News en Guide to The Beatles' White Album: the Recording Equipment, the Songs, the 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="" 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="" 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="" 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="" 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—</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> 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 Metallica Perform "Sad But True" on 'Late Late Show with 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="">head here.</a></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> Metallica Videos News Sat, 22 Nov 2014 21:06:10 +0000 Guitar World Staff John Petrucci Samples Prototype Mesa/Boogie 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="">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="//" 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> John Petrucci Mesa Boogie Mesa/Boogie Videos News Gear Sat, 22 Nov 2014 17:51:43 +0000 Damian Fanelli Metallica Release Trailer for New 'This 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="//" 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> Metallica Videos News Sat, 22 Nov 2014 17:25:42 +0000 Guitar World Staff Betcha Can't Play This: Nita Strauss Solo Lick from 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="">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="">new-for-2014-and-2015 "Betcha Can't Play This" videos</a>, this is an expanded version of the usually brief "Betcha" videos on</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="">Betcha Can't Play This: Guitarist Ethan Brosh Lays Down the Challenge</a> and <a href="">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="//" 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> Alice Cooper Betcha Can't Play This Nita Strauss Videos News Lessons Fri, 21 Nov 2014 22:19:45 +0000 Guitar World Staff Celebrate the Holidays with 'The Ultimate Christmas Guitar Songbook' <!--paging_filter--><p><em>The Ultimate Christmas Guitar Songbook</em> is <a href=";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=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=UltimateXmasSongbook">Head to the Guitar World Online Store now!</a></strong></p> News Features Fri, 21 Nov 2014 22:00:00 +0000 Guitar World Staff 'The 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=""></a>.</em></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href=""></a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="">Twitter @JimEWood.</a></em></p> Chad Taylor James Wood Live Interviews News Features Fri, 21 Nov 2014 21:42:50 +0000 James Wood 'Ouroboros': The 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="//" 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>Ooh …</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=""></a> (And there’s that <a href="">Facebook</a> thing too.)</em></p> Brian Robbins New Orleans Suspects Interviews News Features Fri, 21 Nov 2014 21:20:02 +0000 Brian Robbins Preview Alex Skolnick's New World-Music Project, Planetary Coalition — Video <!--paging_filter--><p>Alex Skolnick has posted a trailer video for the self-titled debut album by Planetary Coalition.</p> <p>The video includes performance clips and excerpts of five songs with a range of guests, including Rodrigo y Gabriela.</p> <p>Planetary Coalition is driven by the acoustic guitar of Skolnick, whose work spans jazz (Alex Skolnick Trio), metal (Testament) and world music (Rodrigo y Gabriela, Ishtar).</p> <p>"It started with a lone, handwritten sentence on a notepad, describing a musical vision — an ethnically flavored collective of musicians from all over the world, bringing together inspirational melodies, in-depth improvisation and the passion of the musical styles of Gypsy, Middle Eastern, Indian, Latin, East Asian, Mediterranean, Balkan/Eastern European, African and other indigenous lands," Skolnick said. "The reality: coordinating over two-dozen musicians from five continents. </p> <p>"Yet despite the numerous logistical challenges, Planetary Coalition has been guided by a single hope: that by weaving the threads that connect musical expressions with regional identities, we can bridge the gap between diverse cultures and people, and increase awareness of the ecological and social issues facing the planet, our island in the sky."</p> <p>You can order the CD or download of <em>Planetary Coalition</em> via <a href="">ArtistShare</a> or preorder on <a href="">iTunes (available November 25)</a>.</p> <p>For more about Planetary Coalition, follow the project on <a href="">Facebook.</a></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="/alex-skolnick">Alex Skolnick</a> </div> </div> </div> </fieldset> Alex Skolnick Planetary Coalition Videos News Fri, 21 Nov 2014 19:39:17 +0000 Damian Fanelli Eric Johnson and Mike Stern Play "Cliffs of Dover" at Soundcheck, Dance Moves and All — Video <!--paging_filter--><p>Eric Johnson recently shared this visually dark but fun video on his Facebook page, and we thought we'd pass it on.</p> <p>It's a clip of Johnson and guitarist Mike Stern playing Johnson's signature tune, "Cliffs of Dover," at soundcheck during a stop on the duo's current tour.</p> <p>They're out there in support of their new album, <em>Eclectic</em>, which came out last month.</p> <p> We don't know what all the dance moves are about (Perhaps Johnson thinks "Cliffs of Dover" sounds like it should be included in <em>Riverdance</em>?), but both Johnson and Stern get into the act. Enjoy!</p> <p><strong>For more about <em>Eclectic</em>, head <a href="">HERE</a> and check out <a href=";utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=Holiday2014VideosPage">the new Holiday 2014 issue</a> of <em>Guitar World</em>.</strong></p> <div id="fb-root"></div> <script>(function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); = id; js.src = "//"; fjs.parentNode.insertBefore(js, fjs); }(document, 'script', 'facebook-jssdk'));</script><div class="fb-post" data-href="" data-width="620"> <div class="fb-xfbml-parse-ignore"><a href="">Post</a> by <a href="">Eric Johnson</a>.</div> </div> <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="/eric-johnson">Eric Johnson</a> </div> </div> </div> </fieldset> Eric Johnson Mike Stern Videos News Fri, 21 Nov 2014 16:13:09 +0000 Damian Fanelli Pedal to the Metal: The 25 Greatest Wah Solos of All Time <!--paging_filter--><p>Since the guitar's inception, there have been countless talented players who could make the instrument sing, but it wasn't until the mid-Sixties and the arrival of the wah pedal that guitarists could make it cry.</p> <p>Perhaps because it entered the collective consciousness at the hands—or feet, rather—of guitar gods like Jimi Hendrix and Eric Clapton, the wah pedal has been a vital part of the rock and roll lexicon since it was introduced by Vox, finding favor with guitarists who wanted to bring a whole new level of expressive possibilities to their playing. </p> <p>More than any other effect pedal, the wah has played a key role in some of modern guitar's shining moments, from Slash's epic, ascending run in "Sweet Child O' Mine" to Eddie Hazel making wah synonymous with funk in the Seventies to Hendrix simply doing that voodoo that he did so well. </p> <p>In honor of its place in rock history, the <em>Guitar World</em> staff recently picked out the very best wah solo moments of all time, each a snapshot of a great guitarist letting his voice be heard through a truly rock and roll pedal. Of course, we considered the quality of the solo itself and the song's iconic status in the world of rock and roll.</p> <p><strong>25. "1969" — The Stooges (<em>The Stooges</em>, 1969)</strong><br /> <strong>Soloist:</strong> Ron Asheton </p> <p>Raw, visceral and distorted to the max, Ron Asheton's solo on this Stooges classic may not win any composition awards, but it was the perfect compliment to Iggy Pop's gutteral snarl.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>24. "Walk Away" — James Gang (<em>Thirds</em>, 1971)</strong><br /> <strong>Soloist:</strong> Joe Walsh</p> <p>It comes in just at the end of the song, but Joe Walsh's solo spot on "Walk Away" is a bit of a late-in-the-game show-stealer. Since 2007, Walsh has had his very own <a href=",3">signature wah</a> made by Real McCoy Custom.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>23. "Cult of Personality" — Living Colour (<em>Vivid</em>, 1988)</strong><br /> <strong>Soloist:</strong> Vernon Reid</p> <p>"Cult of Personality" was the song that instantly made Vernon Reid a household name in the alt metal community, combining manic use of the wah with a stream-of-conscious flurry of notes straight from the mind of a true guitar junky. Even more impressive, Reid stated in a 1988 <a href=""><em>Guitar World</em> interview</a> that the solo was a first take.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>22. "25 or 6 to 4" — Chicago (<em>Chicago</em>, 1970)</strong><br /> <strong>Soloist:</strong> Terry Kath</p> <p>On the second half of a lengthy guitar solo on this Chicago classic, Terry Kath introduces a distortion-drenched, wah-driven guitar line that melds incredibly well with the song's horn section. Fun fact: Kath was once referred to as "the best guitar player in the universe" by Jimi Hendrix.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>21. "Maggot Brain" — Funkadelic (<em>Maggot Brain</em>, 1971)</strong><br /> <strong>Soloist:</strong> Eddie Hazel</p> <p>On the opposite end of the the spectrum from the ultra-tight, ultra-clean guitar sounds many listeners identify with funk is Eddie Hazel's tone on this 10-plus-minute track from Funkadelic, which features no vocals and serves primarily as a vehicle for Hazel to explore the deepest reaches of space in his wah-wah-powered mothership.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>20. "Stop" — Jane's Addiction (<em>Ritual de lo habitual</em>, 1990)</strong><br /> <strong>Soloist:</strong> Dave Navarro</p> <p>Written all the way back in 1986, it would take four years for this <em>Ritual de lo habitual</em> cut to be unleashed upon the music world as large, climbing to No. 1 on the <em>Billboard</em> Modern Rock Tracks behind the strength of a high-energy performance from vocalist Perry Farrell and a muscular, wah-driven lead from Dave Navarro.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>19. "The Needle and the Spoon" — Lynyrd Skynyrd (<em>Second Helping</em>, 1974)</strong><br /> <strong>Soloist:</strong> Allen Collins</p> <p>A clear tip of the hat to Eric Clapton's solo from "White Room," Allen Collins pulls out the wah to blend Sixties psychedelia seamlessly into a bona-fide Southern-rock classic.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><strong>18. "If You Have to Ask" — Red Hot Chili Peppers (<em>Blood Sugar Sex Magik</em>, 1991)</strong><br /> <strong>Soloist:</strong> John Frusciante</p> <p>On this cut from 1991's mega-selling <em>Blood Sugar Sex Magik</em>, Chili Peppers guitarist John Frusciante turns in a sparse, stop-start wah solo fitting for the song's funk-rock minimalism. Fun fact: On the studio version, you can hear the band and production crew applauding Frusciante's guitar work as the song comes to an end.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><strong>17. "Whole Lotta Love" — Led Zeppelin (<em>Led Zeppelin II</em>, 1969)</strong><br /> <strong>Soloist:</strong></p> <p>While much of the bizzare, alien soundscape in the middle section of "Whole Lotta Love" is directly attributable to Jimmy Page's groundbreaking use of backwards tape echo and Page and engineer Eddie Kramer "twiddling every knob known to man," the wah pedal does make an appearance, adding a valuable, extra dimension to Page's most otherworldly guitar work this side of the <em>Lucifer Rising</em> soundtrack.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><strong>16. "The Joker" — Steve Miller Band (<em>The Joker</em>, 1973)</strong><br /> <strong>Soloist:</strong> Steve Miller</p> <p>Perfect for all those midnight tokers out there, Steve Miller's laid-back lead work on "The Joker" doesn't go overboard on the wah, opting instead for the tasteful, restrained approach. Fun fact: This song shot back to the top of the charts in 1990, thanks to a popular ad for Levi's jeans.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>15. "I Ain't Superstitious" — Jeff Beck Group (<em>Truth</em>, 1968)</strong><br /> <strong>Soloist:</strong> Jeff Beck</p> <p>On the debut album from the Jeff Beck Group, Beck uses this wah-laden take on a Howlin' Wolf tune to show off his mastery of the multitude of sounds one can coax out of a guitar. Somehow, he still continues to baffle us with this skill.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><strong>14. "Blue on Black" — Kenny Wayne Shepherd (<em>Trouble Is ...</em>, 1997)</strong><br /> <strong>Soloist:</strong> Kenny Wayne Shepherd</p> <p>Kenny Wayne Shepherd burst into the mainstream consciousness with this cut off his 1997 album, <em>Trouble Is ...</em> Any questions over who he was hoping to channel are laid to rest with the inclusion of a cover of "Voodoo Child" as the single's B-side.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><strong>13. "Pain and Sorrow" — Joe Bonamassa (<em>So, It's Like That</em>, 2002</strong><br /> <strong>Soloist:</strong> Joe Bonamassa</p> <p>Another blues-rock revivalist, Joe Bonamassa lays out some fiery wah work on this deep cut from his sophomore album, <em>So, It's Like That</em>. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>12. "Blinded by the Light" — Manfred Mann's Earth Band (<em>The Roaring Silence</em>, 1976)</strong><br /> <strong>Soloist:</strong> Dave Flett</p> <p>This tune may have originally been written by Bruce Springsteen, but it didn't become a hit—and eventually a classic—until guitarist Dave Flett and the rest of Manfred Mann's Earth Band got a hold of it for 1976's <em>The Roaring Silence</em>. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>11. "Gets Me Through" — Ozzy Osbourne (<em>Down to Earth</em>, 2001)</strong><br /> <strong>Soloist:</strong> Zakk Wylde</p> <p>Split between powerful melodies and a heaping helping of shred, the solo from "Gets Me Through" sees Zakk Wylde take his Hendrix Cry Baby to the edge and back on this standout track from Ozzy's 2001 comeback record. Zakk would eventually merit his <a href="">very own wah pedal, complete with the Fasel inductor that was responsible for some of the classic wah sounds of the Sixties.</a></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>10. "Surfing with the Alien" — Joe Satriani (<em>Surfing with the Alien</em>, 1987)</strong><br /> <strong>Soloist:</strong> Joe Satriani</p> <p>"Surfing with the Alien" sees Joe Satriani put the pedal to the metal in every conceivable sense, not the least of which is his stunning work with the wah pedal. Paired with a Tubedriver and a classic Eventide 949, the wah provides just enough control over his alien tone for Satch to weave his way in and out of an asteroid belt of notes.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>09. "Turn Up the Night" — Black Sabbath (<em>Mob Rules</em>, 1981)</strong><br /> <strong>Soloist:</strong> Tony Iommi</p> <p>It's a rare occasion when Tony Iommi brings out the wah, but on this <em>Mob Rules</em> cut, the Godfather of Heavy Metal uses it too great effect, upping the aggression level one step further on what may be his most furious studio solo.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>08. "Telephone Song" — Vaughan Brothers (<em>Family Style</em>, 1990)</strong><br /> <strong>Soloist:</strong> Stevie Ray Vaughan</p> <p>Were you expecting to see the long-winded instrumental "Say What!" from Vaughan's <em>Soul to Soul</em> album? Not a chance, not when this mini-masterpiece of a wah solo exists. Even without the wah, it's one of his best-constructed, catchiest solos. This track comes from SRV's first full album with his brother, Jimmie Vaughan—which, sadly, turned out to be his last record.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>07. "Bad Horsie" — Steve Vai (<em>Alien Love Secrets</em>, 1995)</strong><br /> <strong>Soloist:</strong> Steve Vai</p> <p>Like Hendrix before him, Steve Vai wanted to take the wah pedal to its limits, and he accomplished just that on his 1995 EP, <em>Alien Love Secrets</em>. And in all due fairness to the remaining songs on the list, "Bad Horsie" remains the only track in this whole feature to have its own wah <a href=",2">named after it</a>. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>06. "Even Flow" — Pearl Jam (<em>Ten</em>, 1991)</strong><br /> <strong>Soloist:</strong> Mike McCready</p> <p>"That's me pretending to be Stevie Ray Vaughan," Pearl Jam guitarist Mike McCready told <em>Guitar World</em> of his classic solo from "Even Flow" back in 1995. A fitting tribute to the late SRV, the solo saw McCready break out the wah and churn out perhaps the most iconic solo of the grunge era.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>05. "A New Level" — Pantera (<em>Vulgar Display of Power</em>, 1992)</strong><br /> <strong>Soloist:</strong> Dimebag Darrell</p> <p>Dimebag Darrell is among those guitarists that utilized the wah pedal more subtly, using it as a tone control in most cases. This isn't one of those cases. Darrell's use of the wah on his "A New Level" solo is as surgically precise as one comes to expect from the master craftsman, lending an all new connotation to the phrase, "on a Dime."</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>04. "Enter Sandman" — Metallica (<em>Metallica</em>, 1991)</strong><br /> <strong>Soloist:</strong> Kirk Hammett</p> <p>We're going to let Kirk take this one: "There's something about a wah pedal that really gets my gut going! People will probably say, 'He's just hiding behind the wah.' But that isn't the case. It's just that those frequencies really bring out a lot of aggression in my approach." (Read the full 1991 interview with James and Kirk <a href="">here</a>)</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>03. "Sweet Child O' Mine" — Guns N' Roses (<em>Appetite for Destruction</em>, 1987)</strong><br /> <strong>Soloist:</strong> Slash</p> <p>Known to break out the wah and fiddle around with "Voodoo Child (Slight Return)" as a live lead-in for "Civil War," Slash forged his own piece of rock and roll history with his unforgettable ascending run into one of the shining moments in Eighties guitar rock. Bookended by the feral yowl of frontman Axl Rose, Slash makes this would-be ballad anything but with a fierce lead made possible by a stock Cry Baby wah.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>02. "White Room" — Cream (<em>Wheels of Fire</em>, 1968)</strong><br /> <strong>Soloist:</strong> Eric Clapton</p> <p>A masterful performance on "Tales of Brave Ulysses aside," with "White Room," Eric Clapton virtually wrote the book on how the wah pedal would be used in the context of rock guitar for decades to come. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>01. "Voodoo Child (Slight Return)" — The Jimi Hendrix Experience (<em>Electric Ladyland</em>, 1968)</strong><br /> <strong>Soloist:</strong> Jimi Hendrix</p> <p>The go-to song of any guitarist trying out a new wah pedal at Guitar Center, "Voodoo Child (Slight Return)" stands as a mammoth moment in rock history, setting a mark that has yet to be breached by any ambitious guitarist with a Cry Baby and a dream. Of the song's recording, engineer Eddie Kramer recalls that the track "was recorded the day after Jimi tracked 'Voodoo Chile,' the extended jam on <em>Electric Ladyland</em> featuring Traffic’s Stevie Winwood on organ and Jefferson Airplane bassist Jack Casady. </p> <p>Basically, Jimi used the same setup — his Strat through a nice, warm Fender Bassman amp. Jimi’s sound on both tracks is remarkably consistent, leading some to think they were recorded at the same session.” Stevie Ray Vaughan's version is no slouch either, by the way. </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="/jimi-hendrix">Jimi Hendrix</a> </div> <div class="field-item even"> <a href="/eric-clapton">Eric Clapton</a> </div> <div class="field-item odd"> <a href="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> <div class="field-item even"> <a href="/jeff-beck">Jeff Beck</a> </div> <div class="field-item odd"> <a href="/steve-vai">Steve Vai</a> </div> <div class="field-item even"> <a href="/joe-satriani">Joe Satriani</a> </div> </div> </div> </fieldset> Cream Eric Clapton Guns N' Roses Jimi Hendrix Metallica Slash Stevie Ray Vaughan Guitar World Lists News Features Fri, 21 Nov 2014 15:38:12 +0000 Guitar World Staff, Intro by Josh Hart Guitarist Eva Vergilova Covers Prince's "Purple Rain" — Video <!--paging_filter--><p>Every now and then—more like every 12 seconds—there's a video that suddenly clicks with the universe and racks up an untold number of Instagram, Facebook and Twitter shares, views and comments. </p> <p>Below, we present one such video. It's a homemade clip of guitarist Bulgarian Eva Vergilova performing an instrumental version of Prince's "Purple Rain."</p> <p>While we don't know much about Vergilova, we know her <a href="">YouTube channel</a> features several covers and playthrough videos, including tunes by Jimi Hendrix and Scorpions (See her cover of Scorpions' "Sails of Charon" in the bottom video below).</p> <p>For all about Eva, follow her on <a href="">Facebook</a> and <a href="">YouTube.</a></p> <p><iframe src="//" width="620" height="365" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe> </p><p><a href="">Eva Vergilova "Purple Rain"</a> from <a href="">Eva Vergilova</a> on <a href="">Vimeo</a>.</p> <p><br /><br /> <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="/scorpions">Scorpions</a> </div> </div> </div> </fieldset> Eva Vergilova Prince Scorpions Videos News Fri, 21 Nov 2014 15:21:01 +0000 Damian Fanelli Jim Dunlop Effect Pedal Throwdown, Round 3: Dunlop Jimi Hendrix Fuzz Face Vs. Way Huge Angry Troll Boost <!--paging_filter--><p>'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=""></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 JHF1 Jimi Hendrix Fuzz Face</strong> goes foot to foot against the <strong>Way Huge WHE 101 Angry Troll Boost</strong>. Start voting below!</p> <p><strong>YESTERDAY'S RESULTS</strong>: Yesterday, the <strong>Dunlop 535Q Cry Baby Multi-Wah</strong> (55.12 percent) destroyed the <strong>Dunlop GCB95F Cry Baby Classic Wah Wah</strong> (44.88 percent) to advance to the next round! <a href="">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="">Jimi Hendrix Fuzz Face Distortion Info</a></strong></p> <p>Hendrix was the master of fuzz, an artist with many subtle shadings at his command. His love affair with the legendary Fuzz Face pedal began in the early days of the Experience and continued to evolve throughout his brief but blazing career. The Dunlop Jimi Hendrix Fuzz Face is a meticulously faithful reproduction of the 1969-70 Dallas Arbiter Fuzz Face that Jimi used on classic albums like Band of Gypsys. Dunlop's engineering department examined hoards of vintage Fuzz Faces, honing in on a few units which possessed that unmistakable Jimi voodoo. </p> <p>The Hendrix Fuzz Face is built around the toneful BC108 silicon transistor. It is authentic in every detail, a handwired brown circuit board with no solder mask and circuitry carefully matched to the original specs. The look is 100% accurate too, that groovy circular chassis with tooled clones of the original Fuzz Face knobs in the rare and vintage turquoise hammertone finish. A truly playable collectable for any Hendrix or Fuzz Face fanatic.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong><a href="">Way Huge Angry Troll Boost</a></strong></p> <p>The mighty Angry Troll from Way Huge Electronics serves up gorgeous portions of volume and gain to pummel the input of your amp with up to +50dB of gain. It adds bite and punch while transforming your mild mannered tone into a beastly sonic onslaught! The Angry Troll’s two controls interact like a vintage mic pre amp. </p> <p>The Anger knob—a rotary switch with six Fists of Fury positions—adjusts the amount of gain created by the Troll’s op-amp, while the Volume knob regulates the overall output level. High grade components are used for a precisely tuned circuit that works like an extension of your amp. Another tone monster from the mind of Mr. Huge! · Delivers up to +50dB of boost · Precisely tuned to work like an extension of your amp · Adds a little dirt at higher settings · Heavy duty foot switch with quiet relay based true bypass · High grade components for low noise operation</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <h1>Vote Now!</h1> <script type="text/javascript" charset="utf-8" src=""></script><p><noscript><a href="">Jim Dunlop Effect Pedal Throwdown, Round 3: Dunlop Jimi Hendrix Fuzz Face Vs. Way Huge Angry Troll Boost</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="" style="text-decoration: underline;" >The Hellecasters Rule Sheet1</a></p> <p><iframe class="scribd_iframe_embed" src=";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="/jimi-hendrix">Jimi Hendrix</a> </div> </div> </div> </fieldset> Jim Dunlop Jim Dunlop Effect Pedal Throwdown Jimi Hendrix Poll Polls Way Huge News Features Fri, 21 Nov 2014 15:05:47 +0000 Damian Fanelli Divine Realm Premiere "Sentiments of Fear and Faith" Playthrough Video — Exclusive <!--paging_filter--><p>Today, presents the exclusive premiere of the new guitar playthrough video for "Sentiments of Fear and Faith" by Canadian progressive metal outfit Divine Realm. </p> <p>The video was filmed by <a href="">Ben Dundas Cinematography</a>, the team that also has worked with Intervals, Mandroid Echostar and Structures.</p> <p>The song is from the band's latest album, <em>Abyssal Light</em>, which is available through <a href="">the band's Bandcamp page.</a></p> <p>For more about Divine Realm, follow them on <a href="">Facebook.</a></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Divine Realm Videos News Fri, 21 Nov 2014 15:03:52 +0000 Damian Fanelli Metallica Perform "Enter Sandman" on 'Late Late Show with Craig Ferguson' — Video <!--paging_filter--><p>Last night, Metallica continued their week-long residency on <em>The Late Late Show with Craig Ferguson</em> with a performance of "Enter Sandman." Can these guys perform this song in their sleep by now?</p> <p>Regardless, check out the performance below. As always, let us know what you think in the comments or on Facebook.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Metallica Videos News Fri, 21 Nov 2014 14:58:16 +0000 Guitar World Staff