News en Jimi Hendrix Blooper Reel: Laughter and Clowning from 'Third Stone from the Sun' Sessions <!--paging_filter--><p>Surely even you casual fans of classic guitar rock have heard the garbled, slowed-down talking in the hidden corners of Jimi Hendrix's "Third Stone from the Sun," a super-psychedelic track from his 1967 debut album.</p> <p>It's most noticeable in the song's quieter passages, especially near the beginning of the tune (which was so wonderfully covered by Stevie Ray Vaughan in the Eighties). </p> <p>As it turns out, when this garbled talking is heard at normal speed, we can clearly hear Hendrix having a bizarre (and very funny) back-and-forth convo with his manager/producer Chas Chandler, who also was the Animals' bassist (Note: Back in the day, Chandler bore a resemblance to Beatles-era Paul McCartney—at least around the eyes). </p> <p>Anyway, the outtakes of those vocal sessions—heard at proper speed—were released on the 2000 Jimi Hendrix Experience box set. As we stated above, it's some pretty funny stuff, full of laughter, clowning around, heavy-breathing and windy sound effects. </p> <p>You can hear it all in the top YouTube player below. The bottom player features the original LP version (33 rpm) of the song, sped up to 45 rpm. Enjoy!</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="/jimi-hendrix">Jimi Hendrix</a> </div> </div> </div> </fieldset> Jimi Hendrix Videos Blogs News Wed, 03 Jun 2015 19:02:01 +0000 Damian Fanelli 24622 at The Top 10 Talk Box Moments in Rock <!--paging_filter--><p>The goal of any musician is to sing through his chosen instrument. </p> <p>And thankfully, advances in technology have made that possible—literally. </p> <p>In the 1970s, someone had the bright idea to take an amp's signal and run it in to the guitarist's mouth via a plastic tube, allowing him to, in a sense, speak to the audience through single notes. At the time, it blew the wah pedal out of the water. </p> <p>So what makes a great talk-box player? Good question. </p> <p><strong>10. Bon Jovi, "Livin' on a Prayer"</strong></p> <p>Damn, man! This is the Jovi at their funkiest! A round of applause to Richie Sambora for laying down some sweet-ass talk box over that rolling bass groove. Keep that dream alive!</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. Mötley Crüe, "Kickstart My Heart"</strong></p> <p>Mick Mars is not one of metal's more remarkable soloists. Yet he may have been the first to send a flurry of tremolo-picked notes flying out of his mouth. It's a sound as scary as his makeup. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. Nazareth, "Hair of the Dog"</strong></p> <p>To some Scottish accents render words unintelligible. So while Nazareth guitarist Manny Charlton is probably just making electronic noises in the breakdown of this cock-rocker, there's a chance he's actually issuing a cry for Scottish independence. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. Weezer, "Beverly Hills"</strong></p> <p>The talk box makes a comeback in the 21st century (we can't keep picking stuff from 1972, folks)! Oddly, because the song hints at the excess of Seventies rock, Rivers Cuomo's talk-box embellishments feel totally appropriate. For some reason, the Muppets come to mind when he cuts loose. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. Steely Dan, "Haitian Divorce"</strong></p> <p>One of the most melodic talk-box solos ever recorded is also a prime example of studio trickery. Session man Dean Parks played the lead, but Walter Becker added the effect later—which required him essentially to ghost-play the exact same solo, and jack his jaw accordingly. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>05. Pink Floyd, "Pigs"</strong></p> <p>David Gilmour was already one of the most articulate lead players in the prog-rock pantheon. Give him a talk box and... look out! He's literally wailing on this track; a string bend becomes a drawing syllable that never ends. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. Alice in Chains, "Man in the Box"</strong></p> <p>Rather than using the talk box as other guitarists had—to make an ordinary solo sound like it was recorded by space aliens—Jerry Cantrell broke new ground by using it to "sing" harmonies with Layne Staley. Grunge reinvented <em>some</em> rock clichés for the better. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. Joe Walsh, "Rocky Mountain Way"</strong></p> <p>This song is a classic not just for its chunky riff but also for how Walsh takes robot scat singing to new heights. Live clips reveal that Walsh really gets into his box work; you can actually see the drool dripping from the tube. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. Jeff Beck, "She's a Woman"</strong> </p> <p>Beck is a weird-guitar-sound pioneer, so it made perfect sense when he used the talk box to slur some syllables on this funked-up Beatles cover (Note: Although it's attributed to Lennon/McCartney, this is a Paul McCartney number all the way). Which raises the question: Is <em>Blow by Blow</em> truly an instrumental album?</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. Peter Frampton, "Do You Feel Like We Do"</strong></p> <p>Not only is <em>Frampton Comes Alive!</em> one of the biggest-selling live albums of all time, but with its biggest hit Frampton singlehandedly increased the vocabulary of the talk box, spitting out phrases previously unattempted by guitarists and easily one-upping Beck on articulation. Just listen to how the audience roars when the guitar asks the immortal question: "Do you feel like we do?" Stoned, maybe? </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="/joe-walsh">Joe Walsh</a> </div> <div class="field-item even"> <a href="/peter-frampton">Peter Frampton</a> </div> <div class="field-item odd"> <a href="/jeff-beck">Jeff Beck</a> </div> </div> </div> </fieldset> GO May 2006 Guitar One Jeff Beck Joe Walsh Peter Frampton talk box News Features Wed, 03 Jun 2015 18:06:00 +0000 Guitar World Staff 24596 at Kerry King Talks New Slayer Album and Adjusting to Life Without Jeff Hanneman <!--paging_filter--><p>“This has been the most adverse between-records session that Slayer’s ever had,” says Slayer guitarist Kerry King of the six long years since 2009’s <em>World Painted Blood</em>. </p> <p>It has indeed been a grueling stretch of adversity for the legendary thrash-metal band, one marked by the illness and death of founding guitarist Jeff Hanneman, and the less-than-amicable departure of drummer Dave Lombardo. </p> <p>But with the help of returning drummer Paul Bostaph and Exodus guitarist Gary Holt, Slayer is finally returning with a new album—and King could not be more stoked about it.</p> <p>“I would play any of these songs live,” says the guitarist of the forthcoming 12-track beast, which was produced by Terry Date (Pantera, Deftones) and is tentatively scheduled for an August release. “There’s no filler on this record—it’s great!”</p> <p>Slayer fans will already be familiar with some of the new album’s material. “Atrocity Vendor” was originally released in 2009 as the B-side of the “World Painted Blood” seven-inch, while “Implode” was released last year as a free download—but both tracks have been re-recorded for the album, with “Atrocity Vendor” being significantly re-written to include new vocals from bassist Tom Araya and a longer guitar solo. </p> <p>Other tracks include the ominous “When the Stillness Comes,” the punky “You Against You” and the Araya-King collaboration tentatively titled “Pride,” which King says is “really cool and super–Black Sabbath heavy.”</p> <p>The as-yet-untitled album is also the first Slayer record to feature the playing of Holt, who joined the band on tour as a temporary fill-in for the ailing Hanneman in 2011, and agreed to soldier on with Slayer following Hanneman’s death from liver failure in 2013.</p> <p>“I figured the best way to introduce Gary Holt on a Slayer record was to have him play some leads,” says King, who handled all of the record’s rhythm guitar chores. Though Holt didn’t contribute to any of the new songs as a writer, he did record lead parts for “six to eight” tracks on the album, according to King.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p>“Holt is a Slayer fan, and he’s been a good friend of ours personally for almost 30 years,” says King. “He has an opinion about what a Slayer guitar player should be like. So he didn’t come into this with a mindset of, This is an Exodus record—he came in thinking, What would a Slayer lead sound like here? It sounds like Gary, but it definitely sounds like Slayer as well.”</p> <p>Despite earlier reports to the contrary, the late Hanneman does not actually appear on any of the new album’s tracks. “We ended up resurrecting one of his songs from the last record, called ‘Piano Wire,’ ” King explains, adding that Hanneman doesn’t play on it “because I played Jeff’s stuff on record since the mid-Nineties, except the leads—he always wanted to play the leads. It was really more time-effective for me to do that sort of thing. I recorded the guitar tracks for ‘Piano Wire’ at the <em>World Painted Blood</em> sessions, and he didn’t have a lead in it, so it’s just me.”</p> <p>King says that Slayer already have the basic tracks of six songs—including another one that Hanneman wrote the music for—in the can for the next record. Hopefully, he says, there won’t be another six-year wait between Slayer albums.</p> <p>“If Tom’s on board, I’d say we go out and tour hard on this record for two and a half years, go right back into the studio with momentum, finish the next record, then go out again for another two and a half years. And if that’s the end, so be it—we go out with guns blazing.”</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="/slayer">Slayer</a> </div> </div> </div> </fieldset> Gary Holt Jeff Hanneman July 2015 Kerry King Slayer Interviews News Features Magazine Wed, 03 Jun 2015 17:51:12 +0000 Dan Epstein 24580 at PRS Guitars Introduces P245 Semi-Hollow Electric Guitar <!--paging_filter--><p>PRS Guitars has announced the release of its new P245 Semi-Hollow Electric Guitar.</p> <p>The Paul Reed Smith P245 Semi-Hollow is a vintage-inspired single-cutaway guitar designed for players who prefer shorter scale necks. </p> <p>The 24.5” scale length combined with 22 frets offers the usual PRS style in an easy to handle format. </p> <p>It also features the LR Baggs/PRS piezo system, providing players with both electric guitar tones and acoustic tones in one instrument. With two output jacks, the P245 can be plugged directly into an electric or acoustic amplifier or DI into a soundboard. By utilizing the separate blend control, the tone of the P245’s 58/15 pickups can also be combined with acoustic sounds through a single output. </p> <p>The P245 is one of the first models to feature the new, vintage-style 58/15 treble and bass pickups, which were personally designed by Paul Reed Smith. </p> <p>“This guitar provides players with the traditional electric guitar tones of yesteryear [similar to our SC245] and authentic acoustic tones in a single instrument. A wonderfully diverse short scale guitar you can rely on night after night,” said Jim Cullen, national sales manager at PRS.</p> <p>Additional specifications include a figured maple top, mahogany back, mahogany neck with rosewood fretboard, Phase III locking tuners, PRS adjustable stoptail bridge (nickel hardware), 58/15 treble and bass pickups, volume and push/pull tone controls with three-way toggle pickup selector and LR Baggs/PRS piezo system. </p> <p>The P245 is available in the following finishes: Antique White, Azul, Black, Black Cherry, Black Gold Burst, Blood Orange, Charcoal Burst, Faded Vintage Yellow, Faded Whale Blue, Gold Top (opaque color), Gray Black, Honey, Jade, Royal Blue, Scarlet Red, Tortoise Shell, Vintage Sunburst, Violet.</p> <p>The P245 is also available in a PRS Artist Package. The PRS Artist Package program is an exclusive platform for PRS Core guitars that offers upgraded and expanded options to enhance and further personalize the instrument.</p> <p><strong>To learn more about the P245, including specs and more photos, visit its page on <a href=""></a></strong></p> PRS Guitars Electric Guitars News Gear Wed, 03 Jun 2015 17:40:32 +0000 Guitar World Staff 24620 at PRS Guitars Introduces Revamped McCarty Model — Video <!--paging_filter--><p>PRS Guitars has announced the release of a revamped version of its McCarty model. </p> <p>The model is named for Ted McCarty, president of Gibson from 1950 to 1966 and a consultant for PRS Guitars in the late 1980s. </p> <p>“When we started working together, it was very apparent that he loved being back in the industry," said Paul Reed Smith, founder and owner of PRS. "I am proud that he helped establish our legacy and that we were able to help highlight his.” </p> <p>In 1994, PRS released the first McCarty, an instrument that incorporated the full spectrum of techniques and knowledge Paul had gained from Ted as well as his own experiences as a guitar builder. </p> <p>It is in honor of Ted McCarty that PRS is reintroducing the McCarty model.</p> <p>The PRS McCarty model features a slightly thicker back for enhanced tone and sustain and the new 58/15 treble and bass pickups, which were personally designed by Paul Reed Smith. 58/15’s are a vintage style pickup with exceptional clarity and focused midrange. </p> <p>Additional appointments include a push/pull tone control with a three-way toggle pickup switch for a complete palette of tones, a bound rosewood fretboard and PRS stoptail bridge. </p> <p>For full specifications, head on over to <a href=""></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> PRS Guitars Videos Electric Guitars News Gear Wed, 03 Jun 2015 17:29:26 +0000 Guitar World Staff 24609 at Review: Eventide H9 Max Harmonizer/Effect Processor — Video <!--paging_filter--><p><strong><em>PLATINUM AWARD WINNER</em></strong></p> <p>The Eventide H9 is a revolutionary pedal that packs a ton of processing power and professional quality effects into a compact stomp box format. </p> <p>Of course, the most powerful version of the H9 is one that is loaded with all 45 of Eventide’s algorithms available for the unit, but many musicians balked at paying an additional $700 for remaining 35 algorithms that weren’t included as part of the H9’s initial purchase price. </p> <p>Fortunately Eventide decided to simplify the process by offering the H9 Max for those of us who simply have to have it all. In the process Eventide also cut musicians a very sweet deal as the H9 Max comes fully loaded with all 45 H9 algorithms but costs about $500 less than buying an H9 and purchasing algorithms for download individually. </p> <p>Since the H9 Max is identical to the H9 with the exception of its full selection of algorithms, I’ll focus more on algorithms and sounds in this review. For more in-depth details about the hardware, please refer to the H9 review in the November 2013 issue of <em>Guitar World.</em></p> <p><strong>FEATURES</strong> The H9 Max is a professional-quality pedal featuring true stereo 1/4-inch inputs and outputs, a 1/4-inch expression pedal jack, mini USB connector, side-mounted MIDI In and Out/Thru jacks, and bypass on/off and tap tempo footswitches. Preset selection and parameter programming can be controlled via the Hotknob, presets, and x, y, and z switches and a large jog wheel/switch on the top panel. However, those who like to dig deep into programming effects will prefer to use the free H9 Control app, which allows users to control the H9 Max remotely with an iOS device or computer via Bluetooth wireless communication.</p> <p>The H9 Max’s algorithms come from Eventide’s acclaimed Factor series and Space pedals and also include three H9 exclusive algorithms—UltraTap, Resonator, and EQ Compressor. TimeFactor algorithms are delay-based and consist of Digital Delay, Vintage Delay, Tape Echo, Mod Delay, Ducked Delay, Band Delay, Filter Pong, MultiTap, Reverse, and Looper. Modulation algorithms come from the ModFactor and include multiple types of Chorus, Phaser, Wah, Flanger, ModFilter, Rotary, Tremolo, Vibrato, Undulator, and Ringmod. The PitchFactor algorithms consist of Eventide’s legendary Harmonizer effects and include Diatonic, PitchFlex, Quadravox, Octaver, HarModulator, Crystals, MicroPitch, HarPeggiator, H910/H949, and Synthonizer. Space reverb algorithms consist of Room, Plate, Spring, Hall, Reverse, Shimmer, ModEchoVerb, DualVerb, Blackhole, MangledVerb, TremoloVerb, and DynaVerb. </p> <p><strong>PERFORMANCE</strong> Eventide effects are truly in a class of their own, especially when it comes to the delay, modulation, pitch/Harmonizer, and reverb effects found in the H9 Max. These are professional-quality, high-resolution, sophisticated effects that until only a few years ago were once the exclusive territory of expensive rack-mount units with powerful processors. The quality and variety of effects packed into the compact H9 Max pedal is simply astonishing.</p> <p>The PitchFactor algorithms are simply the best pitch shifting and Harmonizer effects available. The tracking is lightning fast, and the pitch accuracy is dead on. I particularly love how easy it is to program natural-sounding six-string bass, baritone, and 12-string guitar sounds. The TimeFactor algorithms cover ever type of delay a guitarist could want, from sparkling digital effects to warm tape echoes. The ModFactor algorithms are very useful and can save guitarists a ton of money otherwise spent on dozens of standalone modulation effects pedals (although only one algorithm can be used at a time). The Space reverb algorithms bring true studio-quality sound to the stage, and the reverbs are equally useful in the recording studio as well.</p> <p>The H9 Control app greatly simplifies the process of programming effects and makes it easy to select a desired preset in an instant but the pedal operates just as seamlessly without being tethered to an iOS device. The pedal itself stores 99 presets, but users can save an unlimited number of presets on their iOS device or computer. The Bluetooth connection is very reliable. Being able to control the H9 Max with an iPad on stage brings incredible creative and expressive power to guitarists who love to improvise or make extensive use of effects. Perhaps the best benefit of the H9 Max is knowing that you’re not forced to compromise since Eventide’s entire library of algorithms is available whenever you want or need it. </p> <p><strong>LIST PRICE</strong> $799<br /> <strong>MANUFACTURER</strong> Eventide Inc., <a href=""></a></p> <p>Contains all 45 Eventide TimeFactor, ModFactor, PitchFactor, Space, and H9-exclusive algorithms for less than purchasing individual algorithms. The free H9 Control app allows an iOS device or computer to communicate with the H9 via a wireless Bluetooth connection.</p> <p>A large jog wheel/switch makes it easy to select presets, adjust parameters, or control expression pedal functions directly from the H9 Max itself.</p> <p><strong>THE BOTTOM LINE</strong> The fully loaded H9 Max is by far the best bargain in professional- and studio-quality effects ever offered by a stomp box-format effect unit, providing literally hundreds of effects with superb sound.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Eventide Eventide H9 July 2015 Videos Effects News Gear Magazine Wed, 03 Jun 2015 17:17:26 +0000 Chris Gill 24512 at Led Zeppelin Announce 'Presence,' 'In Through the Out Door' and 'Coda' Reissue Details <!--paging_filter--><p>Led Zeppelin have announced deluxe reissues of 1976's <em>Presence</em>, 1979's <em>In Through the Out Door</em> and 1982's <em>Coda</em>.</p> <p>The three reissues are due for a July 31 release, and, like the reissues of the band's other LP's, each album will include a remastered copy of the original album, plus a second disc of previously unreleased music culled from the band members' vaults. </p> <p>Each release also will be available as a single album, a single vinyl LP, a deluxe double-LP, digital download and a super-deluxe box set that features the CDs, LPs, a download card, a 70-page book with previously unseen photos and memorabilia and a high-quality print of the album cover.</p> <p>Here are the track listings for the deluxe editions' companion audio discs (the songs remain the same on the original LPs):</p> <p><strong><em>Presence</em> (Companion Audio)</strong></p> <p>01. "Two Ones Are Won" (Achilles Last Stand - Reference Mix)<br /> 02. "For Your Life" (Reference Mix)<br /> 03. "10 Ribs &amp; All/Carrot Pod Pod (Pod)" (Reference Mix)<br /> 04. "Royal Orleans" (Reference Mix)<br /> 05. "Hots On For Nowhere" (Reference Mix)</p> <p><strong><em>In Through The Out Door</em> (Companion Audio)</strong><br /> 01. "In The Evening" (Rough Mix)<br /> 02. "Southbound Piano" (South Bound Saurez - Rough Mix)<br /> 03. "Fool In The Rain" (Rough Mix)<br /> 04. "Hot Dog" (Rough Mix)<br /> 05. "The Epic" (Carouselambra - Rough Mix)<br /> 06. "The Hook" (All My Love - Rough Mix)<br /> 07. "Blot" (I'm Gonna Crawl - Rough Mix)</p> <p><strong><em>Coda</em> (Companion Audio)</strong></p> <p><strong>Disc One</strong></p> <p>01."We're Gonna Groove" (Alternate Mix)<br /> 02."If It Keeps On Raining" (When The Levee Breaks - Rough Mix)<br /> 03."Bonzo's Montreux" (Mix Construction In Progress)<br /> 04."Baby Come On Home"<br /> 05."Sugar Mama" ( Mix)<br /> 06. "Poor Tom" (Instrumental Mix)<br /> 07. "Travelling Riverside Blues" (BBC Session)<br /> 08. "Hey, Hey, What Can I Do"</p> <p><strong>Disc Two</strong></p> <p>01."Four Hands" (Four Sticks - Bombay Orchestra)<br /> 02."Friends" (Bombay Orchestra)<br /> 03."St. Tristan's Sword" (Rough Mix)<br /> 04."Desire" (The Wanton Song - Rough Mix)<br /> 05."Bring It On Home" (Rough Mix)<br /> 06."Walter's Walk" (Rough Mix)<br /> 07."Everybody Makes It Through" (In The Light - Rough Mix)</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="/led-zeppelin">Led Zeppelin</a> </div> </div> </div> </fieldset> Led Zeppelin News Wed, 03 Jun 2015 16:23:17 +0000 Jackson Maxwell 24617 at The Rolling Stones Premiere "Brown Sugar" Outtake Featuring Eric Clapton on Slide Guitar <!--paging_filter--><p>The Rolling Stones have released a mesmerizing outtake of "Brown Sugar," featuring none other than Eric Clapton on slide guitar. It will appear on the upcoming reissue of the band's legendary 1971 album, <em>Sticky Fingers</em>. </p> <p>The outtake was recorded shortly after Keith Richards' 27th birthday party on December 18, 1970, and features Clapton and Mick Taylor. </p> <p>The reissue of <em>Sticky Fingers</em> is set for a June 9 release and features the remastered original album plus previously unreleased outtakes and five tracks recorded live at the Roundhouse in 1971. </p> <p>Check out the alternate take of "Brown Sugar" below, and let us know what you think in the comments and 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="/eric-clapton">Eric Clapton</a> </div> </div> </div> </fieldset> Eric Clapton The Rolling Stones News Wed, 03 Jun 2015 16:19:18 +0000 Guitar World Staff 24618 at Metal for Life with Metal Mike: How to Reinvent the Penatonic Approach to Forge New Melodic Riffs — Video <!--paging_filter--><p>By far the most prominently used scale and the most prevalent sound in rock, metal and blues is that of the minor pentatonic scale. </p> <p>The series of intervals that comprises the minor pentatonic scale—1 (root), b3 (flatted third, 4, 5 b7 (flatted seventh)—is the structure upon which so many classic rock and metal riffs have been based since rock and roll’s earliest days. </p> <p>The musical strength of the scale lies in its simplicity, making it a perfect formula from which to try to discover interesting and new musical paths. </p> <p>Whether I’m trying to write new riffs for songs or composing a guitar solo, it’s always fun and challenging to build new phrases based on minor pentatonic. And you don’t necessarily have to rack your brain; sometimes the most straightforward approach is best. </p> <p>For example, in <strong>FIGURE 1</strong>, I use the notes of the B minor pentatonic scale—B D E F# A—to ascend in pairs of four-note groups: I begin on the low B root note on the sixth string and ascend through the first four notes on the scale, B D E F#, and then shift up a few frets and do the same thing starting on the next scale degree, the minor third, D, and play the notes D E F# A. In bar 2 I repeat the entire eight-note pattern an octave higher on the middle two strings, and then up another octave in bar 3, on the top two strings. </p> <p>The interesting thing that happens with this pattern is you begin with a four-note climb followed by three eight-note climbs, which creates an interesting and somewhat predictable melodic contour. In <strong>FIGURE 2</strong>, I play the same phrase but ramp up the tempo so that it’s executed in straight 16th notes. Once you have the pattern down, try playing it in other keys and areas of the fretboard.</p> <p>Let’s now take this repeating-pattern approach and apply it to a fretboard-tapping run. In <strong>FIGURE 3</strong>, I begin with taps and pull-off riffs that fall on the top two strings, starting on the high E and moving over to the B: after the initial 12th-fret tap, I pull off to my fret-hand index finger at the seventh fret. Each tap and pull-off is repeated before moving down to the next lower string. </p> <p>The approach used for this run is more about visual fretboard symmetry than staying within the structure of any particular scale. After toggling between the 12th and seventh frets for the first two shapes, I move over to the G and D strings and alternate between the ninth and fifth frets in the same manner. The run concludes on the bottom two strings by moving between the seventh and third frets, and then the fifth and second frets on the sixth string before a final pull-off to the open low E.</p> <p>Another great way to permutate from a basic minor pentatonic idea is to simply move its shape to different strings. <strong>FIGURE 4</strong> offers a common metal-type soloing phrase played on the top two strings. In <strong>FIGURE 5</strong>, I take the same shape and move it to the B and G strings, which results in the inclusion of the flatted fifth, Bb. </p> <p>This is a great, twisted sound, one used to great effect by players like Dave Mustaine, Alexi Laiho and Dimebag Darrell. A simple alteration in the sequence of notes results in <strong>FIGURES 6</strong> and <strong>7</strong>, wherein the lick is reconfigured in 5/4 meter. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <img src="/files/imce-images/metal%20mike.jpg" width="620" height="703" alt="metal mike.jpg" /></p> July 2015 Metal For Life Metal Mike Chlasciak Videos News Lessons Magazine Wed, 03 Jun 2015 15:01:23 +0000 Metal Mike Chlasciak 24521 at July 2015 Guitar World: 25 Greatest Lynyrd Skynyrd Songs, Kirk Hammett, Whitesnake, Slayer and More <!--paging_filter--><p><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWJUL15">The all-new July 2015 issue of Guitar World is available now!</a></p> <p><em>Guitar World</em>’s July 2015 issue features <strong>Lynyrd Skynyrd</strong>. As they gear up to release their latest live record, <em>One More for the Fans!,</em> guitarist <strong>Gary Rossington</strong> reflects on his career as the sole surviving original member of the Southern rock giants. </p> <p>Then, in an excerpt from his new biography on the rise of <strong>Lynyrd Skynyrd</strong>, <em>Whiskey Bottles and Brand-New Cars: The Fast Life and Sudden Death of Lynyrd Skynyrd</em>, author <strong>Mark Ribowsky</strong> provides a harrowing account of the 1977 plane crash that rocked the music world.</p> <p>Also, from "Free Bird" to "That Smell" and "Swamp Music" to "Call Me the Breeze," we pay tribute to the legends of Southern rock by ranking their <strong>25 best tracks</strong>. </p> <p>Also in the issue, <em>Guitar World</em> gets freaky with <strong>Kirk Hammett</strong> as the second annual Kirk Von Hammett's Fear FestEvil, the Metallica guitarist's star-studded celebration of all things metal and horror. </p> <p>Finally, <em>Guitar World</em> presents a selection of 15 of the tastiest <strong>seven- and eight-string axes</strong> on the market today.</p> <p>PLUS: Tune-ups: <strong>Whitesnake play Deep Purple, Slayer in the studio, Mark Tremonti, Kitty, Daisy &amp; Lewis and more,</strong> Soundcheck: <strong>Eventide</strong> H9 Max multi-effect pedal, <strong>EVH</strong> Wolfgang WG Standard electric, <strong>Orange</strong> Rockerverb 100 MKIII amp and much more!</p> <p><strong>Five Songs with Tabs for Guitar and Bass:</strong></p> <p>• Lynyrd Skynyrd - "I Know A Little"<br /> • System of a Down - "Chop Suey!"<br /> • Grateful Dead - "Sugar Magnolia"<br /> • 38 Special - "Hold On Loosely"<br /> • Metallica - "Stone Cold Crazy"</p> <p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWJUL15">The all-new July 2015 issue of Guitar World is available now at the Guitar World Online Store!</a></strong></p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-19%20at%201.20.05%20PM_0.png" width="620" height="805" alt="Screen Shot 2015-05-19 at 1.20.05 PM_0.png" /></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="/lynyrd-skynyrd">Lynyrd Skynyrd</a> </div> </div> </div> </fieldset> July 2015 Lynyrd Skynyrd News Features Wed, 03 Jun 2015 14:55:32 +0000 Guitar World Staff 24567 at Ed Sheeran Covers Iron Maiden and Limp Bizkit on 'Fallon' — Video <!--paging_filter--><p>Last night, Ed Sheeran previewed his fictional new album—<em>Ed Sheeran Sings Heavy Metal</em>—on <em>The Tonight Show with Jimmy Fallon.</em></p> <p>Fallon, who played a turtlenecked spokesman named Steve Joshua, called the album a disc for people who "enjoy the morbid and disturbing themes of heavy metal music, but wish it had a more cheerful, pleasant sound."</p> <p>Sheeran then grabbed his Martin guitar and performed bits of Iron Maiden's "Run to the Hills," followed by Limp Bizkit's "Break Stuff." </p> <p>Of course, <em>Ed Sheeran Sings Heavy Metal</em> comes with a bonus disc, <em>Ed Sheeran Sings Hardcore Rap.</em> Sheeran also played a bit of Ty Dolla $ign's "Paranoid."</p> <p>Watch it all unfold below! </p> <p><strong>P.S.: <a href="">We've covered Sheeran on many, many times before, and we dig his signature Martin guitar.</a></strong></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="/iron-maiden">Iron Maiden</a> </div> <div class="field-item even"> <a href="/limp-bizkit">Limp Bizkit</a> </div> </div> </div> </fieldset> Acoustic Nation Ed Sheeran Iron Maiden Jimmy Fallon Limp Bizkit News Videos Blogs Videos News Wed, 03 Jun 2015 14:15:28 +0000 Damian Fanelli 24616 at Mark Holcomb's Signature Seymour Duncan Alpha/Omega Pickups Are Available Now — Video <!--paging_filter--><p><a href="">Back in February,</a> we told you that Periphery guitarist Mark Holcomb was getting his own signature set of Seymour Duncan Alpha/Omega pickups.</p> <p>Well, we're happy to announce that the sets are available now through the Seymour Duncan Custom Shop.</p> <p><a href="">You can check them out right here.</a></p> <p>From the company:</p> <p>The progressive metal virtuosos of Periphery are known for their technically complex rhythms and precise tones—tones that require pickups with just the right amount of output and articulation whether standing alone or working in a dense mix. The Alpha and Omega pickups were created to match that level of precision and versatility. </p> <p>Working with Mark Holcomb, the Omega bridge pickup was created to provide destructive percussion and growl in the mids and low end. It’s aggressive but it also has lots of clarity and brightness, which cuts through whether you’re playing sophisticated chords, complex single-note lines or intense solos. </p> <p>The Alpha neck pickup is unlike most traditional neck models. It was voiced to combine the best qualities of a neck and a bridge pickup, with some of that fat glassy sound but also plenty of your pick attack and fretting-hand phrasing. </p> <p>Each set comes hand signed by Mark Holcomb with a special USB drive featuring albums Juggernaut: Alpha and Juggernaut: Omega, stickers and collectable picks.</p> <p><strong><a href="">For more information, head here.</a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Mark Holcomb Periphery Seymour Duncan Accessories Videos News Gear Tue, 02 Jun 2015 21:16:35 +0000 Damian Fanelli 24612 at Lefty Eric Gales Shreds in Latest Episode of 'Dunlop Sessions' — Video <!--paging_filter--><p>Just how good a player is Eric Gales?</p> <p>Check out this brand-new episode of Dunlop Sessions, which was posted to <a href="">Dunlop's YouTube channel</a> June 1.</p> <p>In the clip, Gales, a mighty lefty, throws down killer licks with his band and discusses his diverse range of influences, his first-ever performance and the importance of music as a way to express himself and connect with other people.</p> <p>The band includes Eric Gales on guitar and vocals, LaDonna Gales on additional vocals, Aaron Haggerty on drums and Steve Evans on bass.</p> <p><strong>For more about Gales (who also happens to be a very humble, nice guy), visit <a href=""></a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Eric Gales Jim Dunlop Videos News Tue, 02 Jun 2015 20:39:29 +0000 Damian Fanelli 24611 at Richard Thompson Talks New Album, 'Still,' and Working with Wilco's Jeff Tweedy <!--paging_filter--><p>Richard Thompson has made a career of shaking things up with his voice and his guitar.</p> <p>It started with British folk rockers Fairport Convention. </p> <p>Around the late Sixties, a teenaged Thompson began searching the local British music scene for a way to express himself and make a difference musically. An opportunity soon arose when he joined Fairport Convention, a new band that found interest in folk and rock sounds. As it turns out, that band did more than provide him an ample outlet to play music; they were one of the first bands to combine traditional British folk with rock and roll into a satisfying new style. </p> <p>Thompson later transitioned to a solo career, finding much acclaim as a singer-songwriter and guitarist that could use his talents to craft insightful and expressive songs full of his humanity and wit. He could stand with some of the most talented guitarists but had the vocal tenacity to stand out from the crowd. Moreover, he had the drive to find new ways to continually express and reinvent himself. </p> <p>Fast forward to 2015. Thompson has appeared on more than 40 albums and received countless honors to his name. He could have easily gone into his new album with the mindset of what worked on past albums and still find success from his loyal fanbase. </p> <p>But he isn't one to take it easy. He wanted something or someone to challenge him. That person turned out to by Jeff Tweedy, lead singer of Chicago rockers Wilco. The pair met at Wilco's rehearsal space, The Loft, for nine days and recorded a dozen songs. The resulting album, titled <em>Still</em>, comes out June 23 via Fantasy Records. </p> <p>The album features the core trio of Thompson, bassist Taras Prodaniuk, and drummer Michael Jerome, as well as contributions from Siobhan Kennedy and members of Jeff's band Tweedy (guitarist Jim Elkington and harmony vocalists Liam Cunningham and his sister Sima).</p> <p>Prior to the album's release, <em>Guitar World</em> caught up with Thompson to discuss the new album that made him feel "like a kid in a candy store."</p> <p><strong>GUITAR WORLD: You're doing a combination of electric and solo shows on this tour. Why do you like mixing it up?</strong> </p> <p>I have all different kinds of sounds. I have acoustic sounds and I have electric sounds and guitar playing sounds and solo sounds. And sometimes they don't overlap. So I have people that only come to acoustic shows and some that only come to electric shows. So I'm just trying to please everyone, I suppose. Perhaps it's misguided but that's my intention.</p> <p><strong>What you do think each presents you as a songwriter and guitarist?</strong></p> <p>I write different kinds of songs for acoustic guitar and different kinds of songs for electric guitar. And I see myself really as a songwriter and an accompanist rather than a guitar player. So I like to bring everything into the songwriting arena. If I play a guitar solo I like to extend the narrative of a song through the guitar solo. I see it as one package really. I think some people perceive it as separate things.</p> <p><strong>The final song on your new album is called "Guitar Heroes," which is almost eight minutes long. Can you talk about what it like writing that one and honoring your profession and your guitar heroes?</strong></p> <p>I suppose it's an easy song to write. I was really just trying to remember back to being a kid and what that was like and who I was listening to. If I mentioned all the guitar players I was influenced by that would be a very long song. So I was being economical. It's a fun thing to do. It's fun to do little parodies or things in the style of guitar players. It's not an original idea. In the 1950s there was a great country guitar player called [Kenneth] "Thumbs" Carllile. He was a session player and he did a song called "Springfield Guitar Social," which was a tribute to a lot of the country guitar players. It's just a three-minute thing. But it was really fun and I suppose I was trying to do something like that. </p> <p><strong>There are quite a few sonic twists in the song and it covers quite a bit of ground.</strong></p> <p>Yeah there are. There's a lot of tempo shifts. It was about finding song extracts that would fit into that one tempo. We put it together in one piece rather than sessions. We recorded it straight through and we selected overdubbing with some of the guitar parts to get the sound of different guitar players. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>You mentioned in one interview that if you could put more guitarists on it you would.</strong></p> <p>Yeah. As I was saying, there are limits to how long a piece of music can be. So it runs to about eight minutes which is enough for most people. The other thing you want to do in a song like that is change it up live. If we want to we can change up the quotes and guitar players and different songs. So it's a flexible piece I think. </p> <p><strong>What kinds of guitars and amps did you use for recording <em>Still</em>?</strong></p> <p>Well, because we were recording in Wilco's studio, the studio is a corner of a large loft space. And the loft space stores all their equipment. They have a lot of guitars and millions of amps and bass, drums and keyboards. I mean, tons and tons of stuff. So it was a bit like being like a kid in a candy store. There were so many things to choose from. </p> <p>I used predominantly a Fender Princeton, like a vintage Princeton, and a Morgan amp. I'm not very familiar with it but it sounded really good, kind of a Vox sounding amp. And I used a few other things but I can't remember. A whole bunch of different guitars. I used a Gibson ES-175 for some things. And endless pedals that were lying around in the studio. So I can't give you an absolute breakdown of everything I used but it was a lot of different stuff that I've forgotten what I used on various tracks. I also used my own Fender Strats and acoustic guitars.</p> <p><strong>Was that more than you usually use on albums?</strong></p> <p>I wouldn't say more than usual but certainly a lot. Predominantly the usual stuff I use like Fender Strats and acoustic guitars through various amps.</p> <p><strong>With guitar playing you have a great grasp of when to show restraint and when to let loose. Can you talk about mastering that art and how do you think it shows up on <em>Still</em>?</strong> </p> <p>Well I hope I do. I think that what would be called taste or musical flexibility or something. I think when you're playing in song format and accompanying the voice you have to fit in as a guitar player so you're not showboating. You're trying to play something that's sympathetic to the song, whatever that may be. It may be distorted or punk, it depends what the song is. </p> <p>As a player it's good to have a range. It's good to go from a whisper to a scream to being able to play something subtle and melodic. To play in distinct phrases and to have balance in your playing. And then to play something with more attitude when it's needed, when you need to play something that's more aggressive or more committed. </p> <p><strong>With guitar playing, are you finding yourself doing more of some kind of habit lately, like how you play?</strong></p> <p>I just practice different things and practice the basics and then when it comes to playing you try to use your imagination. And that can take you anywhere. </p> <p><strong>From what I understand your connection with Wilco and Jeff Tweedy kind of started with the AmericanaramA festival shows from a few years ago.</strong></p> <p>I've probably known Wilco for about 20 years. We've done the occasional show together. But being on the AmericanaramA tour it gave us more chances to spend time together and to jam together. So that was probably the seed of having Jeff produce an album for us. </p> <p><strong>You and Jeff come from slightly different musical paths. What led you to want him to produce the record?</strong></p> <p>We definitely come from different worlds but I think we're both roots-based musicians from slightly different generations. And I think having someone who isn't absolutely from your world and your mindset is a good thing. That's a useful person to bounce ideas off because they'll have a slightly different perspective. You don't want someone who's the same as you and thinks the same way as you. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>From what I've read it sounds like you wanted to shake things up and keep things interesting for yourself.</strong></p> <p>I've made a lot of records over the years, probably 40-plus records. And I sort of have a way of doing it when I'm my own producer. And sometimes I think you need to change that up and you need to be a bit more challenged and bring other point of views into the project. So it's good to call upon other musicians to give you a different perspective and to give a record a different sound, really, and a different kind of musical landscape. </p> <p><strong>You recorded the album at Wilco's rehearsal loft in Chicago about nine days. What was that like? How do you think the environment impacted the songs?</strong></p> <p>We actually had a very small window so that was all the time we had available. It's a loose kind of place to record. It's not like a real studio with a control booth and studio separate and separate vocal both and those things. </p> <p>It was all in one room. It's a more informal environment. There's no red light that goes on and tells you're recording. So it's just casual. That's a nice way of doing it. You don't feel tense about it, you can kind of relax and start playing with your friends when you're recording. So it's a nice and easy way of recording. </p> <p><strong>With the album you had a combination of musicians from Jeff's band and your band. Why did you decide to go in that direction?</strong></p> <p>I wanted to use my own rhythm section [drummer Michael Jerome and bass player Taras Prodaniuk], just because I feel we've developed a certain understanding and that it would be difficult for someone else to come in and play in the same way. So that's the basic trio. It's nice when you're recording with another guitar player to play some of the harmonic structure of the songs. So we borrowed Jim Elkington from the band Tweedy, and for backing vocals we had Liam and Siam Cunningham, also from Tweedy, and that worked out really well. It was a really seamless and a easy bunch of people to get to work with.</p> <p><strong>How do you think Jeff impacted the songs and guitar playing on the album?</strong></p> <p>Probably not that much. He impacted more the arrangements of the songs. I think the songs were already pretty much written. I think between us we might have done some editing, changing a verse here and there. But on the whole the songs didn't change that much. Sometimes the arrangements changed or the way we approached the songs changed or instrumentation changed. And I think Jeff's ideas in that realm were just great. He'd come up with really good suggestions. </p> <p><strong>What were the biggest surprises during the recording?</strong> </p> <p>Apart from how unbelievably cold it was in Chicago in January, which was a surprise, I was surprised by how easy it was to record and that we didn't have to really sweat over anything. </p> <p><strong>Why did you name the album <em>Still</em>?</strong> </p> <p>Originally that was supposed to go with a concept or [album cover] picture but the picture got changed out. So the title remained. I mean I quite like the title as it's ambiguous. It can mean a lot of different things. So I wouldn't read too much into it.</p> <p><strong>Some people have taken it as a theme of resilience and your own resilience through the years with playing music.</strong> </p> <p>Yeah you can take it that way, I suppose. I think to say it means any one thing is to give it too much weight and significance. Which I don't. It's just a title, you can translate it however you want. </p> <p><strong>Do you think there's a theme for these songs?</strong></p> <p>All these songs were written in a certain timeframe, probably within a six-month timeframe. And I think when you do that songs have a relationship with each other that have a harmonic or thematic connection. So I feel they're connected in that way and belong on the same record in that way. But there's isn't an overriding theme on this record.</p> <p><strong>Can you talk about writing the song "Dungeons for Eyes"?</strong></p> <p>What the song is about is meeting somebody who you love and has a past. And in that past they were either responsible for people dying or they used to kill people themselves. That was in that past and now the people are probably now politicians. And the song is what happens when you meet these people and how you'd react. That dilemma of how I going to shake this guy's hand or not. I was in this position a few years ago.</p> <p><strong>What new music are you listening to these days?</strong></p> <p>Probably mostly singer-songwriters and classical music. I'm listening to a lot of guitar players right now, except old dead ones. [Laughs] </p> <p><strong>Besides Jeff, are there any other artists that you've collaborated with recently that you really enjoyed?</strong></p> <p>Lately not much. I've mostly been working solo and with my trio. I can't think of anyone else in the past year that I've worked with in that way. </p> <p><strong>You've had such a big impact on British folk rock. What's it been like to be leading the way of that genre and keeping it relevant all these years later?</strong> </p> <p>That's not something I'm really aware of or think about. I tried to explore musically in a area that interests me that was between traditional British music and rock music. There's still people in the U.K. that do the same thing and that's continuing tradition and I happen to be one of the first people to do it. But I don't think of myself as being a pioneer of anything. I just try to play the music that to me is relevant.</p> Jeff Tweedy Joshua Miller Richard Thompson Wilco Interviews News Features Tue, 02 Jun 2015 19:01:09 +0000 Joshua Miller 24607 at Whitesnake's David Coverdale and Reb Beach Discuss New Deep Purple Tribute Album <!--paging_filter--><p>Nobody expected Whitesnake to release an album of songs originally recorded by Deep Purple—not even David Coverdale, who fronted Purple between 1973 and ’76. </p> <p>“It was certainly not part of my agenda, but I really couldn’t be happier,” Coverdale says of the twists of fate that prompted him to revisit the Purple catalog. “It looked just like a cosmic plan, like God’s chessboard moving the pieces into place.”</p> <p>That plan began with Deep Purple keyboard great Jon Lord’s 2012 cancer diagnosis. </p> <p>“The whole seed of this was Jon’s representative asking me if, on Jon’s recovery, would I be prepared to do some kind of Purple reunion. I was immediately onboard.” </p> <p>But it was not to be; Lord passed away later that year. Then Coverdale lost several other people he was close to, and in a search for meaning amid tragedy he felt an urge to reconnect with his past. “I gathered a bunch of imaginary olive branches and started reaching out to people,” he says.</p> <p>That group included Deep Purple guitar legend Ritchie Blackmore, who Coverdale hadn’t spoken to in decades. </p> <p>“The last time Ritchie and I were actually in the same room together we had a physical confrontation which was unpleasant for both of us,” he explains. “From then on it was an unsavory, competitive energy between his group Rainbow and my Whitesnake, until Whitesnake became so fucking successful there was no competition.” But the former bandmates met to talk out their differences and find their peace. “I wanted to express the sorrow of the loss of Jon and to personally offer my sincere appreciation and gratitude for taking an unknown singer and placing me on a voyage that still continues today. It doesn’t get any better than the university of Deep Purple.”</p> <p>These experiences circling around the Deep Purple legacy led to what became <em>The Purple Album</em>. With longtime guitarist Doug Aldrich leaving Whitesnake to pursue other endeavors, 13-year Whitesnake veteran Reb Beach (also of Winger) stepped up to take on a musical director role in addition to lead and rhythm guitars while former Night Ranger axman Joel Hoekstra was brought into the band to share guitar duties. </p> <p>The result is the most overtly “guitar duo” approach on a Whitesnake album since the first half of the Eighties, and Beach couldn’t be happier with the opportunity to pay tribute to elements of Ritchie Blackmore’s approach within the Whitesnake framework. </p> <p>“Ritchie Blackmore is one of the best guitar players in the world and he had a sound that was totally his own,” says Beach. “Winger opened for Deep Purple in 1993 and it was rough for me. People were shouting out ‘You suck! Blackmore rules!’ and holding up signs. The guy can play! He’s got this unique style; he pulls out these unique notes you aren’t expecting and he’s fast as hell. I had a lot to live up to.”</p> <p>In honor of Blackmore’s tone Beach changed up his gear for this album, using a custom Suhr Strat-style guitar with single coil pickups alongside his usual Koa-bodied, EMG-loaded main instrument. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p>“It’s the first time I’ve ever recorded with a single-coil guitar,” he says. “It’s got this real bite about it. I used that on almost every song. We did a couple of passes of me and a couple of passes of Joel; Les Paul and Strat, like the classic Whitesnake.” Beach’s amp of choice is a Custom Audio Electronics OD100. “Nothing beats it! It’s smooth, it’s Marshally, it’s crunchy as hell and the clean sound kills everything.” </p> <p>The two guitarists immediately developed a language together. “Joel is like a machine,” says Beach. “He did a big long solo—I think it was ‘Burn’—first take all the way through, and when the smoke had cleared I said, ‘You’ve got it!’ Then he said ‘Let me double it.’ So he doubled it perfectly. Then he said ‘Nah, I’m not sure about that one, let me try another solo.’ So he tried another solo that was just as good as the first one and he did it first take. Then he goes ‘Let me double it.’ So he doubles it absolutely perfectly. It was so perfect it was flanging! Freaked me out! He can just blow out a perfect solo for however long he wants and then double it. Forget it. That’s just insane.”</p> <p>Whitesnake now begin rehearsals for an extensive world tour that will see more Deep Purple material in the set, calling back to the day in 1972 when Coverdale first stepped on a stage to play these songs. “It’s as if my life has come full circle,” the singer concludes. “There’s a feeling of completion.”</p> <p><em>Photo: Ari Michelson</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="/deep-purple">Deep Purple</a> </div> </div> </div> </fieldset> David Coverdale Deep Purple July 2015 Reb Beach Whitesnake Interviews News Features Magazine Tue, 02 Jun 2015 18:35:24 +0000 Peter Hodgson 24569 at