulsa, OK

AUGUST
2 Wooly's, Des Moines, IA
3 First Avenue, Minneapolis, MN
4 House of Blues, Chicago, IL
6 House of Blues, Cleveland, OH
7 The Intersection, Grand Rapids, MI
9 Royal Oak Music Theatre, Royal Oak, MI
10 Danforth Music Hall, Toronto, ONT Canada
11 Heavy MTL Festival, Montreal, QC Canada
13 The Palladium, Worcester, MA
14 Upstate Concert Hall, Clifton Park, NY
16 Best Buy Theatre, New York, NY
17 Union Transfer, Philadelphia, PA
18 The Fillmore, Silver Spring, MD
20 The Masquerade - Heaven Stage, Atlanta, GA

Metal For Life: Modal Citizen — Examining Five Essential Minor Mode Scale Patterns

Metal Mike Chlasciak — Wed, 22 May 2013 10:30:44 +0000

The following content is related to the July 2013 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.

This month, we will continue our modal study by focusing on two essential minor modes, Dorian and Aeolian. Both of these modes can be looked at as “extensions” of the scale that is used most prominently for soloing in metal, minor pentatonic. A scale well familiar to most rock, blues and metal players, minor pentatonic is a five-note scale, spelled 1 f3 4 5 f7, in terms of its interval structure.

Both the Dorian and Aeolian modes are seven-note scales, and in each case two scale degrees are added to minor pentatonic. Dorian adds the major second (2) and major sixth (6) degrees, resulting in an intervallic structure of 1 2 f3 4 5 6 f7. Aeolian adds the major second and minor, or “flat,” sixth (f6) scale degrees and is spelled 1 2 f3 4 5 f6 f7.

Let’s focus on the Dorian mode first, using the key of G minor. In FIGURES 1–5, I progress through five fretboard positions of G Dorian (G A B f C D E F), first hitting a G5 power chord in order to strengthen our connection to the key of G.