News en ‘Wolflight’: Steve Hackett Discusses His New Solo Album and Genesis <!--paging_filter--><p>You could call Steve Hackett’s new album, <em>Wolflight,</em> a rock record, but it’s so much more than that. </p> <p>Besides its healthy doses of rock, R&amp;B and jazz, the album, which will be released April 7, reveals the Influence of 19th-century composers and features some unusual instrumentation, not to mention a healthy dose of Hackett’s inspired guitar work.</p> <p>“Love Story to a Vampire” uses tension to describe an unresolved domestic drama, while “The Wheel’s Turning” finds Hackett recalling nostalgic childhood memories. </p> <p>Musicians on <em>Wolflight</em> include Hackett’s longtime collaborators Roger King (keyboards), Gary O’Toole (drums) and Nick Beggs (bass), along with Yes bassist (and Squackett bandmate) Chris Squire on “Love Song to a Vampire” and drummer Hugo Dagenhardt on “Dust and Dreams.”</p> <p>I recently spoke with Hackett about <em>Wolflight</em> and Genesis, as well as his plans to celebrate the 40th anniversary of his first solo album, <em>Voyage of the Acolyte.</em></p> <p><strong>GUITAR WORLD: It’s been nearly four years since your last solo album, <em>Beyond the Shrouded Horizon.</em> Why such a long wait?</strong></p> <p>For the past few years, I've been actively involved in bringing back to the viewing public the Genesis dream that was. It's taken up so much of my time that I had to put new stuff on hold for quite a while. The effect of that allowed me to concentrate my mind on what it was I’d like to do outside the confines of Genesis. I think that helped create a more broad based album than before. </p> <p><strong>What can you tell me about <em>Wolflight</em>?</strong></p> <p>Although the influence of world music is very strong, it’s essentially a rock album. Having said that, there are many guest appearances of things that go well beyond just the guitar, bass and drums. There's a fair amount of orchestra; instruments such as the tar [from Azerbaijan], in this case played by Malik Mansurov, who kicks off the title track.</p> <p>We've also got some duduk played by Rob Townsend, who normally plays sax with me as well as whistles and flutes. Along with Malik, we've twinned the tar with a digeridoo, which is played by Sara Kovacs. All of this is in addition to electric and acoustic guitars. I really wanted to mix things up and felt the genres that normally don't get mentioned would be rich seas to plunder. There are even moments where there are hints of flamenco and French chanson as well as rock, pop, blues and jazz. </p> <p><strong>Why the title, "Wolflight"?</strong></p> <p>It's really an idea from Homer. In <em>The Odyssey,</em> he talks about Odysseus waking up in the Wolflight, the hour before the dawn when it's still dark but the light is just starting to change. It's a time when wolves like to hunt. I had spent some time with wolves and their friendship and kinship with earlier man became a totem for this album. </p> <p><strong>I'd like to ask you a little about your writing process. What inspires you?</strong></p> <p>A lot of this album was done on paper, much of it written in the early morning hours. It’s a time when I've still got one foot in the land of dreams. I find that to be a very creative time. That's part of the process. I'm also a fan of other genres of music. So that means I'll be listening to things like Tchaikovsky and Grieg. You can hear those influences on this album as well. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><Strong>Let’s discuss a few selections from <em>Wolflight,</em> starting with “Love Story to a Vampire."</strong></p> <p>I had the idea for the lyric but no music. It was originally going to be a blues song, but I knew I had to think of it in another way. At the time, I was listening to a lot of music. Everything from the Bellamy Brothers to Grieg to the Carpenters. At the end of the day, it's a song that tells a story, almost like a ballet with ghostly voices fading in the distance at the end. I was also thinking of vampires as being a great metaphor for abusive relationships.</p> <p><strong>“The Wheel’s Turning”</strong></p> <p>I'm proud of that one. The whole thing was a hugely nostalgic trip down memory lane. I thought about the time when I worked at Fun Fair in a place called Battersea in London. I used to live opposite the Battersea Power Station, which was made famous internationally by Pink Floyd with the flying pig on the front of their album, <em>Animals.</em> That was the view from my bedroom window when I was a child. I wanted to get across the idea of how great it was. How frightening it was to go to the Fun Fair and then how great it became when I eventually got to work there as a kid. </p> <p><strong>What are you current tour plans?</strong></p> <p>We've got some European shows coming in September as well as some American dates in November. In addition to <em>Wolflilght,</em> we're going to be celebrating the 40th anniversary of my first solo record, <em>Voyage of the Acolyte.</em> We’ve also had a lot of people asking about adding some Genesis songs into the sets as well. It will be a mixture of everything and billed as the total experience! </p> <p><strong>Speaking of “Voyage of the Acolyte, what made you decide to separate from Genesis and make a solo album?</strong></p> <p>When I first did <em>Acolyte</em>, the band's future was looking extremely iffy. You have to remember Peter Gabriel was leaving and no one really knew if the band was going to survive the loss of its lead singer. A number of us had already been working on our own projects at the time. For me, it was the beginning of starting to fend for myself. Of course, I did have the help of Phil Collins and Mike Rutherford on that album. But I enjoyed the process very much and liked working without relying on the "composition by committee" aspect. I found it much easier to get my ideas through without having to do any political tap dance.</p> <p><strong>Do you think that experience played a role in your desire to eventually leave the band a few years later?</strong></p> <p>Oh yes. At the time, I felt like my role in the band was becoming marginalized and if I really wanted to maintain my self-respect, the only way forward was to stretch out on my own.</p> <p><strong><em>Form more about Hackett, visit <a href=""></a></em></strong></p> <p><em>Photo: Tina Korhonen</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> Genesis James Wood Steve Hackett Interviews News Features Thu, 05 Mar 2015 23:22:39 +0000 James Wood ‘Cannibals’: Richie Kotzen Talks New Album, The Winery Dogs and Gear <!--paging_filter--><p>In a career that has spanned more than 25 years, guitarist extraordinaire Richie Kotzen has built an impressive resume of albums that showcase his unique shredding prowess, vocals, songwriting and vast musical knowledge.</p> <p>On Kotzen’s recently released 20th solo album, 2015's <em>Cannibals</em>, we find the guitarist exploring some interesting new territory.</p> <p>“In an Instant” and “Come on Free” offer a tasty, Seventies-AOR sound, while “The Enemy” showcase Kotzen’s slide guitar skills. Kotzen also makes the new album a multi-generational affair by including his daughter’s piano-driven song, “You.”</p> <p>I recently spoke with Kotzen about <em>Cannibals</em>, his songwriting and his current gear setup. He also provides an update on the next Winery Dogs projects and more.</p> <p><strong>GUITAR WORLD: Lately, you’ve been busy with the Winery Dogs and releasing a compilation package called <em>The Essential Richie Kotzen</em>. What made you decide to release a new solo album?</strong> </p> <p>I felt like it was time. I really had not released a new solo record since 2011. I remember saying to myself around that time that I'd like to take a break from myself and do a collaborative project. The Winery Dogs came at a very good time because the songs I was working on at the time, “Elevate,” “Damaged,” “I'm No Angel” and “Regret,” all ended up on that record.</p> <p>They were things that we either finished or ideas that were started that ended up on the record. Plus we all wrote new material. After spending the last year and a half doing the band, I really wanted to get back to what it was I’ve been doing for the last 20 years. So I went back into the archives and found some songs I started writing many years ago. There also are brand-new songs, like "Cannibals," on there too. </p> <p>This is one of those records where I did what I felt and one that creatively and artistically was true and accurate. I don't like having to meet a deadline or live up to someone else's expectations. I'm at my best when I'm left to my own devices.</p> <p><strong>What’s your songwriting process like these days?</strong></p> <p>I don't believe in consciously setting aside a time to write. For me, writing is an emotional, creative thing that requires a lot of variables to line up. To write a real song, there are a lot of things that have to go on emotionally. In my experience, the most truthful material I’ve written comes from unexpected moments. Ideas will come at you many different times and in many different ways. You just have to be prepared to recognize that inspiration and roll with it. </p> <p><strong>I’d like to ask you about few tracks from the new album and get your thoughts on them. Let's start with the title track, "Cannibals."</strong></p> <p>I was out one night at a restaurant and I heard that melody in my head and simultaneously had the concept of the lyric. It was a metaphor in the sense of how people are willing to step on each other to get ahead without any regard. It was really one of those songs that wrote itself, which is the best thing that can happen. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>"Come on Free" has a cool Seventies-AOR sound.</strong></p> <p>That track is an old song I recorded back around 2002 but never knew what to do with. It actually sat on my hard drive for years until one day I brought it back up and decided to update the mix. I thought now was the time to release it because it seemed to fit in well with the "Cannibals" motif and the R&amp;B-tinged things that were going on. </p> <p>The time was right. What’s interesting is that while I was working on it, I had a bunch of people from Brazil over and they were listening to it and loved it. They started singing this little chant to it, which I thought was so cool. So I literally hooked up a live mic and we had a party. At the end of the song, you can hear that chant happening.</p> <p><strong>"In an Instant"</strong></p> <p>I already had the opening intro to that song, and a lot of what you hear from the bass and guitars in the intro and pre-chorus was actually recorded many years ago. It was an interesting way of writing. It’s not something I do all of the time, but the end result is a song I really like. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>“The Enemy”</strong></p> <p>That’s one of my favorite songs on the album. I very rarely play slide guitar and on that song I decided to do a slide solo.</p> <p><strong>One of the coolest songs on the album, “You,” actually has nothing to do with guitar. What can you tell me about that track?</strong></p> <p>That’s my proudest moment of the record. “You” is a song that originated from my daughter. Years ago, she was playing this three-section piano piece over and over. It was so cool that I recorded her playing it for about seven minutes. Then I ended up forgetting about it and it stayed on my hard drive for many years. When I was in the process of compiling the record, I found it again, finished it up and put words to it. I'm really happy with the way it turned out.</p> <p><strong>What's the latest with the Winery Dogs?</strong></p> <p>That’s the next thing I’ll be doing creatively. Billy [Sheehan], Mike [Portnoy] and I got together recently and threw around some ideas. Now it’s time to for me to write some lyrics and melodies and turn them into songs. That’s the next phase. A realistic goal would be for us to release a new album on or around the end of the summer. I love playing with those guys.</p> <p><strong>Will you also be doing the Dog Camp again this summer?</strong></p> <p>Yes, we have that going again this year too. Last year was a lot of fun. You never know what to expect being up in the woods with people who are very familiar with your music and playing style. But it was very enlightening, enjoyable and quite peaceful. I’m looking forward to that, for sure!</p> <p><strong>What’s your setup like these days?</strong></p> <p>I’m still using my Signature Fender Telecaster. My amp thing is a revolving door. I’ve been using a lot of different things, depending on what it is I’m after. At one point, I was touring with the Vibro Kings; then I went back to the Marshall Plexis. More recently, I did a month of dates where I used the Bogner Goldfinger. Another one of my favorite amps is that little Marshall 1974X 18-watt that has a volume knob and a tone knob. It’s impossible to make that amp sound bad. When I’m touring, the last thing I want to do is have to think about gear. I just want to play.</p> <p><strong>What is it that drives you about music and playing guitar?</strong></p> <p>I learned this in the weirdest way when I was building a deck at my house. After I had finished, I was standing there looking at my work and it was the same feeling I would have after I had written and recorded a song. I had accomplished something and it felt like I had purpose and meaning. </p> <p>In that moment, I discovered that what really drives me isn’t the gig or going on tour or having people tell me they like my legato technique. None of that is important. What’s important is feeling as if I have purpose, and for me, that comes from creativity. </p> <p><strong><em>For more about Kotzen, visit <a href=""></a></em></strong></p> <p><em>Photo: Greg Vorobiov</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> <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="/richie-kotzen">Richie Kotzen</a> </div> </div> </div> </fieldset> James Wood Richie Kotzen Interviews News Features Thu, 05 Mar 2015 22:47:24 +0000 James Wood Papa Roach Playthrough with Jerry Horton: "Face Everything and Rise" — Video <!--paging_filter--><p>Earlier this winter, Papa Roach guitarist Jerry Horton visited <em>Guitar World</em>'s studio in New York City to film two playthrough videos for songs from the band's new album, <em>F.E.A.R.</em></p> <p>Earlier this week, we shared <a href="">Horton's playthrough of "Broken as Me."</a></p> <p>Today we bring you "Face Everything and Rise." </p> <p><em>F.E.A.R.</em> was released January 27 through Eleven Seven Music.</p> <p><strong>For more about Papa Roach, visit <a href=""></a></strong></p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at --><script language="JavaScript" type="text/javascript" src=""></script><object id="myExperience4084186319001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="4084186319001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/papa-roach">Papa Roach</a> </div> </div> </div> </fieldset> Jerry Horton Papa Roach Videos News Thu, 05 Mar 2015 22:06:54 +0000 Guitar World Staff Guild Guitars Re-Releases S-100 Polara in Black and White — Demo Video <!--paging_filter--><p>Guild has announced that the flagship solid-body model in the Newark St. Collection, the S-100 Polara, is now available with Black and White finish options. </p> <p>The S-100 Polara holds its own among the competition, with a slightly offset mahogany body that’s extremely comfortable to play. </p> <p>It features dual “Anti-Hum” neck and bridge pickups, which offer a wide range of sound, including the hard-rocking tone most commonly associated with Kim Thayil of Soundgarden, whose S-100 Polaras have accompanied him throughout his career. </p> <p>Standard features include a one-piece mahogany neck, 24.75-inch scale length, pearloid block inlays, three-way pickup toggle switch, Grover Sta-Tite tuning machines, and Guild’s “stop” tailpiece. One of Guild’s most well-known solid-body guitars, the S-100 Polara evokes the vintage tone and classic vibe of the 1970s. </p> <p><strong>S-100 Polara Black</strong><br /> Street: $799.99</p> <p><strong>S-100 Polara White</strong><br /> Street: $799.99</p> <p><strong>S-100 Polara Cherry Red</strong><br /> Street: $799.99</p> <p><strong>For more about Guild's Newark St. Collection, visit <a href=""></a>.</strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Guild Guild Guitars March Madness Videos Electric Guitars News Gear Thu, 05 Mar 2015 21:59:28 +0000 Guitar World Staff Guitarist Justin Derrico Talks Musicians Institute and Life as Part of 'The Voice' Band <!--paging_filter--><p>If you’re looking for a guitarist who can learn 30 songs in an afternoon, dial in the perfect tone on queue and then rip a face-melting solo in front of 30,000 people, Justin Derrico’s your guy. </p> <p>Just ask Pink, Robin Thicke or Beyonce.</p> <p>Growing up in Virginia, Derrico picked up the guitar in his teens after hearing classic rock gods like Jimi Hendrix and Stevie Ray Vaughan. At 24, he moved to LA with his band to chase the dream. But when the whole “Welcome to the Jungle” thing didn’t pan out, he decided to enroll at Musicians Institute in Hollywood. </p> <p>At MI, he worked his ass off in and out of the practice room, playing gigs at every opportunity. It wasn’t long before people in the business took notice, and he quickly established himself as one of the most in-demand musicians in LA. </p> <p>I talked with Derrico about studying at MI, what it takes to be a professional in the music business and what it’s like to be a part of the backing band for <em>The Voice,</em> you know, the most popular show on TV.</p> <p><strong>GUITAR WORLD: How did your experience at MI prepare you for your career going forward? Is that where you were inspired to become a professional touring/session guy?</strong></p> <p>I started playing when I was about 15 and I always knew I wanted to be a musician. But the thought never crossed my mind of, “How am I going to make a living?” It was pretty typical; I was in a band and we moved out to LA but then we broke up. So I started attending MI and I began to meet people and see people getting gigs. I thought, “Hey, maybe I should start trying to get some gigs instead of putting all of my focus in a band.” </p> <p>MI prepared me in a big way. One thing that was amazing about it was that no class started before 10 a.m., so I could always play gigs at night. I went to Shenandoah Conservatory of Music for about a year and a half before. When I was a student there, I would do a lot of gigs with my band and the school wasn't supportive of it. I’d be playing all night and then my professors would fail me for not making it to my 8 a.m. class. </p> <p>At MI, they encourage that. You could tell a professor, “Hey, I have a gig I’m not going to be able to make it class,” and they’d tell me, “Go do your gig.” That was the mentality. At Shenandoah, I learned a lot about theory and ear training, which gave me a great foundation. At MI, they taught me a lot about technique and also opened me up to a lot of different types of music. </p> <p>There were also tons of great guitar players who played all types of music. Even if you didn’t have Scott Henderson or Alan Hinds or Al Bonhomme as one of your teachers, you could still go to a class called Open Counseling, where you could sit in with these guys and jam. I learned a lot from just jamming with those guys. </p> <p>We also had a class called The Real World, where they’d send you home with a chart or a song to learn. And if you didn’t learn it by the next class, the guy was a real hard ass. It was a bit of tough love, but it made you realize how cutthroat the business really is and how you really need to know your shit.</p> <p><strong>How did you get your first break into the business?</strong></p> <p>At MI, I met my friend Dori who does <em>The Voice</em> with me as well. He put me in touch with Barry Squire. Barry finds musicians for bands and labels and has a roster full of drummers, bass players and guitar players. So I was jamming one day with Dori and he got a call from Barry for an audition. Dori asked him if I could come along and Barry was like, “Sure, bring him down.” The audition was for <em>The Calling,</em> which was my first big gig as a professional musician. </p> <p><strong>How does the experience of being a professional musician compare to playing in your own band?</strong></p> <p>The main difference is that when you’re in your own band; you’re your own boss. It’s up to you to bring in songwriting ideas, but there’s not as much pressure as there is when you’re playing for somebody else. Then somebody is paying you to do a job and you have to be on top of your game, know everything you possibly can and not fuck up. The pressure is on and you’ve got to be perfect all the time. </p> <p>In a live situation like <em>The Voice</em> or a concert DVD, you’ve only got one shot. And a lot of things can go wrong: you can break a string, your amp can go down or your pedal can lose charge. You always want to have back plans and be prepared for everything. </p> <p><em>The Voice</em> is also a constant grind day in and day out. There will be some days where we’ll have to learn 25 songs. You’ll have no time to listen to them except right before you play them. We listen to each song maybe once or twice, rehearse it and take it home to work on our own parts, and then the next day we play it on the show.</p> <p><strong>Besides knowing the songs, what else do you have to think about performance-wise when you’re a part of a big production like <em>The Voice?</em></strong></p> <p>There’s definitely a lot of that involved. You have to be able to take direction and work with the show director, especially when we are gearing up for a big tour. We do a lot of preparation in production rehearsals, where we’re on the stage that we’re going to be performing on every night. We run the show a couple times a day and the show director will tell us, “Hey, at verse 2 in this song, I need you to be in this spot for eight bars, and then you have to make way for the dancers and move over here.”</p> <p>After you’ve rehearsed for a couple of days, it becomes automatic, like muscle memory. It gets to a point where during the show, if I’m not in the spot I’m supposed to be in, something feels weird. It’s like, “Wait a minute … Oh shit, I need to be over here!”</p> <p><strong>What advice do you have for someone trying to break in as a professional session or touring musician?</strong></p> <p>I think the best thing to do is to play out as much as you possibly can. Be heard and be seen; you never know who’s going to be there. Then you can build a reputation as the guy who is always on top of his shit and always on time. Punctuality is important. And being a nice guy doesn’t hurt either. There are a lot of guys with a lot of attitude out there and they don’t get work because of it. It’s a shame; they’re their own worst enemy. </p> <p>But I think the main thing is to get out there and play as much as possible. Something will happen for you and people will notice. If you’re great, people will want to work with you and they’ll hire you for things. One gig leads to another gig. Always. In my entire career, which I’ve been so blessed with so far, every gig I’ve had has led to the next gig. It’s gotten me to the place I’m at now and it’s been a great ride so far.</p> <p><strong>Who’s the coolest coach on <em>The Voice?</em></strong></p> <p>Oh no, man, you’re going to get me in trouble! They’re all really cool, but I love Blake. He’s a lot of fun, and I’m from Virginia so I’m a Southern dude like him. Me and him get along really well. He’s always cracking jokes; he’s a funny dude. Adam and Pharrell are also great. Usher and Shakira are really cool. I’ve really enjoyed working with both of them. Usher especially, is such a hard worker and a really talented guy.</p> <p><strong>So you get a lot of interaction working with them in rehearsals?</strong></p> <p>Oh yeah. They are super-involved. When we get to the live rounds, all of the decisions about arrangements are made by the coaches and contestants. The coach will come in with an idea, or we’ll start jamming on something and spark ideas that way. </p> <p><strong>That’s cool to hear they’re so involved. It’s easy to be cynical and assume its all just for TV.</strong></p> <p>Totally. When I first started the show I was thinking the same thing. You know, “They don’t give a shit.” But the reality is that they care very much. Adam for example is so competitive, especially against Blake. He just hates to lose and there’s something really cool about that.</p> <p><strong><em>For more about Derrico, visit <a href="">justinderrico.</a></em></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><em>Ethan Varian is a freelance writer and guitarist based in San Francisco. He has performed with a number of rock, blues, jazz and bluegrass groups in the Bay Area and in Colorado. <a href="">Follow him on Twitter.</a></em></p> Ethan Varian Justin Derrico Interviews News Features Thu, 05 Mar 2015 21:53:33 +0000 Ethan Varian The Making of Carvin Guitars' Jason Becker JB24 Numbers Tribute Guitar — Video <!--paging_filter--><p>This new video, posted March 3, goes behind the scenes of the Kiesel Guitars/Carvin Guitars custom shop in San Diego and shows you how the JB24 Jason Becker Numbers Tribute Guitar is made. </p> <p>The new guitar is a modern take on the "Numbers" guitar that Becker designed but that was never fully produced.</p> <p>"I wanted to make something that was close to the original but put my own spin on it," said Jeff Kiesel, vice president of Kiesel Guitars/Carvin Guitars. </p> <p>"It was amazing to have the original here while I designed this new model with Jason. It was great working with Seymour Duncan to put in something close to the original pickups. With each and every sale, we donate back to the <a href="">Jason Backer Special Needs Foundation to help Jason with his high medical costs."</a></p> <p><strong>For more information on the Numbers Tribute Guitar, visit <a href=""></a> For more about all the current Kiesel Guitars/Carvin Guitars Jason Becker models, <a href="">head here.</a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/jason-becker">Jason Becker</a> </div> </div> </div> </fieldset> Carvin Carvin Guitars Jason Becker Videos Electric Guitars News Gear Thu, 05 Mar 2015 21:09:46 +0000 Damian Fanelli Harp Twins Camille and Kennerly Cover Metallica's "The Unforgiven" — Video <!--paging_filter--><p>Some of you out there might remember the Harp Twins, better known lately as Camille and Kennerly.</p> <p>The duo, who cover heavy metal and hard rock classics on harps (sometimes acoustic, sometimes electric), were featured on when they covered <a href="">AC/DC's "Highway to Hell,"</a> <a href="">Iron Maiden's "Fear of the Dark"</a> and <a href="">Ozzy Osbourne's "Crazy Train."</a></p> <p>Earlier this year, <a href="">they stormed back with their cover of Megadeth's "A Tout le Monde."</a></p> <p>Well, they're back already with a new one! It's their electric-harp cover of Metallica's "The Unforgiven," which they posted to YouTube March 3.</p> <p>The duo adds: "Please listen with headphones for more complex sound and fuller bass lines!"</p> <p>For more about the Harp Twins, follow them on <a href="">Facebook.</a></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/metallica">Metallica</a> </div> </div> </div> </fieldset> Camille and Kennerly Harp Twins Metallica News Videos Blogs Videos News Thu, 05 Mar 2015 20:54:41 +0000 Damian Fanelli David Gilmour Plans New Album, Announces Fall Tour Dates <!--paging_filter--><p>Pink Floyd's David Gilmour has announced plans to release a new solo album later this year.</p> <p>A brief message on his website added that the album (about which we know very little) will coincide with a string of September tour dates, suggesting a fall release date. You can see his current tour dates at the bottom of this story.</p> <p>Gilmour last mentioned working on a new album, which would be his first since 2006’s <em>On an Island</em>, last year, when speaking to <em>Rolling Stone.</em> </p> <p>“It’s coming along very well,” he said. “There are some sketches that aren’t finished, and some of them will be started again. There’s a few months’ work in it yet. I’m hoping to get it out this following year.”</p> <p>“I’m really enjoying my life and my music,” he added. “There’s no room for Pink Floyd. The thought of doing any more causes me to break out in a cold sweat. Anything we had of value is on [2014's <em>The Endless River</em>}. Trying to do it again would mean using second-best material, and that’s not good enough for me.”</p> <p><strong>David Gilmour 2015 Tour Dates:</strong></p> <p>09/12 – Pula, HR @ Arena Pula<br /> 09/14 – Verona, IT @ Verona Arena<br /> 09/15 – Florence, IT @ Teatro Le Mulina<br /> 09/17 – Orange, FR @ Theatre Antique<br /> 09/19 – Oberhausen, DE @ Koing-Pilsener-Arena<br /> 09/23 – London, UK @ The Royal Albert Hall<br /> 09/24 – London, UK @ The Royal Albert Hall<br /> 09/25 – London, UK @ The Royal Albert Hall</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="/david-gilmour">David Gilmour</a> </div> </div> </div> </fieldset> David Gilmour News Thu, 05 Mar 2015 20:40:31 +0000 Guitar World Staff Michael Angelo Batio to Release Career-Spanning Retrospective, 'Shred Force 1' <!--paging_filter--><p>Michael Angelo Batio will release his first career-spanning retrospective, <em>Shred Force 1: The Essential Michael Angelo Batio,</em> April 14 via Rat Pak Records. </p> <p>The album not only highlights Batio's best work to date, but also brings together many renowned hard rock and heavy metal musicians. </p> <p><em>Shred Force 1</em> features some of Batio’s most memorable performances, including his version of Rush’s “What You’re Doing,” which features Queensrÿche vocalist Todd LaTorre, Metal Church guitarist Kurdt Vanderhoof, Alice Cooper bassist Chuck Garric, Metal Church/TSO drummer Jeff Plate and guitarist Craig Blackwell. You can hear it below.</p> <p>“<em>Shred Force 1</em> is the culmination of my best musical work,” Batio says. “These are some of my personal favorite performances along with an army of featured guest stars pulled together by an amazing record company to bring it all into focus!” </p> <p>The album also includes some of MAB’s most notable instrumental tracks such as, “8 Pillars of Steel” with guest appearances by Elliott Dean Rubinson, Dave Reffett, Jeff Loomis, Rusty Cooley, George Lynch, Andrea Martongelli and Craig Goldy; and “Juggernaut” with ex-Megadeth guitarist Chris Poland, Dave Reffett, Annie Grunwald, Guthrie Govan, Mike Lepond and Michael Romeo. </p> <p>There's also his cover of Deep Purple’s ”Burn” with Queensrÿche vocalist Todd LaTorre and Alter Bridge guitarist Mark Tremonti. The album also features Batio's tributes to Eric Clapton (“Slowhand”), Randy Rhoads (“RRR”) and a new version of MAB’s unique tribute (“Diamond”) to Darrell “Dimebag” Abbott of Pantera.</p> <p>Pre-order bundles are now available at <a href=""></a> or <a href=""></a></p> <p>Batio will make his debut on VH1 Classic’s <em>That Metal Show</em> 9 p.m. ET/PT March 21.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>Track Listing for <em>Shred Force 1: The Essential MAB:</em></strong></p> <p>01. Hands Without Shadows (featuring Bobby Rock and William Kopecky)<br /> 02. Burn (featuring Todd LaTorre and Mark Tremonti)<br /> 03. Juggernaut (Featuring Chris Poland, Dave Reffett, Annie Grunwald, Guthrie Govan, Mike Lepond, and Michael Romeo)<br /> 04. What You’re Doing (featuring Todd LaTorre, Kurdt Vanderhoof, Chuck Garric, Jeff Plate and Craig Blackwell)<br /> 05. 8 Pillars of Steel (featuring Elliott Dean Rubinson, Dave Reffett, Jeff Loomis, Rusty Cooley, George Lynch, Andrea Martongelli, Craig Goldy)<br /> 06. Call To Arms (featuring Dan Lenegar, William Kopecky and John Mrozek)<br /> 07. 2X Again<br /> 08. Slowhand (Featuring Warren Dunlevy Jr.)<br /> 09. Diamond (featuring Michael Wilton, Elliott Dean Rubinson)<br /> 10. Rainforest<br /> 11. Gotta Run (featuring Dan Lenegar, William Kopecky and John Mrozek)<br /> 12. No Boundaries<br /> 13. RRR (featuring Rudy Sarzo and Bobby Rock)</p> <p>Bonus Tracks (Digital Version Only)<br /> 14. I Pray The Lord<br /> 15. Peace</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="/michael-angelo-batio-0">Michael Angelo Batio</a> </div> </div> </div> </fieldset> Michael Angelo Batio News Thu, 05 Mar 2015 20:06:21 +0000 Guitar World Staff SketchShe Tackle Queen with "Bohemian Carsody" Video <!--paging_filter--><p>SketchShe is/are a female comedy trio from Australia.</p> <p>And, well, they've made this new video called "Bohemian Carsody," where they sit in a car and sing (and act out) Queen's "Bohemian Rhapsody."</p> <p>It's better than it sounds. </p> <p>Anyway, feel free to check it out below. We warn you in advance that there are no guitars in the video!</p> <p>Here's their tag line from Twitter: "Shae-Lee, Lana and Madison" female comedy trio! Brazen, bold and audacious, bringing you a mixed bag of characters and chaos!" <a href="">Follow them 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="/queen">Queen</a> </div> </div> </div> </fieldset> Queen SketchShe Videos News Thu, 05 Mar 2015 18:28:12 +0000 Damian Fanelli 15-Year-Old Guitarist Tina S. Plays DragonForce's "Through the Fire and Flames" — Video <!--paging_filter--><p>Tina S.—everyone's favorite teenage French shredder—is back with another new video, her first of 2015.</p> <p>This time, Tina—who has covered everyone from Yngwie Malmsteen to Eddie Van Halen to Steve Vai to Gary Moore—tackles (or, in this case, plays along to) DragonForce's "Through the Fire and Flames." </p> <p>The original version of the song is from DragonForce's third album, <em>Inhuman Rampage,</em> and features rapid twin guitar solos by Herman Li and Sam Totman. Tina plays both herself.</p> <p>Tina, who'll be turning 16 this spring (if it ever gets here; more snow in NYC today), posted the video to YouTube today, March 5. As always, Tina is playing her <a href="">Vigier</a> Excalibur Custom guitar. She was taught and filmed by her guitar instructor, Renaud Louis-Servais.</p> <p>Tina has become well known to readers of for her effortless covers of Van Halen's <a href="">"Eruption,"</a> Vai's version of <a href="">Paganini's 5th Caprice</a>, Dream Theater's <a href="">"The Best of Times"</a> and her shred tribute to <a href="">Italian composer Antonio Vivaldi</a>.</p> <p>You also might want to check out her take on <a href="">Yngwie Malmsteen's "Arpeggios from Hell," which she performed and posted last March.</a></p> <p><strong>For more about Tina, check out the links above (and under RELATED CONTENT), and follow her on <a href="">Facebook</a> and <a href="">Twitter.</a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/dragonforce">Dragonforce</a> </div> </div> </div> </fieldset> Dragonforce Tina S. Videos News Thu, 05 Mar 2015 17:51:33 +0000 Damian Fanelli Street Guitarist Damian Salazar Blows Minds (But Doesn't Turn Too Many Heads) in This Video <!--paging_filter--><p>Here's a video that was recently posted to Facebook by a news/media website called Siakap Keli.</p> <p>Even though we can't read a word of the Siakap Keli post (or most of its comments), we can tell you the street guitarist in the video is young Damian Salazar of Beunos Aires, Argentina.</p> <p>We also can tell you that, even though people are just passing him by in this particular video, Salazar DOES tend to draw crowds, as can be seen in several other Damian Salazar videos on YouTube. He's also been mentioned in stories by Guitar Hive and has a decent Google presence.</p> <p>Enjoy! And be sure to give him some money if you see him performing on Florida Street in Beunos Aires!</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="">Siakap Keli</a>.</div> </div> <p><br /><br /> At some point, we really need to do a roundup of these super-talented street performers. You know, guys like this ...</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Damian Salazar Videos News Thu, 05 Mar 2015 17:00:09 +0000 Damian Fanelli Austin Power: Stevie Ray Vaughan's 30 Greatest Recordings <!--paging_filter--><p><strong>Guitar World<em> celebrates the 30 greatest recordings of Stevie Ray Vaughan—from “Texas Flood” to “Riviera Paradise”…from “Couldn’t Stand the Weather” to “The Sky Is Crying.”</em></strong></p> <p>For someone who spent a mere seven and a half years as a heavy player on the world stage, Texas guitar-slinger Stevie Ray Vaughan left behind a wealth of recorded material—and one hell of a legacy.</p> <p>In that blink of an eye between his incongruous appearance on David Bowie’s <em>Let’s Dance</em> in 1983 and his death in a freak helicopter crash in 1990, Vaughan unleashed four indispensable studio albums that hijacked the trajectory of modern blues guitar. </p> <p>Without the aid of light shows, edgy haircuts and goofy rock-star posturing, he introduced the MTV generation to passion-fueled guitar music—not to mention the work and importance of Jimi Hendrix, Albert King, Buddy Guy and Howlin’ Wolf.</p> <p>He even had time to star in his own mini rock-star drama of drug and alcohol addiction, breakdown, recovery and triumphant return.</p> <p>In honor of what would have been Vaughan’s 60th birthday (It’s about as difficult to picture SRV at 60 as it is to picture Hendrix at 72), <em>Guitar World</em> looks back at what we consider his 30 greatest guitar moments. Our list digs deep into his six-string artistry, while taking historical importance and other factors into account. </p> <p>In terms of material, we’ve considered everything, including his official studio work and numerous posthumous studio and live releases—basically everything that will be included on Legacy Recordings’ recently released 13-disc box set, <em>Stevie Ray Vaughan and Double Trouble: The Complete Epic Album Collection.</em></p> <p>We also considered his DVDs and videos available on YouTube—pretty much everything and anything he recorded with a Fender Strat, a guitar that, as reported elsewhere in this issue, also happens to be celebrating its 60th anniversary this year. — <em>Damian Fanelli</em></p> <p><strong>30. “Texas Flood” (<em>Live at Montreux 1982 &amp; 1985</em>, 2001)</strong></p> <p>Sure, there are scores of stellar live versions of “Texas Flood” online, but there’s simply something magical about this raw performance from July 17, 1982, at the Montreux Jazz and International Music Festival. </p> <p>The extended, dynamics-filled rollercoaster ride finds SRV reaching into his bag of King-meets-Hendrix licks—not to mention behind his back, where his Strat rested for the final third of the song. SRV floored everyone that night, except for a handful of blues purists who can be heard (and seen in the video) booing loud and clear. </p> <p>“We weren’t sure how we’d be accepted,” Vaughan told <em>Guitar World</em> in 1983. But he knew it went well when David Bowie appeared backstage and an important alliance was born. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>29. Love Struck Baby (<em>Live at the El Mocambo</em>, 1991)</strong></p> <p>“Love Struck Baby,” the opening track on <em>Texas Flood,</em> is an SRV original, a straightforward rocker in the style of rock and roll pioneer Chuck Berry. </p> <p>This explosive live version from SRV &amp; Double Trouble’s July 20, 1983, performance at El Mocambo clearly illustrates Vaughan’s incredible touch, tone and phrasing from the very first note. </p> <p>The rhythm guitar parts are built from Berry’s signature alternating root-fifth/root-sixth style, and Vaughan’s solos borrow from both Berry and T-Bone Walker, Stevie’s great influence. During his first and second solos, Vaughan leans heavily on an Adim7 voicing fretted on the top three strings that is slowly bent up one half step and vibrato-ed in the style of Walker. </p> <p>At the end of his second solo, he employs an unusual A7add2 chord voicing—made popular by blues great Freddie King on his instrumental hit “Hide Away”—sliding down the fretboard from this voicing and jumping into unison bends played on the third and second strings, with the ring finger used to bend the third string and the index finger used to fret the second string.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>28. Say What! (<em>Soul to Soul</em>, 1985)</strong></p> <p>The opening track on SRV and Double Trouble’s third album, “Say What!” is a swinging 12/8 instrumental that features intense, virtuoso guitar work drenched in echo and heavy wah-wah. </p> <p>“ ‘Say What!’ had been a jam, like Hendrix's ‘Rainy Day, Dream Away,’ ” Tommy Shannon recalls. </p> <p>Rumor has it that, for this track, Vaughan used a wah that had formerly belonged to Jimi Hendrix. </p> <p>Allegedly, the wah was acquired by brother Jimmie Vaughan in a trade with Hendrix when the two played a show together in Forth Worth, Texas, in 1969. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>27. “Let's Dance” (David Bowie, <em>Let’s Dance</em>, 1983)</strong></p> <p>It’s crazy enough that, in the synth-happy early Eighties, newcomer Vaughan had a top-20 hit with a Strat-fueled, 12-bar-blues shuffle called “Pride and Joy.” </p> <p>Even more bizarre is that, the same year, his raunchy Albert King–inspired bends graced a bona-fide mega-hit, David Bowie’s jittery “Let’s Dance,” which spent a solid three weeks at the top of the charts. </p> <p>The song—and the album of the same name—is notable because it served as the world’s introduction to Vaughan’s dynamic fretwork, a fact lost on most of Bowie’s newer, younger audience. </p> <p>For a heftier serving of SRV, check out the seven-plus-minute version of this track, plus “Cat People (Putting Out Fire)” and “China Girl.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>26. Ain’t Gone ’n’ Give Up on Love (Capitol Theater, 1985)</strong></p> <p>Cut originally for 1985’s <em>Soul to Soul</em>, “Ain’t Gone ’n’ Give Up on Love” is a great slow blues in A with some interesting twists and turns found in the bridge chord progression. </p> <p>This smoldering version, cut on September 21, 1985, at the Capitol Theater in Passaic, New Jersey, is one of the many great examples of Stevie’s pure and complete mastery of the slow blues idiom. Throughout the song, his soloing style leans heavily on his Albert King influence, blended masterfully with his incredibly precise articulation and powerfully emotional execution. </p> <p>Although he performs increasingly complex improvised phrases as the solo progresses, his rhythmic sense is sharp and he retains total control throughout.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>25. Superstition (<em>Live Alive</em>, 1986)</strong></p> <p>Stevie Wonder originally wrote this fantastic riff rocker for Jeff Beck before reclaiming it as his own and making it a Number One smash in 1972. </p> <p>A decade later, SRV wrestled it back on his 1986 <em>Live Alive</em> and made it the monstrous guitar song it always wanted to be. The only demerit is that Stevie—the undisputed king of corny music videos—used the track as an excuse to make yet another hilariously bad promotional clip.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>24. Change It (<em>Soul to Soul</em>)</strong></p> <p>Arguably Stevie’s best single. </p> <p>He sounds like the big bad wolf threatening to blow down some girl’s door—and if that won’t do it, his snarling guitar solo will. Although the lyrics are generally positive, his vocals are menacing as all hell. Another terrible video, though. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>23. Blues at Sunrise (<em>In Session,</em> 1999)</strong></p> <p>Stevie Ray Vaughan and his hero and mentor Albert King convened on December 6, 1983, to perform for the <em>In Session</em> live music television series produced by the Canadian television station CHCH-TV in Hamilton, Ontario. </p> <p>Vaughan, whose debut release <em>Texas Flood</em> had been out for only a few months, was largely unknown to most viewers at that time. In fact, King didn’t know him by name and initially refused to perform with Vaughan—until King realized he was the same Austin, Texas, guitar prodigy that King had already played with many times before, known to him as “Little Stevie.” </p> <p>The show features King’s band and consists mostly of his material, aside from a scorching version of Vaughan’s “Pride and Joy.” The two guitarists “battle” back and forth beautifully, King often laughing as he is tickled pink by Vaughan’s virtuosity.</p> <p>“Blues at Sunrise” is the high point of a session that many consider to contain some of the greatest playing SRV ever recorded. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>22. Crossfire (<em>In Step</em>, 1989)</strong></p> <p>“When Stevie first heard ‘Crossfire,’ it reminded him of ‘Shotgun’ by Junior Walker,” bassist Tommy Shannon recalls of Vaughan’s only Number One hit. </p> <p>Shannon, one of the song’s composers, actually wrote the butt-shaking bass line that serves as its primary riff, but according to keyboardist Reese Wynans, the track had a somewhat difficult birth. </p> <p>“We put it together little by little, and it wasn’t easy,” he says. “But in the end it came out just right.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>21. “The House Is Rockin'” (<em>In Step</em>)</strong></p> <p>We’re suckers for a killer guitar riff, and “The House Is Rockin’,” the lead single from Vaughan’s 1989 comeback album, <em>In Step,</em> is built around a doozy. </p> <p>Actually, the riff—a Chuck Berry–inspired E power chord shape played on the seventh fret (tuned down a half-step, of course)—is fairly basic. It’s Vaughan’s pinky gymnastics on the fifth and sixth strings that give it its own chugging, barrelhouse flavor. </p> <p>“Doyle [Bramhall] wrote that part,” Vaughan told <em>Guitar World’s</em> Andy Aledort in 1989. “He writes these great songs.” With this track, Vaughan once again managed to bring a tasty piece of roots rock to the Top 20.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>20. Tin Pan Alley (<em>Montreux,</em> 1985)</strong></p> <p>When Stevie Ray Vaughan and Double Trouble played the Montreux Jazz Festival for the second time on July 15, 1985 (almost three years to the day from their first appearance), Stevie joked with the adoring crowd: “First time here, we got booed… First time we got a Grammy!” </p> <p>The 1985 performance included Reese Wynans on keyboard, whicih led Vaughan to dub the group Serious Trouble. </p> <p>“Tin Pan Alley” is a very slow, emotive minor blues that had been in SRV’s live set for years by the time he first cut it in the studio in January 1984 for <em>Couldn’t Stand the Weather</em>. </p> <p>This version includes legendary Texas guitarist Johnny Copeland sitting in on vocals and guitar, and Stevie’s guitar work throughout—performed on the white Charlie Wirz Strat with Dan Armstrong “lipstick tube” pickups—is absolutely astonishing. </p> <p>His tone, his touch, his feel and his phrasing are just phenomenal. Electric blues guitar just does not get any better than this. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>19. Come On (Part III) (<em>Soul to Soul</em>) </strong></p> <p>Every Stevie Ray album had to have a little Hendrix on it somewhere, and his third album, <em>Soul to Soul</em>, was no different. </p> <p>While he stays pretty faithful to Jimi’s <em>Electric Ladyland</em> version of “Come On,” Vaughan outsings and outplays the original in every way. Hey, it was bound to happen. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>18. “The Sky Is Crying” (<em>Blues at Sunrise</em>, 2000)</strong></p> <p>Although the officially released version of this Elmore James cover, from 1991’s <em>The Sky Is Crying</em>, features welcome embellishment courtesy of keyboardist Reese Wynans, Vaughan’s tame and somewhat predicable solo owes a bit too much to “Texas Flood.” </p> <p>This three-piece version, recorded earlier (during sessions for <em>Couldn’t Stand the Weather</em>) and released nine years later on <em>Blues at Sunrise</em>, captures the band at its live-in-the-studio best. </p> <p>SRV slides up and down the neck with abandon, laying into a solo so fluid and tasty that it makes you wonder why it hadn’t been released during his lifetime.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>17. Telephone Song (<em>Family Style,</em> 1990)</strong></p> <p>Released a month before Stevie’s death, this track is just one of the many highlights from the vastly underrated 1990 <em>Family Style</em> album, recorded with his older brother, Jimmie. </p> <p>If Stevie had a fault, it was that he was a little too earnest, but with his bro and producer Nile Rodgers onboard, he sounds like he’s loose and having a blast. </p> <p>“Telephone Song” is surely the funkiest studio track of his career, and his improvised rap at the end is a hoot.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>16. Look At Little Sister (<em>Soul to Soul</em>)</strong></p> <p>To think of “Look At Little Sister” as a somewhat inferior follow-up to “Pride and Joy” is to miss its many virtues. </p> <p>Sure, it features less guitar, but Stevie’s lascivious vocals are fantastic, and the track’s superior sound and production add substantial heft to its grinding stripper chug. It’s dirty in a way that the blues should be. </p> <p>You can’t help but imagine what this sweet thing looks like when SRV spies her “shakin’ like a tree” and “rollin’ like a log.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>15. “May I Have a Talk with You” (<em>The Sky Is Crying,</em> 1991)</strong></p> <p>This cover of a Howlin’ Wolf tune stands out as one of the rare polished-sounding studio recordings where Vaughan actually flubs a note. </p> <p>The (let’s call it) tiny imperfection occurs at the 4:01 mark, when SRV is coming back for a landing after a series of bends high on the neck. But the error plays only a bit part in this particularly exciting and majestic slow-burn solo and reminds us that Vaughan was, occasionally, mortal. </p> <p>Well, mortal-ish.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>14. Scuttle Buttin’ (<em>Couldn’t Stand the Weather</em>)</strong></p> <p>Composed as a tribute to Lonnie Mack, who is among rock’s first virtuoso lead guitarists, this 1:52 shot of pure adrenaline opens with one of Stevie’s flashiest and most imitated licks.</p> <p>Featuring a series of quick—and relatively easy—open-string pull-offs, “Scuttle Buttin’ ” is the song for guitarists to learn when they want to impress skeptical parents, buddies and girlfriends.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>13. Cold Shot (<em>Rockpalast</em>, 1984)</strong></p> <p>Originally included on SRV’s brilliant sophomore release, 1984’s <em>Couldn’t Stand the Weather</em>, “Cold Shot” is a swinging shuffle with a dark, heavy blues feel. </p> <p>The song was written by keyboardist Mike Kindred, who was part of the Triple Threat group that preceded the formation of Double Trouble. Stevie loved “Cold Shot” and kept it in the repertoire for his entire career. </p> <p>At the time of this performance, which took place on August 25, 1984, at Freilichtbühne Loreley, St. Goarshausen, Germany for the <em>Rockpalast</em> television broadcast, SRV and Double Trouble were still performing as a trio, and the band’s pure power at this stage of its development is simply incredible. </p> <p>With his Fender Vibratone cranked to the max, Stevie rips through his first solo, relying on hybrid-picked non-adjacent double-stops played on the third and first strings. </p> <p>Notes on the high E string are fingerpicked, while notes on the G string are sounded with the pick. SRV’s solid fret-hand strength allows him to execute the many bends and hammer-ons played on the G string while simultaneously fretting the high A root note on the E string at the fifth fret. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>12. Tightrope (<em>Austin City Limits</em>, 1989)</strong></p> <p>When Stevie cut 1989’s<em> In Step</em>, his last studio effort with Double Trouble, he showcased more of an R&amp;B/soul approach than ever before, evidenced by the hit tracks “Crossfire” and “Tightrope.”</p> <p> “Tightrope” is a straightforward 4/4 groover with a James Brown–meets–Albert King type of feel. Shot on October 10, 1989 for<em> Austin City Limits</em>, Stevie’s performance is extraordinary, displaying a combination of raw power, deep emotion and technical brilliance in perfect measure. </p> <p>His Fuzz Face–drenched solo is crushing in its power while also beautifully melodic and precise. The intense multistring bent vibratos at the start of his outro solo (3:42–3:46) are just the tip of the iceberg as he closes out this truly masterful performance.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>11. “Mary Had a Little Lamb” (<em>Austin City Limits</em>, 1989)</strong></p> <p>“When I go out and play [“Mary Had a Little Lamb”], I can hear people say, ‘Oh, that's Stevie's number,’ ” Buddy Guy once said. </p> <p>“So I say, ‘Okay man, that's Stevie's number.’ But Stevie knows whose number it was.” </p> <p>“Mary,” the first Guy composition to be recorded by Vaughan, was the perfect canvas for Vaughan and keyboardist Reese Wynans to slather with their mad skills. </p> <p>Like the rest of this priceless 1989 <em>Austin City Limits</em> broadcast, Vaughan is simply on fire. Between the song’s funked-up sections, he delivers a series of stellar, note-perfect solos that careen and soar with the aid of some nifty whammy-bar action.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>10. Testify (<em>Texas Flood</em>)</strong></p> <p>The idea of Stevie Ray covering a funky song by the great R&amp;B band the Isley Brothers might seem bizarre until you consider that rhythm and blues was a big part of the Double Trouble playbook. </p> <p>Besides, his choice of “Testify” makes perfect sense when you realize that the guitarist on the Isley’s original 1964 version was none other than his hero, Jimi Hendrix. </p> <p>More a tip of the hat than a cover, Stevie pays respects to Hendrix’s original opening riff before ditching the rest of the song and heading into parts unknown. It’s just as well. “Testify” wasn’t very good in the first place, and Vaughan carves a much more exciting path while ripping a total of seven—count ’em, seven—electrifying solos, each more intense than the one before it. </p> <p>But what really makes this one of Stevie’s very best performances is the variety of sounds he gets by using his wah pedal to subtly color his sound, as it gradually shifts from silky smooth to full-on banshee wail. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>09. “Couldn't Stand the Weather” (Capitol Theatre, 1985)</strong></p> <p><em>Couldn’t Stand the Weather</em>, Vaughan’s 1984 sophomore album, featured impressive guitar work and sold well, two factors that confirmed SRV and Double Trouble weren’t a mere flash in the pan. </p> <p>Still, many critics and fans at the time couldn’t help but notice that the album was something of a letdown. With its combination of originals and covers and heavy reliance on the blues, the eight-song collection had a “more of the same” feel about it. </p> <p>Thirty years later, however, one can’t help but notice that <em>Couldn’t Stand the Weather</em> is where a Texas-sized portion of Vaughan’s most essential recordings live. These include “Voodoo Chile (Slight Return),” “Cold Shot,” “Tin Pan Alley” and the funky title track, which—contrary to the “more of the same” criticism—finds Vaughan working hard to break out of the blues mold of <em>Texas Flood</em>. The song features several fine guitar parts, from its free-form intro to its funky figures to its Albert King–Jimi Hendrix stew of a solo. </p> <p>One of the most inspiring performances of the song—from September 1985 at New Jersey’s Capitol Theatre—can be found on YouTube (below), courtesy of the Music Vault. It’s all there: Vaughan’s power, intensity, focus and mammoth stage presence, plus a new-for-1985 breakdown section that gave keyboardist Reese Wynans a chance to shine. This version also scores bonus points for its choreography! (<em>P.S.: I was in the audience that night! — Damian Fanelli</em>)</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>08. Riviera Paradise (<em>In Step,</em> 1989)</strong></p> <p>Stevie called it “The King Tone”—the bell-like, crystalline timbre of a Fender Strat played clean, warm and in the in-between (out-of-phase neck-middle and bridge-middle) pickup positions. </p> <p>And he put it to extraordinary use on In Step’s “Riviera Paradise,” one of his rare but unforgettable forays into the world of Wes Montgomery–inspired jazz blues. Done in one magic take, the recording session was the stuff of legends.</p> <p> “Stevie told me he had an instrumental he wanted to try, and I said that I only had nine minutes of tape left,” producer Jim Gaines recalls. “He said, ‘Don’t worry, it’s only four minutes long.’ We dimmed the lights and the band started playing this gorgeous song, which went on to six minutes, seven minutes, seven-and-a-half… The performance was absolutely incredible, totally inspired, dripping with emotion—and here we were, about to run out of tape. </p> <p>“I was jumping up and down, waving my arms, but everyone was so wrapped up in their playing that no one was paying me any mind. I finally got Chris’ attention and emphatically gave him the cut sign. He started trying to flag down Stevie, but he was hunched over his guitar with his head bent down.</p> <p> Finally, he looked up, and they brought the song down just in time. It ended, and a few seconds later the tape finished and the studio was silent, except for the sound of the empty reel spinning around.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>07. Rude Mood (<em>Texas Flood</em>)</strong></p> <p>Along with “Testify” and “Lenny,” “Rude Mood” is another of the three instrumental tracks recorded for SRV’s debut release.</p> <p>Written by Vaughan and inspired by the Lightning Hopkins song “Hopkin’s Sky Hop,” this barn-burning track serves as a tour de force display of Stevie’s mastery of a great many different guitar techniques, including fast alternate picking, complex sections devised of fingers-plus-pick hybrid-picking techniques, and seamless transitions from hard-driving rhythm playing to blazing single-note solos. </p> <p>As a composition, it is perfectly constructed into distinct and individual 12-bar choruses, each of which brings the intensity of the song to a new and higher level. </p> <p>Says Double Trouble drummer Chris Layton, “In early ’79, [country DJ] Joe Gracey made early recordings of Double Trouble while Lou Ann [Barton], Jack Newhouse and Johnny Reno were still in the band. That was blues stuff like, 'Ti Na Nee Na Nu,’ ‘Scratch My Back’ and ‘Sugarcoated Love,’ along with an early version of ‘Rude Mood.’ Those recordings were done in the tiny basement of KOKE, a country station. Gracey recorded us on a four-channel mixer with a reel-to-reel, with everything done totally live using just four microphones.”</p> <p>It’s fascinating to hear the recording of “Rude Mood” from that period, because the <em>Texas Flood</em> version, which is much faster, is a note-perfect recreation of it. There is virtually no improvisation whatsoever. It is almost unheard of for a blues guitar player to compose something that lengthy and complicated, and perform it note-perfectly for years and years, just as Stevie did. </p> <p>He displays incredible attention to detail on this song, and this is even more obvious when you compare the two studio versions, recorded four years apart.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>06. Lenny (<em>Live at the El Mocambo</em>)</strong></p> <p>“Lenny” is a beautiful, Hendrix-inspired ballad that Stevie wrote for his wife, Lenora. </p> <p>The solo section is made up of alternating bars of Emaj13 and Amaj9. Stylistically, the song is very similar to Jimi Hendrix’s classic ballad, “Angel.” For this El Mocambo performance, Stevie chose to play a guitar he dubbed Lenny, a 1963/1964 guitar that Lenny bought for Stevie in the early Eighties. </p> <p>It was stripped down to the natural wood and features a light-brown stain as well as a butterfly tortoiseshell inlay in the body. The guitar originally had a neck with a rosewood fretboard, but Stevie soon replaced it with a maple neck that was a gift from his brother, Jimmie. </p> <p>In true Hendrix style, Stevie treats the arpeggiated bridge section (the B6-D6-G6-Bb6-A6 chord progression) with subtle whammy bar manipulations. His improvised lines are based primarily on E major pentatonic (E F# G# B C#), with brief use of the minor third, G, as a passing tone into the major second, F#. </p> <p>Of great importance is the subtle use of hammer-ons, pull-offs and slides throughout, which serve to provide a liquid feel to his well-articulated and melodic phrases. When playing these lines, Stevie sticks with the index and ring fingers of his fret-hand. Of note is the smooth and effortless way he moves from playing straight 16th notes to playing lines articulated in 16th-note triplets. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>05. “Leave My Girl Alone” (<em>Austin City Limits</em>, 1989; released on <em>The Real Deal: Greatest Hits 2</em>, 1999)</strong></p> <p>One of the most frustrating things about Vaughan’s tragic death in August 1990 was the fact that, in the last two years of his life, his playing had somehow improved. </p> <p>Vaughan’s (and the rest of the band’s) coke-induced distractions were snuffed out, and his portal—that magical gateway that connected the guitarist to his unique source of inspiration, divine or otherwise—was wide open. </p> <p>A perfect example is this live 1989 version of Buddy Guy’s “Leave My Girl Alone,” recorded on the <em>Austin City Limits</em> TV show. Eric Clapton has mentioned how Jeff Beck “pulls” notes from his guitar; in this case, Vaughan is clearly “pushing” the notes out of his Strat, all in relentless, lightning-fast bursts that make you wonder what you’ve been doing with your life. </p> <p>His ominous groans between phrases underscore the passion and excitement he felt during every performance, especially when he was able to experience his surroundings as a clean and sober guitar god. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>04. Little Wing (<em>Live at the El Mocambo</em>, 1991)</strong></p> <p>Stevie Ray Vaughan’s electrifying performance of Jimi Hendrix’s timeless ballad during his July 20, 1983, performance at the El Mocambo Club in Toronto, Canada, is one of the best live versions he ever performed, beautifully filmed and captured at what was the very beginning of his rapid ascent to stardom. Stevie always played the song as an instrumental. </p> <p>Six months after this performance, he would record an instrumental version of “Little Wing” in the Power Station studio in NYC while working on his sophomore release, <em>Couldn’t Stand the Weather</em>. </p> <p>Without mimicking any of Jimi Hendrix’s licks, Stevie expresses his own distinct musicality—as well as complete and utter mastery of the guitar—while beautifully and faithfully emulating Jimi’s style. He relies on specific elements, such as strong and wide vibratos, razor-sharp string bending and expressive legato techniques, delivered with a swinging 16th-note triplet feel. </p> <p>Throughout, Stevie focuses his formidable technique on emotionally expressive phrases, as each new improvised melody balances perfectly against the last.</p> <p> Jimi’s original studio take may have been a mere 2:24 in length, but SRV uses “Little Wing” as a vehicle for extended improvisation, as this stellar version stretches out to just over seven minutes long. A huge plus for all guitarists is that the DVD of this concert, <em>Live at the El Mocambo</em>, stays focused on his hands virtually the entire time, allowing for close scrutiny of just about every blazing lick, bend and vibrato that he performs.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>03. Voodoo Chile (Slight Return) (<em>Couldn’t Stand the Weather</em>, 1984)</strong></p> <p>It’s ballsy when any guitarist attempts to cover a Jimi Hendrix song, let alone a masterpiece like “Voodoo Chile (Slight Return).” And even though SRV was no ordinary guitarist, he labored long and hard over the decision to include his version of the tune on his second album, <em>Couldn’t Stand the Weather.</em></p> <p> “I love Hendrix’s music,” Vaughan told <em>Guitar World</em> in 1985, “and I just feel it’s important for people to hear him. I know if I take care of his music that it will take care of me. I treat it with respect—not as a burden. See, I still listen to Hendrix all the time, and I doubt I’ll ever quit.”</p> <p> In many ways Stevie was a perfect envoy for Jimi, as witnessed by his electrifying studio take on “Voodoo.” His uncanny ability to smooth out some of Hendrix’s weirder edges without losing any of the music’s power or excitement allowed him to credibly deliver Jimi’s avant-garde blues to a whole new generation of guitar fanatics.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>02. “Pride and Joy” (<em>Texas Flood</em>)</strong></p> <p>Imagine what radio listeners in 1983 thought when they first heard the fat, droning Eb notes that kick off Stevie Ray Vaughan’s “Pride and Joy.” </p> <p>After their steady diet of Irene Cara, Flock of Seagulls and Human League, did they even know it was a guitar? Regardless, the notes—which quickly morphed into a rollicking Texas shuffle—underscored the return of heart-felt guitar music as a viable artistic force. </p> <p>Part of what makes “Pride and Joy” stand out from, well, pretty much everything else is its reliance on heavy-gauge open strings, including the high E (.13, tuned to Eb), B (.15, tuned to Bb) and low E (.58, tuned to Eb). Throw in Vaughan’s trademark “Number One” Strat, an Ibanez TS-808 Tube Screamer, a Roland Dimension D Chorus and a Dumble amp (which belonged to Jackson Browne), and you’ve got something truly unique. </p> <p>“Stevie wrote ‘Pride and Joy’ for this new girlfriend he had when he was inspired by their relationship,” Layton said. “Then they had a fight and he turned around and wrote ‘I’m Cryin’,’ which is really the same song, just the flip side, lyrically.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>01. “Texas Flood” (<em>Texas Flood,</em> 1983)</strong></p> <p>Stevie Ray Vaughan and Double Trouble—bassist Tommy Shannon and drummer Chris Layton—didn’t walk into Jackson Browne’s Down Town Studio in Los Angeles in late 1982 with highfalutin plans about recording their monster debut album. </p> <p>In fact, their sites were set much lower. “We were just making a tape,” Layton said. “We hoped maybe we were making a demo that would actually be listened to by a real record company.” Browne had offered them 72 hours of free time, and the group recorded 10 songs over its last two days at the studio. </p> <p>The last tune to be tracked was “Texas Flood,” an obscure slow-blues tune recorded in 1958 by Texas bluesman Larry Davis (with Fenton Robinson on guitar) that had been a staple of Vaughan’s live shows for years. Vaughan’s version, which borrowed heavily from Davis’ arrangement and singing style, was recorded in a single take—live—just as the clock ran out. According to Nick Palaski and Bill Crawford’s <em><a href="">Stevie Ray Vaughan: Caught in the Crossfire</a></em>, there were only two overdubs, both covering mistakes made when Vaughan broke strings. </p> <p>Listening to Vaughan’s ferocious Albert King–on-steroids two-string bends, it’s a miracle another three or four E and/or B strings didn’t self-destruct every few bars. </p> <p>The stark, five-and-a-half-minute recording is a composite of everything that made Vaughan great, from the note choices to the intensity to his ability to learn from, yet build upon, the groundwork laid by his influences.</p> <p><iframe width="360" 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="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> best Damian Fanelli geatest GW Archive GWLinotte October 2014 Stevie Ray Vaughan top 30 Guitar World Lists Videos News Features Magazine Thu, 05 Mar 2015 15:31:06 +0000 Damian Fanelli, Brad Tolinski, Andy Aledort Guitar Tricks: Eight Things You Need to Know About Arpeggios <!--paging_filter--><p>As you advance in your guitar studies, you'll surely come across the term "arpeggio." </p> <p>Arpeggios are a great way to add color and complexity to your playing. You can make riffs out of them, use them in solos or even create melody lines with their fluid sound. </p> <p>Nearly all of the greats use arpeggios. Yet, if you're like a lot of guitarists, you might be shying away from them because you fear being overwhelmed by the "Twin Ts": theory and technique. If you have a basic understanding of how chords work, though, it's high time to get your feet wet. </p> <p>Here are eight things you need to know to help demystify the arpeggio. </p> <p>01. <Strong>What an arpeggio is exactly</strong> The word arpeggio (ar-peh-jee-oh) comes from the Italian word arpeggiare, which means "to play a harp." (If you can visualize harpists, they often articulate notes by plucking the strings one at a time.) Arpeggios, often called broken chords, are simply notes from a chord played individually instead of strummed together. </p> <p>02. <strong>What arpeggios can do for you</strong>. Arpeggios create a fast, flowing sound. Besides using them for speed in playing, arpeggios add a kick to improvisation skills. Because an arpeggio contains all the notes of its chord, you can use them in your solos and link them to what's going on in the chord structure beneath you to create cool sounding licks. Arpeggios always sound good over their matching chord in a progression, therefore, they generally form the melodic home bases and safe notes for improvising guitarists. <a href="">This guitar chord chart will help visualize the notes of each arpeggio on the guitar neck.</a></p> <p>03. <strong>Scales vs. arpeggios.</strong> Let's clear up any confusion you might have between scales and arpeggios. Scales are a series of notes played one by one that fit sonically within a particular key signature (e.g., G major scale would be G, A, B, C, D, E, F#). Arpeggios, on the other hand, are a series of notes played one by one that consists of the notes within a particular chord (e.g., G major arpeggio would be G, B, D). Like a scale, an arpeggio is linear: it's a set of notes you play one at a time. Unlike scales that contain some extra notes not always played in chords, arpeggios use only the notes found in a single chord. Both scales and arpeggios can be played in ascending, descending or random order.</p> <p>04. <strong>Arpeggio shapes.</strong> As with scales, there are a variety of shapes to learn when playing arpeggios. There are generally five CAGED shapes for each arpeggio, except the diminished 7th, for which there is just one. Learn arpeggios in different positions on the neck so you become familiar with the shape of the arpeggio rather than concentrating on which frets to put your fingers in. Learn the shapes one at a time. Although you need to get all five of the shapes down—eventually—it's far better to be able to play one perfectly than five poorly. Practice moving from one arpeggio shape to another, back and forth and back and forth.</p> <p>05. <strong>Which arpeggios to learn first.</strong> The best guitar arpeggios to learn first are the major triad (1, 3, 5) and the minor triad (1, b3, 5). The major and minor triads are the most common and most used guitar arpeggios in all of music. While a triad contains only three notes, an arpeggio can be extended with chords like a major seventh, a 9th, 11th, 13th, etc., giving you endless possibilities.</p> <p>06. <strong>Different picking styles.</strong> There are several ways you can play arpeggios—alternate picking, legato, <a href="">hammer-ons</a> and <a href="">pull-offs</a>, sweep picking and tapping are among them. (For the more experienced player, there also are lead techniques you should be confident with for playing arpeggios at higher speeds, such as string skipping and finger rolling.) Experiment with each way of playing these arpeggios to see which one works best for you and your particular style. </p> <p>A note here about fingerpicking: While fingerpicked chords are technically arpeggios since the chords are broken up, the individual notes aren't typically muted after they're played and thus ring together. The listener can literally hear the entire chord from the vibrations of each individual note. Arpeggios typically only have one note playing at any given time and are a slightly different idea from broken chords. </p> <p>07. <strong>Grab the arpeggio by the "root."</strong> When you're brand new to arpeggios, you always want to start and end on a root note (the note upon which a chord is built. Literally, the root of the chord.) This will help train your ears to hear the sound of the scale. Start on the lowest pitched root note, play up as far as you can, then go back down as low as you can, and then back up to the root note.</p> <p>08. <strong>Form and speed.</strong> To play arpeggios, you should mute each note immediately after picking it by lifting the fretting finger. This will keep the notes from "bleeding" into one another and sounding like a strummed chord. Every note needs to sound individually. Start off slowly. Perfect your form before you add speed to the mix. You don't want to develop bad habits that you will have to correct later. </p> <p>For more on playing arpeggios, give <a href="">some of these "how to play arpeggios" guitar lessons</a> a try, as well as Ben Lindholm's <a href=";s_id=1310">"10 Ways to Play Arpeggios."</a> </p> <p><em>Kathy Dickson writes for the online guitar lesson site <a href="">Guitar Tricks.</a></em></p> Guitar Tricks Blogs News Lessons Thu, 05 Mar 2015 13:58:11 +0000 Kathy Dickson Joe Satriani and Steve Vai Play "Satch Boogie" in 1988 — Video <!--paging_filter--><p>We love when guitar greats get together to play songs with the word "Boogie" in the title.</p> <p>Like the time <a href="">Stevie Ray Vaughan and Jeff Beck met up in Hawaii to perform "Jeff's Boogie" in 1984.</a></p> <p>And then there's the time Steve Vai and Joe Satriani, Vai's former guitar instructor, shared a stage in 1988 to perform "Satch Boogie." You can check out this full live performance of Satriani's 1987 signature tune in the video below. </p> <p>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> <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="/steve-vai">Steve Vai</a> </div> <div class="field-item even"> <a href="/joe-satriani">Joe Satriani</a> </div> </div> </div> </fieldset> Joe Satriani Steve Vai Videos News Thu, 05 Mar 2015 13:56:26 +0000 Damian Fanelli