News http://www.guitarworld.com/taxonomy/term/4/all/www.facebook.com/www.guitartv.com/www.guitartv.com/www.prsguitars.com/%3Ehttp%3A/%3Ca%20href%3D en The Fab 50: The Beatles' 50 Greatest Guitar Moments http://www.guitarworld.com/fab-50-beatles-50-greatest-guitar-moments <!--paging_filter--><p>In 2014, on the 50th anniversary of the Beatles' arrival in the United States (and legendary February 1964 appearance on the <em>Ed Sullivan Show</em>), <em>Guitar World</em> celebrated the 50 best guitar moments from the band's hit-making history.</p> <p>The Beatles were such talented songwriters that it’s easy to overlook the fact that their music has some great—and occasionally groundbreaking—guitar work. </p> <p>In assembling this list, we looked beyond our personal favorite songs and reflected on where John Lennon, George Harrison and Paul McCartney showed their talents as guitarists, whether in a solo, a riff, a technique or by their astute selection of instrument and arrangement. </p> <p>For some songs, we’ve gone a step further and analyzed the guitar work to give you insights into the magic that makes these moments so special. Enjoy! And be sure to share your thoughts in the comments below or on Facebook!</p> <p><strong>50. Across the Universe</strong><br /> <strong><em>Let It Be… Naked</em> (2003)</strong></p> <p>John Lennon considered the Beatles’ recording of this 1967 composition “a lousy track of a great song,” dismissing even his own work on it. </p> <p>He was too hard on himself: his imperfect acoustic guitar work and vocal delivery effectively work in service of the song’s sincere devotional message, though overdubs of strings, background vocals and electric guitar obscured the delicacy and intimacy of his performance. </p> <p>The release of <em>Let It Be… Naked</em> in 2003 set the record straight, offering a bare-bones acoustic mix of the track that even Lennon might have approved of.<br /> <br /><br /> <strong>49. Flying</strong><br /> <strong><em>Magical Mystery Tour</em> (1967)</strong></p> <p>The strongly pulsing tremolo on the rhythm guitar makes the instrument sound as if it’s riding slightly behind the beat, giving the song a druggy languor appropriate to its title. (In the film <em>Magical Mystery Tour</em>, “Flying” accompanies scenes shot high above the clouds). </p> <p>The crystalline acoustic guitar that appears about 13 seconds in lends the song a country vibe, culminating in a tasty double-stop lick that lazily meanders down the fretboard. Heavenly.<br /> <br /><br /> <strong>48. Helter Skelter</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>It’s not a stretch to say the Beatles prefigured heavy metal’s doomier side with this 1968 Paul McCartney track. </p> <p>For this recording, McCartney set aside his bass duties and strapped on his Fender Esquire to deliver the track’s brash rhythm work, while Harrison performed the searing leads on Lucy, the 1957 Les Paul Standard gifted to him by Eric Clapton. </p> <p>But the best work here is performed by Lennon on, of all things, a bass (either a Fender Bass VI). His sloppy but inspired playing propels the song along and provides its main rhythmic interest.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/QWuXmfgXVxY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>47. Yesterday</strong><br /> <strong><em>Help!</em> (1965)</strong></p> <p>McCartney’s melancholy, acoustic guitar–driven ballad marked a symbolic, pivotal point in the Beatles’ career as a band in that it was their first song in which any of the members—three in this case—did not participate in the performance. </p> <p>McCartney tuned his guitar down one whole step for this song (low to high, D G C F A D) and performed it as if it were in the key of G, with the detuning transposing it down to the concert key of F. </p> <p>This may have been made for the sake of putting the vocal melody in a more optimal key for McCartney; it certainly made the bass notes sound deeper and richer, while the slackened string tension contributed to the thicker texture of the chord voicings.<br /> <br /><br /> <strong>46. For You Blue</strong><br /> <strong><em>Let It Be</em> (1970)</strong></p> <p>Written by Harrison, this seemingly straightforward blues workout in D stands out as a bouncy oddball in the Beatles’ catalog. </p> <p>Not only is it one of the band’s few forays into 12-bar-blues territory; it also finds Lennon stepping into the uncommon role of lead guitarist, supplying a spirited solo and fills on a Hofner Hawaiian Standard lap-steel guitar in open D tuning. </p> <p>To make things even weirder, he uses a shotgun shell as a slide. In addition, there’s no bass on the recording; McCartney performed on piano and the song received no overdubs.<br /> <br /><br /> <strong>45. Free As a Bird</strong><br /> <strong><em>Anthology 1</em> (1995)</strong></p> <p>Released in 1995 as a post-mortem Beatles track built upon a John Lennon home demo, “Free As a Bird” makes a valiant attempt to resurrect the spirit of the group’s glory days. </p> <p>While some will quibble about the lackluster songwriting, it’s hard to find fault with Harrison’s stinging slide work. Starting off with a few restrained lines, Harrison lets his playing soar on the solo, the one moment in which the song truly takes flight. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/J4PGoJuKvTM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>44. Sgt. Pepper’s Lonely Hearts Club Band (Reprise)</strong><br /> <Strong><em>Sgt. Pepper’s Lonely Hearts Club Band</em> (1967)</strong></p> <p>Recorded quickly in a single session, this rocking reprise of the album’s opening track features some fiery lead guitar work from Harrison. </p> <p>Written as a bookend to the album-opening title track, the reprise is both faster and a whole step lower than the original, although halfway through it modulates up a whole step. (Modulation is a technique rarely found in the Beatles compositions, “And I Love Her” being another example from the group’s catalog [see entry 30].)<br /> <br /><br /> <strong>43. I Will</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>This quiet love song, written by McCartney, features only him on lead and harmony vocals, two acoustic guitars and scat-sung “vocal bass,” with Lennon and Starr providing percussion. </p> <p>McCartney overdubbed, on top of his main, strummed guitar part, a second, melodic part played in a rockabilly lead style reminiscent of Elvis Presley’s lead guitarist Scotty Moore, picking out syncopated, ringing melodies built around a first-position F6 chord shape with decorative, bluesy hammer-ons from the minor third to the major third. </p> <p>Years later, Cars guitarist Elliot Easton played a similar line on the chorus tags to “My Best Friend’s Girlfriend.”<br /> <br /><br /> <strong>42. The Ballad of John and Yoko</strong><br /> <strong><em>1967–1970</em> (1973)</strong></p> <p>In this 1969 musical telling of Lennon and Yoko Ono’s wedding and honeymoon, Lennon’s acoustic strumming sets up the song’s infectious rhythm, while his electric guitar fills play call-and-response with his vocals. </p> <p>The track was written and recorded in April of that year, fresh off the sessions for <em>Let It Be</em>, in which the group attempted to get back to their rock and roll roots. That might have inspired Lennon’s musical direction with this track, which he closes with an electric guitar riff reminiscent of Dorsey Burnett’s “Lonesome Tears in My Eyes,” which the Beatles covered early in their career.<br /> <br /><br /> <strong>41. Yer Blues</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>Lennon wrote this 1968 song as a rude sendup of the electric blues boom that had taken London by storm, but the suicidal feelings he expresses were a sincere articulation of how he felt trapped both in his unhappy first marriage and in the Beatles. </p> <p>Likewise, his primitive two-note solo could be regarded as mocking disdain for the genre’s slick white imitators, but he plays the riff until it’s as raw as his emotions. He would pursue this protopunk style of guitar playing further on his 1970 solo debut, <em>John Lennon/Plastic Ono Band.</em></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/6dDw_3H0XKg" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>40. Help!</strong><br /> <strong><em>Help!</em></strong> </p> <p>The Beatles’ mix of acoustic rhythms and electric guitar leads from 1964 through the end of 1965 helped greatly to define the sound of folk-rock. </p> <p>Written in the midst of his “Bob Dylan phase,” “Help!” shows Lennon continuing to divulge the vulnerability express on previous songs like “No Reply” and “I’m a Loser,” with the acoustic guitar providing the requisite balladeer instrumentation. </p> <p>Here, Lennon robustly strums out the rhythm on his 1964 Framus Hootenanny 5/024 acoustic 12-string, with Harrison contributing jangly lead lines and three-note descending passages on the choruses with his Gretsch Tennessean.<br /> <br /><br /> <strong>39. Dear Prudence</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>This 1968 composition is arguably one of Lennon’s greatest achievements as a guitarist and demonstrates his development at the time into a bona fide acoustic fingerpicker. </p> <p>Having recently learned a basic eighth-note Travis-picking-like pattern from British pop star Donovan, Lennon put the newly learned pattern to great use in compositions like “Julia,” “Happiness Is a Warm Gun” and, most brilliantly, “Dear Prudence,” applying it to an ethereal modal chord progression he invented, which he performed in drop-D tuning (low to high, D A D G B E), using the two open D strings (the fourth and sixth) as ringing drones, or pedal tones throughout the majority of the song. </p> <p>The thumb-picking pattern goes fifth string, fourth string, sixth string, fourth string and repeats consistently through the changing chords, interrupted briefly at the end of each verse.<br /> <br /><br /> <strong>38. If I Needed Someone</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>Although the Beatles were rock’s foremost trendsetters, they still were influenced by other artists. </p> <p>Case in point: George Harrison’s 12-string riff on “If I Needed Someone.” Played in a second-position D-chord shape with a capo on the seventh fret, the line was based on Jim McGuinn’s chiming guitar work in the Byrds’ mesmerizing 1965 track “The Bells of Rhymney.” </p> <p>In the mid Sixties, Harrison and McGuinn had formed a mutual-admiration society: “If I Needed Someone” featured Harrison’s second Rickenbacker 360/12, a rounded-off 1965 model that resembled McGuinn’s 1964 Rickenbacker 360/12, which McGuinn bought after seeing Harrison’s first Rick in the film <em>A Hard Day’s Night.</em></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/jjm28jTZDw8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>37. Day Tripper</strong><br /> <strong><em>1962–1966</em> (1973)</strong></p> <p>Lennon and McCartney’s hip-shaking 1965 hit is a thinly veiled ode to “weekend hippies” who embrace the drug counterculture when they’re not pursuing their careers. </p> <p>McCartney referred to this song and “Drive My Car” (recorded just days earlier) as “songs with jokes in” them, but there’s nothing laughable about this track’s swaggering guitar riff, borrowed from the Temptations’ 1964 hit “My Girl” and given a liberal dose of self-assured attitude. </p> <p>Lennon reportedly plays the solo, most likely using his Sonic Blue Fender Strat, while Harrison’s guitar parts were probably recorded with his Gretsch Tennessean.<br /> <br /><br /> <strong>36. Think for Yourself</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>The Beatles had been interested in creating distorted guitar tones since at least 1964, when they attempted unsuccessfully to use a Gibson Maestro Fuzz-Tone on “She Loves You” and “Don’t Bother Me” (see entry 23). </p> <p>They were more successful with Harrison’s excellent 1965 composition “Think for Yourself,” for which McCartney plugged his Hofner bass into an early version of the Tone Bender fuzz pedal, created by electronics designer Gary Hurst and eventually marketed by Vox. The result is the harsh-sounding “lead bass” tone that bobs menacingly—and memorably—alongside Harrison’s lead vocal. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/L0Rd1KVfdEc" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>35. Mother Nature’s Son</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>Throughout this song’s verses, McCartney fools you into thinking that he’s playing more than he actually is by filling out the harmony with his vocal melody. </p> <p>For example, while the ear hears a very strong D-to-G movement in the first two bars of the verse, all McCartney is actually playing is D to Dsus4; his vocal melody intimates the G chord by moving to B, that chord’s third. The verse also features, in the third and fourth bars, brilliant oblique motion—where one voice moves up or down while one or more other voices remain stationary. </p> <p>By moving the root of a B minor chord, B, down to the minor seventh, A, and then down to the sixth, Gs, while keeping the notes D and F# constant above this descending line, McCartney implies a slick progression of Bm D (or Bm7) E9. He does the same thing at the very beginning of the song.<br /> <br /><br /> <strong>34. Girl</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>Lennon conjures up this song’s dreamy, Gypsy-like reverie by capoing his Gibson J-160E at the eighth fret, making the guitar sound similar to a mandola. </p> <p>Harrison furthers the vibe on the third verse, playing a mandolin-like melody on Lennon’s Framus Hootenanny 12-string acoustic. But the crowning touch comes at the coda, when a third acoustic guitar enters, playing a Greek-style melody that’s plucked at the bridge with sharp strokes, making it sound like a bouzouki and further emphasizing the song’s smoky, old-world aura. </p> <p>The British group the Hollies would copy the effect on their hit “Bus Stop,” recorded at Abbey Road some six months later. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/GlcuRGXiwNw" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>33. Birthday</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>Like “I Feel Fine” and “Day Tripper” (see entries 12 and 37), “Birthday” delivers a classic and memorable guitar riff. Whereas those previous two songs veered from the traditional 12-bar blues formula, “Birthday” hews closely to it during its verses. </p> <p>McCartney and Lennon wrote the song in the studio during an evening session, which included a recess during which the band went back to McCartney’s house to watch a TV broadcast of the 1956 teen film <em>The Girl Can’t Help It</em>. The soundtrack—which included performances by Little Richard, Gene Vincent and other Beatles’ favorites—undoubtedly contributed to the song’s raucous vintage rock-and-roll vibe.<br /> <br /><br /> <strong>32. One After 909</strong><br /> <strong><em>Let It Be</em> (1969)</strong></p> <p>This tune had been in the Beatles’ song bag for years, surfacing first as a rickety blues-style shuffle at a March 1963 recording session.</p> <p>By the time they tackled it again during their January 1969 rooftop performance at Apple, the Beatles were nearly finished as a group, but they were at long last able to breathe life into the tune, revving it up with a rock and roll beat and laying into it like the seasoned performers they were. Harrison delivers a stellar country-rock solo, using his rosewood Telecaster. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/IVN9ROEZIkE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>31. Norwegian Wood</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>This acoustic-rock masterpiece, written by Lennon, is not unlike “Here Comes the Sun,” in that it’s a folky chord-melody type of accompaniment that could easily stand on its own as a solo instrumental, with the vocal melody conveniently woven into the chords.</p> <p>However, unlike “Here Comes the Sun” (see entry 4), the melody sits in the middle, rather than on top, of the chord voicings, and is performed with more full strumming in a flowing 6/8 meter. Lennon performed “Norwegian Wood” as if the song were in the key of D, the verses being in D major and the bridge sections switching the parallel minor key of D minor, and used a capo at the second fret to transpose everything up a whole step, to E major and E minor, respectively.</p> <hr /> <p><strong>30. And I Love Her</strong><br /> <strong><em>A Hard Day’s Night</em> (1964)</strong></p> <p>It’s overshadowed by the Beatles’ more innovative songs, but “And I Love Her” demonstrates a leap in the group’s harmonic sophistication and musical arrangement skills. </p> <p>Harrison performs delicate arpeggiations on his 1964 Ramírez nylon-string classical acoustic, while McCartney subtly propels the song along with his soul-inflected bass work. A modulation from the key of E to F on the solo ramps up the drama and keeps the song from flagging. The final chord, D major—the relative minor of F—delivers surprise and emotional uplift that allows the song to end hopefully, in keeping with the optimism of the lyrics.<br /> <br /><br /> <strong>29. Not Guilty</strong><br /> <strong><em>Anthology 1</em> (1995)</strong></p> <p>Recorded for 1968’s White Album but unissued until the release of <em>Anthology 1</em> in 1995, this Harrison track was a lyrical response to his fellow Beatles, who felt that their trip to India at his urging to study transcendental meditation had been a waste of time. </p> <p>It’s hard to understand why this track was abandoned, especially after the group devoted more than 100 attempts to the rhythm track. Harrison’s guitar work is especially superb, from his sinewy lead lines to his sizzling tone, achieved by placing his amp in one of Abbey Road’s echo chambers and cranking it up for maximum effect, while he performed, safe from the volume, in the studio control room. </p> <p>Harrison eventually re-recorded this song for his self-titled 1979 album.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/bwLk6xLCzio" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>28. Old Brown Shoe</strong><br /> <strong><em>1967–1970</em> (1973)</strong></p> <p>Dishonorably relegated to the B-side of the single “The Ballad of John and Yoko” (see entry 42), this 1969 Harrison composition is one of his best. His stinging guitar work is at times reminiscent of Clapton, especially on the solo, where he plays his rosewood Telecaster through a Leslie cabinet, his preferred effect of the period. </p> <p>In addition to guitar, Harrison plays organ and, by his own account, the buoyant bass line. “That was me going nuts,” he said of the bass work in a 1987 interview. “I’m doing exactly what I do on the guitar.”<br /> <br /><br /> <strong>27. Michelle</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>Another great example of McCartney’s innate gift for songwriting/composing, “Michelle” features, in its intro and elsewhere throughout the song, the previously mentioned standard “minor-drop” progression heard in “And Your Bird Can Sing” and “All My Loving” (see entries 7 and 16). </p> <p>The song also includes some rather clever and original harmonic twists and turns, such as the use of, in the second bar of the verse progression, the dominant-seven-sharp-nine (7#9) chord pointed out earlier in regard to Harrison’s “Till There Was You” solo, which, in both songs, is voiced “widely,” low to high: 1(root)-5-3(10)-b7-#9. Lennon, by the way, would later also employ this same chord voicing in “Sexy Sadie,” a chord that he, McCartney and Harrison all learned early on from a friend and local guitar-hero in Liverpool named Jim Gretty and dubbed “the Gretty chord.”<br /> <br /><br /> <strong>26. Cry for a Shadow</strong><br /> <strong><em>Anthology 1</em> (1995)</strong></p> <p>In 1961, unknown and looking for a break, the Beatles supported British rock and roll singer Tony Sheridan on a recording date in Hamburg. While there, they recorded two tracks of their own, including this Harrison-Lennon guitar-instrumental written in the style of U.K. pop group the Shadows (hence, the title). </p> <p>The recording provides early evidence of Lennon’s steady and dynamic rhythm guitar work, as well as McCartney’s melodic skills on the bass, which he had just begun playing. But it’s Harrison who shines, making the most of the trite melody with double-stop licks and generous use of the whammy bar on his Strat-style Futurama electric guitar. </p> <p>He ends the song with a major sixth—C6, specifically—a voicing that would become a signature Beatles coda on songs like “She Loves You,” “No Reply” and “Help!” (see entry 40).</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/m1VMr29eUeo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>25. Hey Bulldog</strong><br /> <strong><em>Yellow Submarine</em> (1968)</strong></p> <p>McCartney’s lead guitar work had characterized most of the great solo guitar moments on the Beatles’ records during 1966 and 1967. But with “Hey Bulldog,” recorded in February 1968, Harrison came charging back with a guitar solo that’s heavier and hairier than just about anything in the group’s catalog. </p> <p>For the song, he played his red 1964 SG Standard, using a fuzz box (most likely his Tone Bender) to give his sound a snarl befitting the song’s title. Recalls engineer Geoff Emerick, “His amp was turned up really loud, and he used one of his new fuzz boxes, which made his guitar absolutely scream." Equally outstanding is Paul McCartney’s buoyant bass work, which is practically a lead instrument on its own.<br /> <br /><br /> <strong>24. I’ve Just Seen a Face</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>Written by McCartney and musically inspired by the skiffle movement that was popular in the U.K. in the late Fifties and early Sixties, this up-tempo knee-slapper features Lennon, Harrison and McCartney all playing acoustic guitars, with Ringo Starr providing percussion (brushed snare drum and overdubbed maracas). </p> <p>The lyrical instrumental intro features a bass-line chord-melody, played (most likely by Harrison) on a 12-string, which serves to octave-double the bass-line melody, over which McCartney and Lennon flatpick a single-note melody based on double-stops, mostly sixth intervals, played up and down the G and high E strings in a quick, unbroken triplet rhythm, beautifully outlining the underlying chords with ascending and descending note pairs.<br /> <br /><br /> <strong>23. Don’t Bother Me</strong><br /> <strong><em>With the Beatles</em> (1963)</strong></p> <p>Harrison’s first solo songwriting effort for the Beatles sounds like nothing else in the group’s catalog. With its moody minor chords, propulsive drum beat and tremolo guitar, this 1964 track has more in common with California surf music than it does the American rock and soul that inspired the Beatles’ music at the time. </p> <p>The tremolo—provided by Harrison’s Vox AC30—gives the song an air of menace appropriate to the song’s title, and its use here marks the first time the group used an electronic effect on a finished recording.<br /> <br /><br /> <strong>22. Octopus’s Garden</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>By 1969, George Harrison had put down his sitar to focus on his first love, the guitar. The results are apparent on <em>Abbey Road</em>, which features his most fluid and confident playing to date. </p> <p>On “Octopus’s Garden,” one of Ringo Starr’s rare Beatles-era tunes, Harrison calls on his country/rockabilly influences for the first time since the band’s pre-psychedelic days. The intro is a slick masterpiece in the major pentatonic scale, the same territory Dickey Betts would later visit on “Blue Sky.” The song’s fun, twangy solo could sit snugly among James Burton’s work on Merle Haggard’s late-Sixties albums.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/CUFcfXgW_dQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>21. Till There Was You</strong><br /> <strong><em>With the Beatles</em> (1963)</strong></p> <p>With this charming early cover of a love song from the popular 1957 Broadway musical play and 1962 feature film <em>The Music Man</em>, the Beatles demonstrated their stylistic versatility as they authoritatively breeze through the song’s harmonically sophisticated, jazz-like chord progression. </p> <p>Harrison’s solo break conveys a musical savvy on par with that of a veteran jazz improviser, as he strongly outlines the underlying chord progression, producing a perfect melodic counterpoint with the bass line by using arpeggios and targeting non-root chord tones, such as the third or ninth, on each chord change. </p> <p>Also impressive is his incorporation of two-, three- and four-note chords into what would otherwise be a predominantly single-note solo to create jazz-guitar-style chord-melody phrases, as well as his superimposition over the five chord, C7, of a daringly dissonant Gb7#9 chord (voiced, low to high, Gb Db Bb E A), a trick known in the language of jazz as a tritone substitution. </p> <hr /> <p><strong>20. Good Morning Good Morning</strong><br /> <strong><em>Sgt. Pepper’s Lonely Hearts Club Band</em> (1967)</strong></p> <p>Let’s face it: There aren’t many ferocious, brash and screaming guitar solos in the Beatles’ catalog. That said, Paul McCartney’s razor-sharp solo on “Good Morning Good Morning” is all that and a bag of chips. </p> <p>The 13-second-long treble fest, played on a Fender Esquire through a Selmer amp, features a strong East Indian vibe, perhaps a nod to George Harrison’s burgeoning fascination with Indian religion and music. </p> <p>Like its stylistic predecessor, McCartney’s “Taxman” guitar solo (see entry 3), “Good Morning Good Morning” incorporates open-string drone notes and rapid-fire descending hammer-pull slides, mostly along one string, in this case, the B string.<br /> <br /><br /> <strong>19. I Need You</strong><br /> <strong><em>Help!</em> (1965)</strong></p> <p>By 1965, the Beatles were making noticeable strides in their arrangements and instrumentation. A prime example is “I Need You,” one of two George Harrison compositions to appear on <em>Help!</em> </p> <p>The recording represents Harrison’s first use of a volume pedal. The guitar’s dramatic, almost pedal-steel-like volume swells—which frame Harrison’s curt, suspended chords—only add to the song’s wistful lyrical content. </p> <p>The volume pedal was a step up for the band; the guitar swells heard on “Baby’s in Black,” which was tracked the previous summer, were the result of John Lennon turning the volume knob on Harrison’s 1963 Gretsch Tennessean as Harrison played it.<br /> <br /><br /> <strong>18. You Can’t Do That</strong><br /> <strong><em>A Hard Day’s Night</em> (1964)</strong></p> <p>On February 25, 1964, the Beatles entered the studio with an exciting new piece of gear: a Fireglo 1963 Rickenbacker 360/12. George Harrison had received the guitar only 17 days earlier when the band was in New York shooting its initial Ed Sullivan Show appearance.</p> <p>The song’s chiming intro riff, with its middle-finger hammer-ons from a minor third to a major third within the chord, offered a taste of what lay ahead for the guitar, which would see heavy action onstage and in the studio through 1965. John Lennon performed the guitar solo on his new Jetglo 1964 Rickenbacker.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/0EYa5YkJu4Q" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>17. Let It Be</strong><br /> <strong><em>Let It Be</em> (1970)</strong></p> <p>As Beatles obsessives know, there are three versions of George Harrison’s solo for this track: the original, recorded in January 1969 with his rosewood Telecaster (available on 2003’s <em>Let It Be… Naked</em>); the second, recorded the following April with his Tele through a Leslie rotary speaker (released on the single “Let It Be” in 1970); and a third version recorded in January 1970 using his “Lucy” Gibson Les Paul through a Tone Bender (released on <em>Let It Be</em>). </p> <p>Nice as the first two are, they have nothing on the third, a blistering performance that raises the song’s drama to a higher level of emotion.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Izts5y5Fw8Y" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>16. All My Loving</strong><br /> <strong><em>With the Beatles</em> (1963)</strong></p> <p>For this pop song’s thumping, quasi–jump blues, rockabilly-style groove, Harrison crafted a convincingly authentic Chet Atkins/Carl Perkins–like solo break that clearly demonstrates his familiarity with that Fifties Nashville style of electric guitar soloing. </p> <p>Employing hybrid picking (pick-and-fingers technique), the guitarist acknowledges and gravitates toward the underlying chords in his melodic phrases, employing country-style “walk-ups” and “walk-downs” and plucking double-stops (pairs of notes) to sweetly and effectively outline the chord changes with a pleasing thematic continuity. </p> <p>Lennon contributed an energetic rhythm guitar part, one that he later expressed being rather proud of, which propels the groove with tireless waves of triplet chord strums, similar to those heard in the Crystals’ song “Da Doo Ron Ron.”<br /> <br /><br /> <strong>15. Ticket to Ride</strong><br /> <strong><em>Help!</em> (1965)</strong></p> <p>This proto-heavy-metal track was the first Beatles recording to feature McCartney on lead guitar and the last on which George Harrison used his Rickenbacker 12-string. McCartney plays the note-bending fills at the end of the bridges and on the outro, while Harrison plays the song’s arpeggiated riff and Lennon handles rhythm guitar. </p> <p>But the heaviest part might just be the droning open-string A notes that Harrison overdubbed on the verses, suggestive of the classical Indian music he would begin to explore later that year.<br /> <br /><br /> <strong>14. Dig a Pony</strong><br /> <strong><em>Let It Be</em> (1970)</strong></p> <p>The song’s driving, bluesy riff is as durable as any that Muddy Waters ever wrote, but the 1969 recording is also notable for Harrison’s smoky guitar work on his rosewood Telecaster—from the double-stop licks on the verses to his confident and impeccably developed solo. </p> <p>You can hear Harrison’s signature style beginning to develop here, with the smoothness of his lines pointing toward the fluid slide style he would develop over the following year. His guitar tone is also very similar to that of “Octopus’ Garden” (see entry 22) recorded later that year, for which he may have also used the rosewood Tele.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/kkzKSORYtVk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>13. Nowhere Man</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>According to Harrison, he and Lennon perform the song’s bright, chiming solo together in unison, using their matching Sonic Blue Fender Stratocasters. </p> <p>Lennon also revealed to guitarist Earl Slick, during the making of Lennon’s 1980 album <em>Double Fantasy</em>, that the solo was recorded through a pair of small amps with a single microphone positioned between them. The Strats’ trebly nature was further accentuated on “Nowhere Man” by boosting the high frequencies via the mixing console. </p> <p>“We wanted very trebly guitars,” McCartney says. “They’re among the most trebly guitars I’ve ever heard on record.”<br /> <br /><br /> <strong>12. I Feel Fine</strong><br /> <strong><em>1962–1966</em> (1973)</strong></p> <p>Audio feedback was just an annoying electronic phenomenon until the Beatles used it as an attention-getting way to start “I Feel Fine.” The song itself is a rather standard riff rocker inspired by Bobby Parker’s 1961 R&amp;B hit, “Watch Your Step,” but its distinctive intro came about by accident when McCartney played a low A note on his bass as Lennon was leaning his Gibson J-160E acoustic-electric against his amp. </p> <p>The note set Lennon’s guitar vibrating, and its proximity to the amp caused the sound to feed back. “We went, ‘What’s that? Voodoo!’ ” McCartney recalls. Yes, that too. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/fZUb_NJZ4To" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>11. Blackbird</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>McCartney recorded this beautiful song’s gentle, fingerstyle acoustic accompaniment on his Martin D-28. </p> <p>He creates an elegant, classical-guitar-style chord movement by using two-finger chord shapes exclusively, most of which form 10th intervals on the A and B strings, in conjunction with the open G-string note, which he picks in opposition to the chord shapes and employs as a droning common tone. </p> <p>His unique fingerpicking technique relies largely on his thumb, which he uses to pick bass notes, and index finger, which he uses for pretty much everything else, employing brushed downstrokes and upstrokes and often brushing across two or more strings. </p> <p>This often results in notes that are “ghosted,” or barely articulated, a “flaw” that is a testament to his innate musicality—McCartney’s touch is charming and greatly contributes to the overall feel of the song. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/6c2kJrWqZqc" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>10. “Something”</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>Ironically, while the Beatles were breaking apart in 1969, George Harrison was coming into his own as a songwriter and guitarist. </p> <p>His <em>Abbey Road</em> contribution “Something” is among his finest songs, and his guitar playing here and throughout the album is masterful. Harrison’s mellifluous lead lines, in particular, are more expressive than anything he’d done before, demonstrating his newfound confidence and evolving connection to his instrument and creative muse. </p> <p>Performed with his “Lucy” 1957 Gibson Les Paul played through a Leslie speaker, the solo simmers as Harrison turns up the heat on his melody and dynamics, then cools it down with bluesy restraint. </p> <p>“George came into his own on <em>Abbey Road</em>,” says Geoff Emerick, who engineered this and other <em>Abbey Road</em> sessions. “For the first time he was speaking out and doing exactly what he wanted to do. And of course he wrote these beautiful songs and we got a great new guitar sound.” </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/mBjt7EsWbWE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. I Want You (She’s So Heavy)</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>John Lennon was composing some of the heaviest rock and roll in the Beatles’ catalog in 1969, and this song—true to its title—is among the most crushing, thanks to an abundance of doubled and overdubbed guitar lines that give it some serious sonic heft. </p> <p>Lennon wrote the song for Yoko Ono, with whom he was newly in love, and the result is a spellbinding exercise in obsessive repetition, from its lyrics—consisting almost entirely of the title and roughly five other words—to the ominous guitar lines that recur throughout it. </p> <p>Clocking in at 7:47, the song is also one of the Beatles’ longest. </p> <p>And although it consists of nothing more than a verse and a chorus repeated several times, it is rhythmically one of their most intricate tunes, switching between 12/8 meter and 4/4 rhythms alternately played bluesy and with a double-time rock beat. Few other artists could have made so much with so little. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/uo1i9uTaCFQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. I’m Only Sleeping</strong><br /> <strong><em>Revolver</em> (1966)</strong></p> <p>Harrison’s startling backward guitar solo on this Lennon-penned song is one of his greatest guitar moments on 1966’s <em>Revolver</em>.</p> <p>Over the previous year, he had used an expression pedal to create a volume-swelling sound, similar to a reverse-tape effect, on several tracks, including “Yes It Is” and “I Need You” (see entry 19). </p> <p>But for “I’m Only Sleeping,” Harrison wanted to hear his guitar truly in reverse, a decision undoubtedly inspired by Lennon’s own retrograde vocals on “Rain,” recorded earlier the same month, April 1966.</p> <p>Rather than simply improvising guitar lines while the track was played backward, he prepared lead lines and a five-bar solo for the song and had George Martin transcribe them for him in reverse. Harrison then performed the lines while the tape was running back to front.</p> <p>The result is a solo that surges up from the song’s murky depths, suffusing it with a smeared, surreal, dreamlike ambience. Within a year, Harrison’s idea would be copied by such psychedelic rock acts of the day as the Electric Prunes, who employed it on their 1966 hit “I Had Too Much to Dream (Last Night),” and Jimi Hendrix, who used it to great effect on “Castles Made of Sand.” </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/1MMDugt8ZRk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. And Your Bird Can Sing</strong><br /> <strong><em>Revolver</em> (1966)</strong></p> <p>This middle-period Beatles gem, written primarily by Lennon, features Harrison and McCartney on impeccably crafted and performed harmony-lead guitar melodies, a pop-rock arranging approach that was still in its infancy in 1966. (It would later be employed extensively in the southern rock genre by bands such as the Allman Brothers and Lynyrd Skynyrd as well as hard rock and metal acts like Thin Lizzy, Boston and Iron Maiden.) </p> <p>Together, Harrison and McCartney’s individual single-note harmony lead guitar parts form, for the most part, diatonic (scale-based) third intervals in the key of E. (Lennon performed his rhythm guitar part as if the song were in the key of D, using a capo at the second fret to transpose it up a whole step, as he did on “Norwegian Wood,” “Nowhere Man” and “Julia.”) </p> <p>The quick half-step and whole-step bends that Harrison and McCartney incorporate into their parts here and there in lock-step fashion are particularly sweet sounding. Heard together, they have the precise intonation of a country pedal-steel part performed by a seasoned Nashville pro. </p> <p>The harmonized lines that the two guitarists play over the “minor-drop” progression during the song’s bridge section, beginning at 1:05, reveal their musical depth and sophistication and command over harmony beyond the basic “I-IV-V” pop songwriting fodder.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/f_P71QAEZKs" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. A Hard Day’s Night</strong><br /> <strong><em>A Hard Day’s Night</em> (1964)</strong></p> <p>It lasts all of roughly three seconds, but the sustained opening chord to this classic Beatlemania track is one of rock and roll’s greatest and most recognizable musical moments. </p> <p>Bright and bold as a tolling bell, it loudly announced in 1964 not just the start of the Beatles’ latest album but also the dawning of a cultural transformation that owed nearly everything to the group’s influence. </p> <p>The song was written to order for the Beatles’ feature-length film debut, <em>A Hard Day’s Night</em>. According to George Martin, “We knew it would open both the film and the soundtrack LP, so we wanted a particularly strong and effective beginning.” </p> <p>The dense harmonic cluster that Martin and the group created is the result of four instruments sounding simultaneously: Harrison on his 12-string Rickenbacker and Lennon on his Gibson J-160E acoustic, both strumming an Fadd9 chord (with a G on the high E); McCartney on his Hofner 500/1 bass, plucking a D note (probably at the 12th fret of his D string); and Martin on grand piano, playing low D and G notes. </p> <p>The resulting chord has been described as, technically, G7add9sus4, but to millions of eager listeners in 1964, it was simply the sound of an electrifying new era.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/70QfHtKdh_0" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>05. Revolution</strong><br /> <strong><em>1966–1970</em> (1973)</strong></p> <p>At the time that this 1968 track was recorded, distortion was well established as an electronic effect for guitarists, but no one had ever used it to the extreme that the Beatles did here. </p> <p>According to Geoff Emerick, Lennon had been attempting to create distortion by cranking up his amp during sessions for “Revolution 1,” the slower version of the song, which the Beatles recorded in May and June of 1968. </p> <p>Emerick had abetted his efforts by overloading the preamp on the microphone used to record Lennon’s guitar, but even this wasn’t enough for Lennon, who told the engineer, “ ‘No, no, I want that guitar to sound dirtier!” </p> <p>By the July recording of “Revolution,” Emerick determined that he could distort the signal even more by patching Lennon and Harrison’s guitars directly into the mixing console via direct boxes, overloading the input preamp and sending the signal into a second overloaded preamp. </p> <p>“I remember walking into the control room when they were cutting that,” recalls Abbey Road engineer Ken Scott, “and there was John, Paul and George, all in the control room, all plugged in—just playing straight through the board. All of the guitar distortion was gotten just by overloading the mic amps in the desk.” </p> <p>As Emerick himself notes in his 2006 memoir <em>Here, There and Everywhere</em>, it was no mean feat: the overloaded preamps could have caused the studio’s tube-powered mixer to overheat. “I couldn’t help but think: If I was the studio manager and saw this going on, I’d fire myself.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/kk6BAIy1MeU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. Here Comes the Sun</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>Harrison’s jangly chord-melody playing on this song is exemplary. Using first- and second-position “cowboy” chords with a capo at the seventh fret, the guitarist loosely doubles and supports his catchy, syncopated vocal melody by working it into the top part of his acoustic-guitar accompaniment. </p> <p>He does this by using a “picky-strummy” technique (similar to what Neil Young would later employ in his song “The Needle and the Damage Done”), in which the pick hand gently swings back and forth over the strings in an unbroken down-up-down-up movement, like a pendulum viewed sideways. </p> <p>In doing so, Harrison selectively grazes certain strings on various downbeats and eighth-note upbeats, resulting in a seemingly casual mix of full-chord strums, single notes and two-note clusters that form a pleasing stand-alone guitar part that could easily appeal as a solo instrumental performance. </p> <p>The high register achieved by using the capo so far up the neck—the song is played as if it were in the key of D but sounds in A, a perfect fifth higher—makes the guitar sound almost like a mandolin, an effect similar to that achieved by Bob Dylan on “Blowin’ in the Wind” (also performed capo-7).</p> <p>Also noteworthy are the ringing and musically compelling arpeggio breaks that punctuate the song in various spots, such as after the first verse (immediately following the lyric “It’s all right”) and during the bridge/interlude section, behind the words “sun, sun, sun, here it comes.” </p> <p>Harrison employs a highly syncopated “1-2-3, 1-2-3, 1-2-3, 1-2-3, 1-2, 1-2” phrasing scheme in the first instance and “1-2-3, 1-2-3, 1-2-3, 1-2-3, 1-2” in the latter, creating a rhythmic “hiccup” that resets the song’s eighth-note pulse. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/n6j4TGqVl5g" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. Taxman</strong><br /> <strong><em>Revolver</em> (1966)</strong></p> <p>Bassist Paul McCartney had first demonstrated his six-string talents on 1965’s <em>Help!,</em> where he played lead guitar on several tracks and performed on acoustic guitar for his song “Yesterday.” </p> <p>But McCartney would truly come into his own as a guitarist with this cut from 1966’s <em>Revolver</em>. His stinging solo, performed on his 1962 Epiphone Casino through his cream-colored 1964 Bassman amp, is a stunningly sophisticated creation, drawn from an Indian-derived Dorian mode and featuring descending pull-offs that recall Jeff Beck’s work on the Yardbirds’ “Shapes of Things,” released earlier that year. </p> <p>How the solo came to be played by McCartney—and not Harrison, who wrote the song and was the Beatles’ lead guitarist—is a story in itself. </p> <p>According to Geoff Emerick, Harrison struggled for two hours to craft a solo before producer George Martin suggested he let McCartney give it a try. McCartney’s solo, Emerick says, “was so good that George Martin had me fly it in again during the song’s fadeout.” Portions of it, played backward, were also applied to the Revolver track “Tomorrow Never Knows.” </p> <p>Apparently, Harrison didn’t feel slighted. At the time of making <em>Revolver</em>, he was ambivalent about his musical ambitions and pondering Indian mysticism, to which he would eventually convert. </p> <p>“In those days,” he said, “for me to be allowed to do my one song on the album, it was like, ‘Great. I don’t care who plays what. This is my big chance.’ I was pleased to have him play that bit on ‘Taxman.’ If you notice, he did like a little Indian bit on it for me.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/YtksJEj2Keg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. While My Guitar Gently Weeps</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>“While My Guitar Gently Weeps” has become one of George Harrison’s signature tunes, but when he wrote the song in 1968, he couldn’t get his band mates to take an interest in it. </p> <p>Frustrated, he asked his pal Eric Clapton to sit in on the recording session for the track, hoping his presence would put the group on its best behavior. Clapton accepted the invitation and delivered a performance that remains a high point in the Beatles’ catalog. </p> <p>For the session, Clapton played a 1957 Les Paul “Goldtop” that had been refinished in red. He’d purchased the guitar in New York City sometime in the Sixties and in 1968 gifted it to Harrison, who nicknamed it Lucy. </p> <p>The guitar was already in Harrison’s possession at the time of this recording. When he picked up Clapton to take him to the studio for the Beatles session, the famous guitarist was empty handed. “I didn’t have a guitar,” Clapton recalls. “I just got into the car with him. So he gave me [Lucy] to play.”</p> <p>Harrison was concerned that Clapton’s solo was “not Beatley enough,” as the group was by the time of this recording well known for its sonic innovation. </p> <p>During the song’s mixing stage, the group had engineer Chris Thomas send Clapton’s signal through Abbey Road’s ADT—Automatic Double Tracking—tape-delay system and manually alter the speed of the delay throughout Clapton’s performance, making the pitch sound chorused. (The effect is especially noticeable in the final measure of the second middle-eight, after the line “no one alerted you.”) Ironically, while the solo is one of Clapton’s most famous, he was never credited on the recording. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/F3RYvO2X0Oo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. “The End”</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>A song called “The End” might seem an ironic place to start a list of the Beatles’ 50 greatest guitar moments. But the round-robin solos that bring the track to its exhilarating peak are without question the group’s most powerful statement expressed through the guitar.</p> <p>Here, for a mere 35 seconds, three childhood friends and longtime band mates—Paul McCartney, George Harrison and John Lennon—trade licks on a song that represents, musically and literally, the Beatles’ last stand as a rock group before they broke up the following year. “The End” is the grand finale in the medley of tunes that make up much of <em>Abbey Road</em>’s second side. </p> <p>As such, it’s designed to deliver maximum emotional punch, and it succeeds completely, thanks in great part to the sound of McCartney, Harrison and Lennon rocking out on their guitars, as they did in their first, embryonic attempts to make rock and roll some 12 years earlier. </p> <p>“They knew they had to finish the album up with something big,” recalls Geoff Emerick, the famed Abbey Road engineer who worked on the 1969 album. </p> <p>“Originally, they couldn’t decide if John or George would do the solo, and eventually they said, ‘Well, let’s have the three of us do the solo.’ It was Paul’s song, so Paul was gonna go first, followed by George and John. It was unbelievable. And it was all done live and in one take.”</p> <p>Much of the song’s power comes from the sense that the Beatles are making up their solos spontaneously, playing off one another in the heat of the moment. As it turns out, that’s partly accurate. </p> <p>“They’d worked out roughly what they were going to do for the solos,” Emerick says, “but the execution of it was just superb. It sounds spontaneous. When they were done, everyone beamed. I think in their minds they went back to their youths and those great memories of working together.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/5bcxHlMxnSY" 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="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/george-harrison">George Harrison</a> </div> <div class="field-item odd"> <a href="/john-lennon">John Lennon</a> </div> <div class="field-item even"> <a href="/paul-mccartney">Paul McCartney</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/fab-50-beatles-50-greatest-guitar-moments#comments Articles Damian Fanelli George Harrison GW Archive GWLinotte January 2014 John Lennon Paul McCartney The Beatles Guitar World Lists News Features Magazine Mon, 06 Jul 2015 14:03:43 +0000 Christopher Scapelliti, Damian Fanelli, Jimmy Brown 20443 at http://www.guitarworld.com With 'Workingman’s Dead,' the Grateful Dead Shifted from Uncommercial Jam Band to One of the World's Most Popular Acts http://www.guitarworld.com/workingman-s-dead-grateful-dead-shifted-uncommercial-jam-band-one-worlds-most-popular-acts <!--paging_filter--><p>What a difference a year makes. In February 1969, the Grateful Dead recorded a series of shows at San Francisco’s Avalon Ballroom and Fillmore West in the hope of finally capturing on tape the psychedelic alchemy of their already legendary onstage interplay. </p> <p>The double album <em>Live Dead</em>, released in November that year, showcased the Dead at their adventurous and exploratory acid-peak best and cemented their reputation as the premier jamming band of the era. </p> <p>Yet exactly one year later, in February 1970, the group ambled into a recording studio and, in a single week, cut an album that was <em>Live Dead</em>’s polar opposite. </p> <p>With its concise songs, bright harmonies and folk and country trimmings, <em>Workingman’s Dead</em> felt almost like the work of a completely different band—a stylistic shift as radical as when the Beatles followed <em>Rubber Soul</em> with <em>Revolver</em>. </p> <p>It was made with little overt commercial intent, but <em>Workingman’s Dead</em> instantly became the best-selling album of the Dead’s five-year career, and it set the band on a course that would eventually make it one of the most popular acts America ever produced, with a devoted fan base second to none. </p> <p>Until <em>Workingman’s Dead</em>, the Grateful Dead’s studio output had been largely ignored by the record-buying public. That album’s immediate predecessor, <em>Aoxomoxoa</em>, released in June 1969, was a carefully crafted effort full of intricately arranged songs brimming with playful, colorful and at times impenetrable lyrics dense with hallucinatory imagery. </p> <p>The recording sessions were long and expensive, and though the album contained a few future Dead classics—most notably “St. Stephen” and “China Cat Sunflower”—in the end it never really found a wide audience. Compared to the group’s live performances, it felt stiff and mannered. </p> <p><em>Live Dead</em> addressed that dilemma beautifully and was still picking up steam in the winter and spring of 1970, winning new converts to the Dead’s uniquely trippy mélange, when suddenly a completely different-sounding Grateful Dead started popping out of a million radios. The song was “Uncle John’s Band,” and instead of molten electric guitars and bass in epic flight over the crashing and cracking drums and cymbals of two percussion powerhouses, the song had a warm and intimate acoustic glow. </p> <p>The voices of guitarists Jerry Garcia and Bob Weir and bassist Phil Lesh rose in bright harmony, and lyricist Robert Hunter’s words exuded a gentle homespun wisdom: “Well, the first days are the hardest days/Don’t you worry any more/’Cause when life looks like easy street/There is danger at your door…” </p> <p>Could this really be the notoriously off-key-singing and lyrically opaque Grateful Dead?</p> <p>It was, and much of the rest of the album that “Uncle John’s Band” kicked off, <em>Workingman’s Dead</em>, reinforced the group’s apparent transformation from blazing psychedelic astronauts to rootsy troubadours steeped in folk and country music. The infectious country-rock anthem “Casey Jones”— famous for its daring chorus: “Driving that train, high on cocaine, Casey Jones you better watch your speed”—would follow “Uncle John’s Band” as an FM radio hit that year, and both the rollicking country-bluegrass-rock fusion “Cumberland Blues” and the simmering rocker “New Speedway Boogie” were also popular radio numbers. After years of fringe success, the Dead had truly entered the rock mainstream.</p> <p>It was not, however, an overnight change in direction for the band.</p> <p>For one thing, the Dead already had strong roots in folk and country. In his pre-Dead days, Garcia had been in a succession of acoustic groups that played old-time country, bluegrass and traditional folk music, and Weir had been a fan of the popular folkies of the early Sixties, like the Kingston Trio and Joan Baez, and also learned to play some country blues. </p> <p>Their first group together, in 1964, Mother McCree’s Uptown Jug Champions, drew from those worlds and added a dash of acoustic rock and roll, while Ron “Pigpen” McKernan brought in a cool blues sensibility. When those three started an electric band, the Warlocks, in the spring of 1965—adding Bill Kreutzmann on drums and, fairly quickly, Lesh on bass—some of the old folk/country repertoire came with them, including “Cold Rain and Snow,” “I Know You Rider,” “Stealin’ ” and “Don’t Ease Me In.”</p> <p>Those types of songs stayed in the Dead’s repertoire during the group’s halcyon days in the San Francisco ballrooms. But as they developed their songwriting chops during the second half of 1967 and through 1968, their sound increasingly moved away from their original influences and toward more complex structures, unusual time signatures and open-ended jamming that drew more from Indian music (partly the influence of drummer Mickey Hart, who joined in the fall of 1967) and jazz. </p> <p>Short songs were few and far between as the Dead developed and perfected their uncanny ability to stitch songs and jams together with what sometimes seemed to be magic Day-Glo thread. The fall of 1968 through the spring of 1969 marks the Dead’s fiercest, most confident and accomplished psychedelic playing, reaching its apex around the time that Live Dead was recorded at the Avalon Ballroom and the Fillmore West. </p> <p>But changes were on the way. Perhaps the harbinger of the future direction was a song on <em>Aoxomoxoa</em> called “Dupree’s Diamond Blues,” Hunter and Garcia’s clever recasting of a popular story-song that originated in the early Twenties. It’s a relatively straight narrative song with roots in blues and early 20th century pop tunes, driven by acoustic guitars. </p> <p>“Hunter and I always had this thing where we liked to muddy the folk tradition by adding our versions of songs to the tradition,” Garcia told me in 1989. “We had our ‘Casey Jones’ song [on <em>Workingman’s Dead</em>]. We had our ‘Stagger Lee’ song [on <em>Shakedown Street</em>, 1978]. ‘Dupree’s Diamond Blues’ is another of those. It’s the thing of taking a well-founded tradition and putting in something that’s totally looped.” Musically, he added, “it has a kind of carnival or medicine show kind of feel, and also a ragtime feel.”</p> <hr /> By February 1969, Garcia and Weir occasionally broke out acoustic guitars onstage to perform “Dupree’s,” followed by another Aoxomoxoa tune based around acoustic guitar, “Mountain of the Moon.” But leave it to Garcia and the Dead to then figure a way to segue that second acoustic number right into the trans-galactic flow of that era’s grandest improvisational piece, “Dark Star.” <p>For his part, Hunter, who also had a deep background in older folk music styles, found himself being increasingly drawn to the Band. Their brilliant first two albums, 1968’s <em>Music from Big Pink</em> and 1969’s <em>The Band</em> (a.k.a. The Brown Album) had drawn from a multitude of early American music styles and fused them into an utterly distinctive and original rock amalgamation. </p> <p>As Hunter noted in an interview I did with him in 1988, “The direction [leader/songwriter Robbie Robertson] went with the Band was one of the things that made me think of conceiving Workingman’s Dead. I was very much impressed with the area Robertson was working in. I took it and moved it to the West, which is an area I’m familiar with…regional but not the South, because everyone was going back to the South for inspiration at that time.” </p> <p>It’s unclear to what degree the Dead’s turn in a country direction might have been influenced by their move out of San Francisco’s crumbling Haight-Ashbury district in mid 1968 to more rustic Marin County, north across the Golden Gate Bridge. Mickey Hart settled on a Novato ranch that had a barn and horses, and the others spread out in nearby towns. </p> <p>Hunter and Garcia (with his lady love, Mountain Girl) rented a large but modest house in the southern Marin town of Larkspur, and over the course of about a year, churned out one fantastic song after another. Hunter often typed lyrics day and night and fed them to Garcia, who would quickly set them to music, sometimes within hours of their delivery. This is where the songs for Workingman’s Dead were born—“glorious days,” as Hunter said.</p> <p>Country flavors had been creeping into rock and roll in general for quite some time. Buffalo Springfield had a strong country and folk undercurrent in some of their material, as did the Byrds, Moby Grape and, by 1968, the Rolling Stones on <em>Beggar’s Banquet</em>. That same year, Dylan went back to acoustic music on <em>John Wesley Harding</em>, followed in 1969 by the more overtly country <em>Nashville Skyline</em>. Meanwhile, the Flying Burrito Brothers and Poco had helped put country-rock on the map.</p> <p>Even though the Dead were playing some of their most challenging and adventurous psychedelic music during this period, offstage Garcia and Weir were listening to country music mostly. Garcia was increasingly being influenced by guitarists from the “Bakersfield school” of country music, such as Roy Nichols (of Merle Haggard’s group, the Strangers) and Don Rich (of Buck Owens’ Buckaroos), both tasteful and soulful string-benders. In March 1969, at the end of a tour, Garcia bought a Zane Beck pedal-steel guitar at a music store in Colorado, and it wasn’t long before he brought the pedal steel onto the stage. </p> <p>At first, Garcia backed a country music–loving singer and songwriter named John “Marmaduke” Dawson in a tiny club south of San Francisco. Then, the fearless Garcia played it occasionally with the Dead on a range of country songs. </p> <p>A few months later, Marmaduke and Garcia formed the country-rock New Riders of the Purple Sage, with Garcia on steel for the first year-plus. (Incidentally, with the Dead in this era, Garcia mostly played a mid-Sixties red Gibson SG—that’s his Live Dead ax—through his trusty Fender Twin Reverb amps, but also occasionally employed a sunburst Stratocaster. Weir favored a Gibson 335 or 345 through a pair of Twins.)</p> <p>In June ’69, the first three Hunter-Garcia songs that would eventually find a home on Workingman’s Dead were introduced. “Dire Wolf” came first, a dark but whimsical tale about a man who invites a wolf into his desolate cabin in the woods for a game of cards, possibly to determine whether the wolf will eat him or not. “Don’t murder me,” the storyteller begs, but the cards are clearly not falling his way. Musically, it’s a simple folk song, and some of the early live versions were sung by Weir, with Garcia adding steel accompaniment. </p> <p>Soon, though, Garcia reclaimed it, and on occasion in 1969 he would suggest that the crowd sing along on the chorus. “Casey Jones” was the next new tune to emerge from the Larkspur songwriting sessions, and though Garcia’s original acoustic guitar-voice demo from early June is strikingly similar to the way it ended up on <em>Workingman’s Dead</em>, the first several Grateful Dead versions in early summer ’69 have a different vibe. The main rhythm has an almost Motown feel to it (think “I Second That Emotion”), and there are a couple of fairly lengthy guitar extrapolations. It wouldn’t be too long, however, before the song found its finished form. </p> <p>A day after the debut of “Casey Jones” came “High Time,” a gorgeous bittersweet ballad that easily could have come from George Jones, Merle Haggard or any number of other country greats. Garcia once complained that he felt could never quite do the song justice as a singer, but from mid 1969 through mid 1970, it became an important cornerstone of the band’s repertoire, often serving as a nice, grounding contrast to spacey songs such “Dark Star” and “That’s It for the Other One,” or the spunky combo of “China Cat Sunflower” and “I Know You Rider.” </p> <p>The Pigpen-sung “Easy Wind,” written by Hunter alone, started turning up in August 1969. Pig is convincing as a hard-workin’, hard-drinkin’ road laborer “chippin’ them rocks from dawn ’til doom/While my rider hide my bottle in the other room.” From the outset, the song featured slashing guitar counterpoint lines from Weir and Garcia and a funky R&amp;B feel. It’s a perfect vehicle for Pig, who during this period mostly sang cover tunes, from Otis Redding’s “Hard to Handle” to the Olympics’ “Good Lovin’ ” to “Lovelight.” </p> <hr /> The final burst of new <em>Workingman’s Dead</em> songs arrived in November and December 1969, ironically, right after the release of Live Dead, which had virtually no overt country and folk textures. <p>Musically, Garcia described the spry and speedy “Cumberland Blues” (which he co-wrote with Phil Lesh) as a blend of Bakersfield country and up-tempo bluegrass. Lyrically, Hunter paints a picture of a coal miner’s woes in and out of the mines. Like the other new songs, it took the Dead’s fans to some completely new places that, miraculously, fit in with all the other, stranger spaces their earlier material occupied.</p> <p>“Black Peter” was a dire Hunter-Garcia folk blues about a man on his deathbed, while “Uncle John’s Band” was an upbeat anthem that became an instant favorite of everyone who heard it. The influence of Crosby, Stills &amp; Nash—friends of the Dead’s whose harmony-filled first album had been ubiquitous since the summer of 1969—was obvious, and though the Dead weren’t at that level as singers, they had an undeniable vocal chemistry, and that song, in particular, had a reassuring glow that drew listeners in, made them feel that they too were maybe part of “Uncle John’s Band.” </p> <p>The last Workingman’s song to be born was “New Speedway Boogie,” Hunter’s somewhat enigmatic commentary on the early December 1969 Altamont Speedway Free Festival. The event—a West Coast version of Woodstock—was marred by violence, including the death of concertgoer Meredith Hunter by a member of the Hells Angels, who were there to provide security. </p> <p>“New Speedway Boogie” rumbles along ominously—a modified shuffle/boogie—as Garcia sings in broad metaphorical terms about harsh realities, lessons learned (or not) and the broader takeaway: “One way or another, this darkness got to give…”</p> <p>By the time “Speedway” was introduced, the Dead had already decided to make an album in the winter of 1970, cutting at Pacific High Recording, a relatively new addition to the San Francisco recording landscape. They had spent many months and more than $100,000 of Warner Bros.’ money making <em>Aoxomoxoa</em>, so this time they were determined to take their relatively simple and straightforward new songs and record them as live as possible in the studio. </p> <p>“<em>Workingman’s Dead</em> was done very quickly,” producer/engineer Bob Matthews told me in 2004. (Matthews’ familiarity with the band extended all the way back to the Mother McCree’s days with Garcia, Weir and Pigpen.) “We went into the studio first and spent a couple of days rehearsing—performing—all the tunes, recording them onto two-track. When that was done, I sat down and spliced together the tunes—beginning of side one to end of side one, beginning of side two to end of side two. I got that idea from [the Beatles’] <em>Sgt Pepper’s</em>: ‘Before we even start, let’s have a concept of what the end product is going to feel like, sequencing-wise.’ </p> <p>They rehearsed some more in their rehearsal studio, and then they came in and recorded [on one of Ampex’s new 16-track machines]. But at all times there was the perspective of where we were in the album.” The Dead had further honed their chops by playing a series of acoustic sets during the winter of 1969–1970, mixing versions of their new songs among folk and country covers.</p> <p>The entire album was recorded and mixed in about 10 days. Overdubs included Garcia’s pedal-steel parts, Pigpen’s harmonica, various acoustic and electric guitar parts and, of course, the vocals, which were certainly at a level the Dead had never achieved before. The noted San Francisco poster artist Stanley Mouse and his partner Alton Kelley conceived of the now-iconic front cover: the band and Hunter in workingman’s duds standing on a nondescript street corner. When Warner Bros. boss Joe Smith first heard the finished record, he announced to all within earshot that, unbelievable as it might seem, the Dead had made a hit record.</p> <p>Smith was right. The album immediately took the Dead to a new level of popularity, and when they followed up <em>Workingman’s Dead</em> with the tonally similar and equally momentous American Beauty (“Ripple,” “Brokedown Palace,” “Sugar Magnolia,” “Truckin’ ”) just a few months later, they solidified their place among the great bands to survive the Sixties. </p> <p>The Dead never stopped playing long, jamming tunes, even as they continued to carve out one slice of distinctive Americana after another through the early Seventies. But <em>Workingman’s Dead</em> turned the Dead into a song band, and it was the launch pad for everything that came after it. It was a big gamble, a radical change in direction, but it paid off like a royal flush. </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="/grateful-dead">Grateful Dead</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/workingman-s-dead-grateful-dead-shifted-uncommercial-jam-band-one-worlds-most-popular-acts#comments Grateful Dead Jerry Garcia November 2013 The Grateful Dead Interviews News Features Magazine Sun, 05 Jul 2015 15:59:37 +0000 Blair Jackson 19647 at http://www.guitarworld.com Tab Book: Learn the 'Best of Scorpions,' Note for Note http://www.guitarworld.com/tab-book-learn-best-scorpions-note-note <!--paging_filter--><p>A new tab book, <em>Best of Scorpions</em>, is available now at the Guitar World Online Store.</p> <p>The book features note-for-note transcriptions with tab for 14 favorites from these Hanover hard rockers. </p> <p>It includes their mega-hit “Rock You like a Hurricane” plus: </p> <p>• Big City Nights<br /> • Blackout<br /> • Coming Home<br /> • Holiday<br /> • I Can't Explain<br /> • Loving You Sunday Morning<br /> • No One like You<br /> • Passion Rules the Game<br /> • Rhythm of Love<br /> • Send Me an Angel<br /> • Still Loving You<br /> • Wind of Change<br /> • The Zoo</p> <p><strong><a href="http://guitarworld.myshopify.com/products/best-of-scorpions/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=BestofScorpions">This 128-page book is available now for $19.99. Head to the Guitar World Online Store now.</a></strong></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/scorpions">Scorpions</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/tab-book-learn-best-scorpions-note-note#comments Scorpions News Features Sun, 05 Jul 2015 15:58:37 +0000 Guitar World Staff 20930 at http://www.guitarworld.com Pettyjohn Electronics Announces the PettyDrive Deluxe, a Studio-Grade Dual-Channel Analog Overdrive Pedal — Demo Video http://www.guitarworld.com/pettyjohn-announces-pettydrive-studio-grade-dual-channel-analog-overdrive-pedal-demo-video <!--paging_filter--><p>Pettyjohn Electronics has announced the PettyDrive Deluxe, a studio-grade dual-channel analog overdrive pedal that's engineered to deliver the powerful tone and dynamic feel of boutique tube amps pushed to the edge of breakup.</p> <p>The two fully independent channels are uniquely voiced to compliment each other and provide a wide range of sounds that range from thick, saturated American iron and growl to harmonically rich British-like chime. </p> <p>Only the highest-possible quality audiophile components are used to ensure the lowest noise, years of reliability and the most articulate tone possible. The PettyDrive is a serious tool for tone, built for the modern working guitarist in mind with a balance of advanced tone shaping features, general ease-of-use and tone that truly inspires.</p> <p><strong>MSRP:</strong> $399 (Deluxe, pictured), $317 (Standard)</p> <p><strong>For more information about the PettyDrive, check out the videos and specs below and visit <a href="http://pettyjohnelectronics.com/shop/pettydrive-pedal-deluxe/">pettyjohnelectronics.com.</a> Follow Pettyjohn Electronics on <a href="https://www.facebook.com/pettyjohnelectronics?fref=ts&amp;ref=br_tf">Facebook</a> and <a href="https://twitter.com/pettyjohnelec">Twitter.</a></strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/hBN0Yr0YSYs" frameborder="0" allowfullscreen></iframe></p> <p><strong>Unique Features:</strong></p> <p>• Hot-Rodded Chrome Knobs<br /> • Professional Studio-Grade Discrete Opamp Input Buffer Chip<br /> • Channel 2 is equipped with all Burr-Brown chips for maximum clarity and transparency.<br /> • Silver Nameplate</p> <p><strong>Main Features:</strong></p> <p>• Two Fully Independent, Stackable Overdrive Circuits<br /> • Channel 1/2 Order Flip<br /> • Unique Parallel Effects Loop on Channel 2 for New Pedal Combinations<br /> • Available with Standard or Deluxe Chip Set<br /> • Built with Highest Possible Quality, Audiophile Components for Excellent Reliability and Performance<br /> • Symmetrical Control Layout<br /> • Always-On Studio Grade Input Buffer for Zero-Loss Bypassed Tone<br /> • Internal True-Bypass Switching<br /> • Internal Charge Pump for Extra High Headroom<br /> • Easily Powered by Standard Pedal Power 9v-15v DC (-)<br /> • Current Draw: 100 mA<br /> • Cool Red Jewel Light Indicators<br /> • Made in the USA<br /> • Channel 1: Chime Drive</p> <p>• A unique preamp circuit that can be configured as a Boost or Low Gain Drive<br /> • Tilt EQ tone knob with Orange Drop Filter Caps for Sweet Tone Shaping<br /> • 3-Way Clipping/Headroom Mini-Toggle<br /> • 3-Way Low Cut Mini-Toggle<br /> • Use Independently or Stack with Channel 2<br /> • Channel 2: Iron Drive</p> <p>• Low to Medium Gain Overdrive voiced for Thick, Smoothly Saturated Tone<br /> • Clean Mix Knob for Enhanced Feel and Dynamics<br /> • Parallel Effects Loop for Combining Other Pedals in Totally New Ways!!<br /> • 3-Way Clipping Mini-Toggle gives access to Asymmetrical Silicone, LED and MOSFET clipping sections, Chosen for Their Unique Tonal Qualities.<br /> • 3-Way Low Cut Mini-Toggle<br /> • High-Cut Tone Knob for Taming Harsh High Frequencies</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/MR0lbLErIHw" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/pettyjohn-announces-pettydrive-studio-grade-dual-channel-analog-overdrive-pedal-demo-video#comments PettyDrive Deluxe Pettyjohn Electronics Videos Effects News Gear Thu, 02 Jul 2015 18:22:41 +0000 Guitar World Staff 24865 at http://www.guitarworld.com Jerry Garcia’s Tiger and Rosebud: A Look at the Last Guitars He Played Onstage http://www.guitarworld.com/jerry-garcia-s-tiger-and-rosebud-look-last-guitars-he-played-onstage <!--paging_filter--><p>This weekend, the Grateful Dead will reunite for what is being billed as their final concerts. </p> <p>From July 3 through 5, guitarists Bob Weir, bassist Phil Lesh, and drummers Bill Kreutzmann and Mickey Hart will reunite, along with Phish guitarist Trey Anastasio, for three shows at Chicago’s Soldier Field, the site of the band’s last concert with legendary Dead cofounder Jerry Garcia on July 9, 1995. </p> <p>With Grateful Dead’s last stand on the horizon, we thought this was a good time to celebrate the genius of Garcia, that band’s heart and soul. </p> <p>We could talk about Jerry’s playing, but instead we want to look at a pair of instruments that were near and dear to him: the Doug Irwin creations Tiger and Rosebud. These were the last two guitars Garcia played onstage, when he made what would be his final performance 20 years ago at Soldier Field.</p> <p><strong>Tiger (1979)</strong></p> <p>In 1972, Garcia began a long association with Irwin when he purchased a guitar called Eagle from the luthier. Garcia liked the guitar so much that he placed a custom order with Irwin. That guitar—dubbed Wolf, for the cartoon wolf sticker Garcia had originally applied below its bridge—was completed in 1973. When Garcia went to pick it up, he was so impressed by it that he placed an order for another custom guitar before leaving. </p> <p>Wolf became Garcia’s main instrument for the next four years, during which time he asked Irwin to make several modifications, including a buffered effect loop that let him wire his effect pedals to the guitar and bypass them with a switch. Eventually, though, Wolf was replaced by the guitar that Garcia had ordered back in 1973, when he’d received Wolf. That guitar was Tiger, which he received in July 1979.</p> <p>Garcia had given Irwin total freedom with Tiger, and he was not disappointed. The guitar was beautiful, with contrasting layers of tone woods, including cocobolo, maple and vermillion. Detailed pearl inlays on the body’s back and fretboard heightened the guitar’s status as a work of art. </p> <p>But Tiger was also a testament to Irwin’s technical innovation. The guitar’s coil-tap switches, five-position pickup selector, unity gain buffer, effect loop and other controls gave Garcia the freedom to craft a broad range of tones from the DiMarzio pickups, which included Dual Sound humbuckers in the middle and bridge positions and an SDS-1 in the neck (the Dual Sounds were replaced in 1982 with DiMarzio Super IIs).</p> <p>“There are 12 discrete possible voices that are all pretty different,” Garcia said of Tiger’s electronics. That tonal power is the reason Tiger was his main guitar for the next 11 years, a continuous run longer than that of any other guitar Garcia played.</p> <p><strong>Rosebud (1990)</strong></p> <p>Rosebud was Tiger’s replacement, and Garcia considered it to be Irwin’s masterpiece. While it bore similarities to Tiger, it featured a very different complement of electronic components. These included three humbuckers and a Roland GK-2 hexaphonic guitar synth pickup. Irwin mounted the GK-2’s MIDI and synth controls on the guitar for ease of use. The guitar also had hollow body cavities that reduced its weight by two pounds.</p> <p>Rosebud’s MIDI features were key to its versatility. Garcia had begun using guitar synths in the Eighties when he installed a Roland hexaphonic pickup on his Wolf guitar. In Rosebud, Garcia finally had one instrument with all the features he’d sought, allowing him to play a broad range of guitar tones as well as external sounds via MIDI.</p> <p>Rosebud was eventually succeeded by a replica of Tiger called Lightning Bolt, built by luthier Stephen Cripe. The guitar takes its name from the Grateful Dead lightning bolt, which adorns the cover plate below the bridge. But when it came time for the Dead to play Soldier Field in Chicago on July 9, 1995—Garcia’s last gig with the group—Lightning Bolt was in the shop for repairs. In its place was Rosebud. When the guitar began to suffer technical problems midway through the show, Garcia pulled out Tiger, playing his last notes onstage with the guitar that had been with him longer than any other instrument. </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="/grateful-dead">Grateful Dead</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/jerry-garcia-s-tiger-and-rosebud-look-last-guitars-he-played-onstage#comments Grateful Dead Jerry Garcia News Gear Thu, 02 Jul 2015 17:23:10 +0000 Christopher Scapelliti 24864 at http://www.guitarworld.com Stevie Ray Vaughan, Steve Vai, Yngwie Malmsteen, Slash and More Play "The Star-Spangled Banner" — Video http://www.guitarworld.com/video-eight-solo-guitar-versions-star-spangled-banner <!--paging_filter--><p>Happy Independence Day, everyone!</p> <p>In honor of this week's holiday, I originally—and simply—wanted to share a grainy, vintage video of my all-time favorite guitarist, Stevie Ray Vaughan, performing "The Star-Spangled Banner" in ancient times. </p> <p>But then I noticed Steve Vai's particularly awesome version of the song ... and Yngwie Malmsteen's recent version ... and Eric Johnson's version—and then I found versions by Slash and Dave Mustaine ... and, of course, there's the granddaddy of them all, Jimi Hendrix at Woodstock.</p> <p>So I figured the more, the merrier! I could've kept on going (There's always Cliff Burton's version, and a commenter mentioned Neal Schon), but I think eight versions of the same song gets the point across, and this represents a nice mix of styles. </p> <p>Feel free to complain, compare and contrast! Enjoy your holiday! </p> <p><strong>TED NUGENT</strong></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/NepNJO2nwU0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>STEVE VAI</strong></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/tyCRSZjtYBI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>YNGWIE MALMSTEEN</strong></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/anWu1WUwnSk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>SLASH</strong></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/hKco_PvmUHw" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>DAVE MUSTAINE</strong></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/D8GHCpjlpwY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>ERIC JOHNSON</strong></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/rCKCbdLxBoQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>STEVIE RAY VAUGHAN</strong> </p> <p>Note: This video needs to be edited!</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/UnyvPZSvLW8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>JIMI HENDRIX</strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/sjzZh6-h9fM" frameborder="0" allowfullscreen></iframe></p> <p><em>Damian Fanelli is the online managing editor at Guitar World.</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="/ted-nugent">Ted Nugent</a> </div> <div class="field-item even"> <a href="/eric-johnson">Eric Johnson</a> </div> <div class="field-item odd"> <a href="/jimi-hendrix">Jimi Hendrix</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/video-eight-solo-guitar-versions-star-spangled-banner#comments Damian Fanelli Dave Mustaine Eric Johnson Jimi Hendrix Slash Steve Vai Stevie Ray Vaughan Ted Nugent Zakk Wylde Blogs News Thu, 02 Jul 2015 16:33:38 +0000 Damian Fanelli 11505 at http://www.guitarworld.com Smooth Jazz Version of Metallica's "Enter Sandman" — Video http://www.guitarworld.com/smooth-jazz-version-metallicas-enter-sandman-video <!--paging_filter--><p>Today we bring you a very well-done smooth jazz version of Metallica's "Enter Sandman."</p> <p>The video, which was created and posted a few Februarys ago, is the handiwork of YouTube user <a href="https://www.youtube.com/channel/UCzk0m5Ibzv-JDJHRrNNbGyw">Andy Rehfeldt</a>, who adds:</p> <p>"All instruments were arranged, played and recorded by me. YouTube doesn't pay me anything, so please <a href="https://www.paypal.com/us/cgi-bin/webscr?cmd=_flow&amp;SESSION=K-M1nwxZHPojwsaUfUBi-Zg9r50jyHEXutc4BmcnCOKAR60sjdbKnBmr2VO&amp;dispatch=5885d80a13c0db1f8e263663d3faee8de62a88b92df045c56447d40d60b23a7c">Buy me a Beer!</a></p> <p>Whether or not you buy Rehfeldt a drink, be sure to check out this video!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/OBmM79YadYM" 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> http://www.guitarworld.com/smooth-jazz-version-metallicas-enter-sandman-video#comments Andy Rehfeldt Metallica Videos News Thu, 02 Jul 2015 16:09:46 +0000 Damian Fanelli 23631 at http://www.guitarworld.com Betcha Can't Play This: Ethan Brosh's Cascading Harmonics — Video http://www.guitarworld.com/betcha-cant-play-ethan-broshs-cascading-harmonics-video <!--paging_filter--><p>In this new edition of Betcha Can't Play This, guitarist Ethan Brosh demonstrates his way of playing cascading harmonics.</p> <p>You'll notice this video is much longer than the typical Betcha Can't Play This video, since it goes into greater left- and right-hand detail—and into greater detail across the board. You'll also notice there's no tab included (Again, the longer video explains the fret positions and a whole lot more).</p> <p>For two other Betcha Can't Play This columns by Brosh, check out <a href="http://www.guitarworld.com/betcha-cant-play-guitarist-ethan-brosh-lays-down-challenge">Betcha Can't Play This: Guitarist Ethan Brosh Lays Down the Challenge</a> and <a href="http://www.guitarworld.com/betcha-cant-play-diminished-madness-guitarist-ethan-brosh">Betcha Can't Play This: Diminished Madness with Guitarist Ethan Brosh</a>. You'll find a third one under RELATED CONTENT, below the photo.</p> <p><strong>For more about Brosh, visit <a href="http://ethanbrosh.com/">ethanbrosh.com</a>.</strong></p> <p>As always, good luck! We have more on the way!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/-VIGjUeI8uw" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/betcha-cant-play-ethan-broshs-cascading-harmonics-video#comments Betcha Can't Play This Ethan Brosh Videos Betcha Can't Play This News Lessons Thu, 02 Jul 2015 14:51:14 +0000 Guitar World Staff 22094 at http://www.guitarworld.com Betcha Can't Play This: Nita Strauss Solo Lick from Alice Cooper Tour http://www.guitarworld.com/betcha-cant-play-nita-strauss-solo-lick-alice-cooper-tour <!--paging_filter--><p>Here's a brand-new edition of Betcha Can't Play This featuring Alice Cooper guitarist Nita Strauss, who recently visited <em>Guitar World</em> HQ.</p> <p>Last time, she played a <a href="http://www.guitarworld.com/betcha-cant-play-nita-strauss-descending-legato-lick-video">Descending Legato Lick.</a> This time, she demonstrates a lick from her solo spotlight section from her shows with Cooper.</p> <p>As with the other <a href="http://www.guitarworld.com/betcha-cant-play-ethan-broshs-cascading-harmonics-video">new "Betcha Can't Play This" videos</a>, this is an expanded version of the usually brief "Betcha" videos on GuitarWorld.com.</p> <p>Also, note that there are no tabs, since Strauss explains key left- and right-hand techniques in the clip. </p> <p>For other recent Betcha Can't Play This columns, check out <a href="http://www.guitarworld.com/betcha-cant-play-guitarist-ethan-brosh-lays-down-challenge">Betcha Can't Play This: Guitarist Ethan Brosh Lays Down the Challenge</a> and <a href="http://www.guitarworld.com/betcha-cant-play-diminished-madness-guitarist-ethan-brosh">Betcha Can't Play This: Diminished Madness with Guitarist Ethan Brosh</a>. </p> <p>As always, good luck! We have more on the way!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/f7W24uUt4Qo" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/alice-cooper">Alice Cooper</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/betcha-cant-play-nita-strauss-solo-lick-alice-cooper-tour#comments Alice Cooper Betcha Can't Play This Nita Strauss Videos News Lessons Thu, 02 Jul 2015 14:49:02 +0000 Guitar World Staff 22935 at http://www.guitarworld.com The 30 Best Albums of 2015 — So Far http://www.guitarworld.com/25-best-albums-2015-so-far <!--paging_filter--><p>Well, we've come to the halfway point of the year—and then some. </p> <p>It's time to look back at what has, so far, been a strong year for music, one in which the guitar has been pushed to new creative peaks on new albums in an array of genres. </p> <p>From Sleater-Kinney's nervy punk to JD McPherson's fierce roots rock to Periphery's always-impressive technical metal, the guitar has had quite a year already. And forget we have another six months of releases coming our way. You'll find those in our year-end-wrap-up stories in December.</p> <p>On that note, let's have a look at 30 of the year's best albums (so far). </p> <p><strong>NOTE: This list is presented in alphabetical order, not from worst to best or best to worst. So there's no order of preference. Enjoy!</strong></p> http://www.guitarworld.com/25-best-albums-2015-so-far#comments Charlie Thompson JD McPherson Pokey LaFarge Whitey Morgan year end 2015 News Features Thu, 02 Jul 2015 14:27:38 +0000 Guitar World Staff, Intro by Jackson Maxwell 24815 at http://www.guitarworld.com Acoustic Fingerstylists Andy McKee, Jon Gomm and Daryl Kellie Are Blazing a Daring Style of Percussive, Alternate-Tuned Shred http://www.guitarworld.com/acoustic-nation-fingerstylists-andy-mckee-jon-gomm-daryl-kellie-style-percussive-alternate-tuned-shred <!--paging_filter--><p>In the Eighties, radical fingerstylists like Michael Hedges and Preston Reed pioneered an acoustic guitar style based on an alternate-tuned, percussion-heavy, new age–tinged sound. </p> <p>Kaki King explored it further in the new millennium beginning with her 2002 debut, <em>Everybody Loves You</em>.</p> <p>Some people have dubbed the style “progressive acoustic guitar,” while others prefer “modern fingerstyle.” </p> <p><strong><a href="http://www.jongomm.com/">Jon Gomm</a></strong>, one of its latest (and most popular) exponents, has even heard it referred to as banging, due to its practitioners’ tendency to rap, slap and knock their hands against the body of an acoustic guitar for percussive effect. </p> <p>Whatever you call it, there’s no doubt that this genre of acoustic guitar–based music is experiencing a major resurgence, thanks to the internet. In 2006, an unassuming-looking acoustic guitar teacher from Topeka, Kansas, named <strong><a href="http://www.andymckee.com/">Andy McKee</a></strong> uploaded to YouTube a handful of videos of himself playing some original and incredibly complex instrumental acoustic guitar compositions. </p> <p>Among the many techniques he employed in these performances was the use of unique alternate tunings, percussive knocks, two-handed tapping, over-the-fretboard playing, partial capos and natural and artificial harmonics. One video in particular, for a propulsive yet ethereal tune called “Drifting,” became one of YouTube’s first viral sensations—likely because it was both melodically appealing and visually stunning—and racked up millions of views on the then-new site. </p> <p>McKee has since become the figurehead of this style of playing, and scores of exceptionally talented guitarists have followed in his wake. Many of them, such as French-Canadian fingerstylist Antoine Dufour and British picker Mike Dawes, have recorded for the Wisconsin-based independent imprint CandyRat Records, which has become known as the leading purveyor of this music. </p> <p>Like McKee, Dufour and Dawes have found much success online, partly through elaborate solo reimaginings of full-band songs, in which they recreate rhythm, lead and vocal parts on acoustic guitar. (<a href="http://youtu.be/G1bzUaf_gvU">Dawes’ version of Gotye’s “Somebody That I Used to Know”</a> and <a href="http://youtu.be/gNPCI8y9avc">Dufour’s take on Imogen Heap’s “Hide and Seek”</a> have respectively registered 2.8 and 1.5 million YouTube views.) </p> <p>One of the newest and brightest entries in this realm is <strong><a href="http://www.darylkellie.com/">Daryl Kellie</a></strong> [pictured above], who created an online stir with an elegantly arranged version of Queen’s “Bohemian Rhapsody.” </p> <p>Then there is Britain’s Jon Gomm, who employs a dizzying combination of extended techniques that explore the outermost reaches of the acoustic guitar. Gomm tends to play in a fluid, eight-finger, above-the-fretboard manner, and seemingly manipulates every bit of his instrument, knocking his hand against the guitar’s top, back, sides and the fretboard, scratching his nails across bridge pins, twisting tuning pegs mid-song, and using an assortment of pickups and pedals. </p> <p>Like many of his peers, he has found his greatest success on YouTube, after his signature song, “Passionflower,” went viral in 2012.</p> <p>That the online world has proved to be a vital forum for these artists is understandable, given that there is an uncharacteristically prominent visual component to what they do. Each musician’s playing style is a marvel of not only creativity and ability but also coordination. “There’s a pretty interesting visual aspect to it, with all the wild techniques,” McKee says, “which is one of the reasons I think YouTube has been such a great arena to showcase the music.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Ddn4MGaS3N4" frameborder="0" allowfullscreen></iframe></p> <p><em>Guitar World</em> recently caught up individually with McKee, Gomm and Kellie to discuss their unique approaches to the acoustic guitar, as well as how each cultivated his impressive technique and style. Interestingly, they all share not only a love for Michael Hedges and his ilk but also a background in heavy-metal guitar. Says Gomm, “This new acoustic movement is almost like the unplugged version of shred.” </p> <p>Adds McKee, “I think what ties the two together is the complexity of the music. When all of us guys were first getting into the guitar and wanting to learn these different techniques, metal music was the place to go, because you had guitarists doing unbelievable things on their instruments. In a way, we’ve now transferred some of that over to the acoustic.”</p> <p><strong>Andy McKee</strong></p> <p>Perhaps no musician better represents the new progressive acoustic guitar movement than Andy McKee. The 34-year-old is so much the face of the scene that some call this form of music “ ‘Drifting’-style guitar,” a reference to his most famous composition, which has notched almost 50 million YouTube views since its 2006 debut.</p> <p>At the time, McKee was giving guitar lessons around his hometown of Topeka, Kansas, and recording for CandyRat. “[CandyRat label head] Rob Poland had this idea to shoot some performance videos for this new web site called YouTube,” he recalls. “He thought, Maybe we’ll get a few new fans. So we filmed, like, eight videos in one day and put them up.”</p> <hr /> <p>One of them, “Drifting,” went viral after being featured on YouTube’s homepage, and McKee became an online phenomenon. Soon, he was accepting offers to tour with Tommy Emmanuel and record with Josh Groban. </p> <p>“I went from teaching guitar in Kansas to playing guitar all over the planet,” he says. “Which is what I always wanted to do.”</p> <p>Amazingly, “Drifting” is the first song McKee ever wrote in the style with which he has become so closely associated. He composed it when he was 18, just two years after hearing the percussive-heavy instrumental acoustic guitar work of Preston Reed. </p> <p>“When I was 16, my cousin took me to see Preston at a guitar workshop here in Kansas,” he recalls. “At the time, I was playing electric guitar and was way into Pantera and Dream Theater and Iron Maiden. Then I saw Preston and he was doing all these amazing things with just one acoustic. It blew my mind. I wanted to figure out how he was able to cover melodic, harmonic and rhythmic ideas all at once.”</p> <p>McKee also cites fingerstylists like Don Ross, Billy McLaughlin and Michael Hedges as primary influences. Of all his acoustic contemporaries, McKee’s style most closely mirrors that of Hedges, in both his use of the guitar’s body to add percussive elements and his tendency to create lush, harmonically rich soundscapes using altered tunings and droning open strings. On occasion, he plays a double-neck harp guitar, an instrument popularized by, and closely associated with, Hedges.</p> <p>Since the success of “Drifting,” McKee has become a force in the acoustic world. A few years back he created a tour called Guitar Masters, a sort of G3 for the acoustic set. He also performs upward of 100 dates each year on his own, and sometimes in front of enormous audiences, such as when John Petrucci invited him to open some arena gigs for Dream Theater in the U.S., Mexico and the Far East. </p> <p>Equally thrilling, and even more unexpected, in 2012 McKee received an offer to join Prince for a series of shows in Australia. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/JsD6uEZsIsU" frameborder="0" allowfullscreen></iframe></p> <p>“He watched some of my videos, and one in particular, ‘Rylynn,’ [See the video above] really stood out to him,” McKee says. “He invited me to Minneapolis to jam with him and his band, and from there he brought me out on tour. And it was amazing. I would start the shows with an acoustic arrangement of ‘Purple Rain,’ and during Prince’s set I’d sit in with him and his band and we’d do a medley of his songs.”</p> <p>As for his own music, McKee has released a series of well-received albums, including his most recent, 2010’s <em>Joyride</em>. He also continues to seek out new avenues to explore with his own music. </p> <p>To that end, his new Razor &amp; Tie–issued EP, <em>Mythmaker</em>, features not only his distinct acoustic guitar playing but also a solo piano piece and an electric guitar–and-synth composition. “I’m trying some different things out and letting inspiration take me wherever it does,” McKee says. “I don’t feel like I have to write the next amazing acoustic-guitar song necessarily—I just want to write the next amazing piece of music.” </p> <p><strong>Andy McKee Axology</strong><br /> <strong>GUITARS</strong> Michael Greenfield G4.2 (fanned fret), Michael Greenfield G2B and G4B.2 (fanned fret) baritone, Michael Greenfield HG1.2 harp guitar<br /> <strong>PICKUPS</strong> K&amp;K Pure Mini<br /> <strong>EFFECTS</strong> None<br /> <strong>CAPOS</strong> Shubb S1 and S5 Deluxe (banjo)<br /> <strong>PREAMP</strong> D-TAR Solstice </p> <hr /> <p><strong>Jon Gomm</strong></p> <p>A few years back, Leeds, England–based singer-songwriter Jon Gomm was just another guitarist—albeit one with a devastatingly advanced extended technique—trying to carve out a musical career by gigging extensively across Europe.</p> <p>Then his life was changed by a single word: in early 2012, British actor and comedian Stephen Fry sent out a tweet consisting of “Wow” and a link to a video of Gomm playing his song “Passionflower” live. </p> <p>Today, that video has close to 6 million views, and Gomm has become one of the most talked-about players in the acoustic guitar scene, with fans ranging from David Crosby to Steve Vai to Lamb of God’s Randy Blythe. </p> <p>One look at any of Gomm’s many videos makes it easy to see why his playing has caused such waves. On the main melody of “Passionflower,” for example, he builds an entrancing and hypnotic rhythm pattern by, among other things, scratching, banging and knocking the body of his guitar, a Lowden he calls Wilma. </p> <p>He sounds notes, including harp harmonics, exclusively using eight-finger tapping and with both hands positioned over the fretboard, and he continually reaches behind the headstock to retune his two highest strings as they ring out, to create a synth-like effect. To top it off, he sings over the whole thing.</p> <p>But despite the practically acrobatic nature of his playing, Gomm insists that his music is not a gimmick. “Every song has to have a meaning and connect with people emotionally,” says the 36-year-old guitarist, who actually composes his lyrics first and adds instrumentation afterward. “And you can’t make that connection just by doing gymnastics.” He adds that his favorite thing about playing in this style is that “there are no boundaries. I can think in any genre I want and try to put that into the music.”</p> <p>Gomm has played many genres over the years. Early on, he schooled himself using Steve Vai’s instructional book Shred Extravaganza and later studied at the Guitar Institute in London and earned a jazz degree from the Leeds College of Music. </p> <p>Thanks to his father’s career as a record and concert reviewer for a British newspaper, he received first-hand tips and pointers as a teenager from a famous players, including B.B. King, bluesman Walter Trout and the late steel-guitar virtuoso Bob Brozman, whom he credits with turning him onto the idea of using the guitar as a percussion instrument.</p> <p>“He would flip his guitar over and play drum solos on the back of the body, which was mind blowing to me,” Gomm says. “I also had a guitar teacher who was great at flamenco, and percussive playing is a big part of that style. So while a guy like Michael Hedges was huge for me, it was probably less for the percussion thing and more for his amazing way with altered tunings.”</p> <p>Altered tunings are a big part of Gomm’s style as well. For him, it serves as a way to further unleash his creativity. “I went to guitar school, and I learned a million scales,” he says. “But if I take the guitar and just twist a few pegs, all of a sudden everything is new. Sometimes the most creative thing you can do is tune your guitar wrong and let your ears, rather than your brain, do the work.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/nY7GnAq6Znw" frameborder="0" allowfullscreen></iframe></p> <p>Gomm also pushes his creative boundaries by using banjo pegs on his B and high E strings. The pegs can be set to toggle between two notes, allowing players to loosen and tighten a string’s tension to hit distinct pitches at will. </p> <p>The effect, as demonstrated by Gomm on songs like “Passionflower” and “Telepathy” (both of which appear on <em>Secrets Nobody Keeps</em>), is similar to bending a note on an electric guitar or playing with a synthesizer’s pitch wheel. On another composition, “Hey Child,” which features an overdrive-laced shredding solo, he uses the banjo pegs to create dive-bomb-like whammy-bar effects. </p> <p>“You can get really creative with them and bring your sound into so many different worlds,” Gomm says.</p> <p>Which, essentially, is how he feels about this acoustic guitar style. “There’s just so much you can do,” he says. “When I pick up an electric guitar now, it feels like a toy. The acoustic feels so much more powerful and free to me. It’s a beast of an instrument.”</p> <p><strong>Jon Gomm Axology</strong><br /> <strong>GUITAR</strong> Lowden O12-C (“Wilma”)<br /> <strong>PICKUPS</strong> Fishman Rare Earth Blend, Fishman Acoustic Matrix<br /> <strong>STRINGS</strong> Newtone signature super-heavy gauge (.014–.068)<br /> <strong>EFFECTS</strong> Three Boss PQ-3B Bass Parametric Equalizers, Boss OC-3 Super Octave, Boss DD-7 Digital Delay, Boss RV-5 Digital Reverb, Tech 21 SansAmp Character Series Blond, Line 6 Verbzilla, Line 6 Echo Park<br /> <strong>AMP</strong> Trace Elliot TA 200</p> <hr /> <p><strong>Daryl Kellie</strong></p> <p>In contrast to many of his contemporaries in the progressive fingerstyle world, Daryl Kellie’s musical proclivities and background lean more toward jazz and classical forms rather than the ethereal, percussive-heavy approach of Hedges and Reed. </p> <p>Which, in a sense, made Queen’s “Bohemian Rhapsody” an ideal showcase for the 30-year-old’s abilities as a solo guitar arranger and performer. </p> <p>Kellie’s interpretation of the song is remarkably evocative of the original, with the guitarist employing complex chords, tapping, hammer-ons and plenty of harmonics (both natural and artificial), to great effect.</p> <p>Explains Kellie, “I’ve always come at this from a jazz-fingerstyle guitar angle, and the classical guitar thing is something I’ve always kept up as well. With that in mind, something like ‘Bohemian Rhapsody’ is in a way similar to the kind of very dense arrangements you often find in classical guitar music. So arranging the song came pretty naturally to me.” </p> <p>In general, most any style of playing seems to come naturally to Kellie, who began his guitar life as a hard rock and metal fan. </p> <p>Growing up in Hampshire, England, he was an avowed acolyte of shredders like Steve Vai, Joe Satriani, Eric Johnson and Eddie Van Halen (“I actually snapped the whammy bar off my Fender Squier trying to learn ‘Eruption,’ ” he says), and in his late teens he toured Britain as the lead guitarist in a “proggy, gothy” metal band named Season’s End. </p> <p>At the same time, he began cultivating an interest in jazz and classical solo guitar, studying the playing of everyone from Joe Pass to Lenny Breau (from whom he cultivated his skillful harp-harmonic technique) to Martin Taylor, who also served as his guitar teacher for a time. </p> <p>Then, in his early twenties, Kellie’s older brother gave him a copy of Andy McKee’s 2005 CandyRat effort, <em>Art of Motion</em>, which includes the songs “Drifting” and “Rylynn.” Recalls Kellie, “I thought it was amazing. I was already getting into the solo guitar thing through my jazz studies, so to see what Andy and some of the other CandyRat artists were doing, with the percussive element and all the interesting techniques, it felt like the next frontier. It was a style of guitar that seemed to be all encompassing, like you could go anywhere with it.”</p> <p>Kellie threw himself wholeheartedly into this new style, and in 2010 he self-released his first EP, <em>Don’t Expect Much</em> and <em>You Won’t Be Disappointed</em>. But it is his growing online catalog of inventively arranged cover songs that has been garnering him the most attention. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/_fxbx0-O8kY" frameborder="0" allowfullscreen></iframe></p> <p><strong><a href="http://www.guitarworld.com/exclusive-video-lesson-bohemian-rhapsody-tutorial-daryl-kellie">Exclusive Video Lesson: "Bohemian Rhapsody" Tutorial by Daryl Kellie</a></strong></p> <p>A quick search on YouTube brings up videos of Kellie tackling songs in a variety of genres, from rock classics like the Beatles’ “When I’m Sixty-Four” and the White Stripes’ “Seven Nation Army” to Tetris and Super Mario Bros video-game music and pop hits like Beyoncé’s “Single Ladies (Put a Ring on It),” which appears, along with “Bohemian Rhapsody” on Kellie’s new, self-released full-length effort, <em>Wintersong.</em> </p> <p>“I like the idea of doing something that’s unexpected,” he explains. “If it’s the first time someone’s been to one of my gigs, they might be like, ‘Is that freakin’ Beyoncé that he’s playing?’ And I also want to show that these are great songs and there’s some interesting things going on in them.”</p> <p>The success of his “Bohemian Rhapsody” arrangement has inspired Kellie to create more covers. “I’ve been considering some Nirvana arrangements, using lots of artificial harmonics and that type of thing,” he says. “And it’d be fun to do something really ‘outside,’ like a Megadeth song, perhaps.” </p> <p>Ultimately, his goal is to keep pushing his acoustic-guitar technique into new realms. “I want to continue to learn and try new things,” he says. “I would love to incorporate techniques like tapping and harp harmonics into jazz and jazz improvisation pieces, which I don’t feel is done very much, particularly on the acoustic. I think that would be really interesting.”</p> <p><strong>Daryl Kellie Axology</strong><br /> <strong>GUITARS</strong> Gibson L-50, Taylor 810 custom, 110ce and 310ce<br /> <strong>PICKUPS</strong> Fishman Rare Earth Blend<br /> <strong>EFFECTS</strong> Electro-Harmonix Holy Grail Reverb Nano, Boss RC-30 Loop Station<br /> <strong>PREAMP</strong> BBE Acoustimax </p> <p><em>Photo (Daryl Kellie): Alex Flahive</em></p> http://www.guitarworld.com/acoustic-nation-fingerstylists-andy-mckee-jon-gomm-daryl-kellie-style-percussive-alternate-tuned-shred#comments Acoustic Nation Andy McKee April 2014 Daryl Kellie GW Archive Jon Gromm News Interviews Interviews News Features Magazine Thu, 02 Jul 2015 14:24:13 +0000 Richard Bienstock 21084 at http://www.guitarworld.com July 4 Sale: Take 35 Percent Off Everything at the Guitar World Online Store! http://www.guitarworld.com/july-4-sale-take-35-percent-everything-guitar-world-online-store <!--paging_filter--><p><strong>Save big for Independence Day!</strong></p> <p>Take 35 percent off everything at the <a href="http://guitarworld.myshopify.com/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=35FOURTH15">Guitar World Online Store!</a></p> <p>Just be sure to use code <strong>35FOURTH15</strong> at checkout.</p> <p>Once again, that's <strong>35FOURTH15.</strong></p> <p><strong>This sale ends 11:59 p.m. Sunday, July 5, 2015, so <a href="http://guitarworld.myshopify.com/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=35FOURTH15">head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/july-4-sale-take-35-percent-everything-guitar-world-online-store#comments News Features Thu, 02 Jul 2015 14:14:24 +0000 Guitar World Staff 24862 at http://www.guitarworld.com Rututu App Brings Rare Stringed Instruments to Your iPad http://www.guitarworld.com/acoustic-nation-rututu-app-brings-rare-stringed-instruments-your-ipad <!--paging_filter--><p>If you’ve ever wondered what it would be like to make music with rare stringed instruments from around the world, you’re in for a treat.</p> <p>A new app coming from EarthMoments promises to dish out sound samples meticulously collected from an impressive variety of unique instruments that most of us will never lay a hand on.</p> <p>The app, named Rututu, collects these samples into libraries and inserts them into loops. Users can drag and drop these loops into Rututu’s cool “playground” where you can manipulate them in a variety of ways. The loops automatically sync, so things never sound off, making this a fun way for both kids and adults to get into music-making.</p> <p>One of the coolest aspects is the ability to mesh ancient instrument sounds with very current musical styles. Sitar hip-hop anyone? Go for it!</p> <p>The app currently has a Kickstarter campaign running for its completion. You can check it out and <a href="https://www.kickstarter.com/projects/kkarra/rututu-music-playground">join here>></a></p> <p>Check out some demos of the sounds and loops here:<br /> <iframe width="100%" height="450" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/85320152&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true"></iframe></p> <p>The folks at EarthMoments have a track record for unique collections of high quality samples and a space to explore unique sounds and signatures from around the world. Their Zen Pad sample and loop libraries for Ableton are world-renowned. The EarthMoments team includes producers and engineers with over twenty years' experience, internationally acclaimed musicians and top industry professionals.

</p> <p>The EarthMoments studios utilize state-of-the-art analog and digital equipment combined with a passion for quality to produce the pristine quality samples.
EarthMoments is a division of EarthSync, a world music record label, and producer of award-winning audio and visual productions that brings together traditional and contemporary music in unique, high quality productions.</p> <p>Here’s a preview shot of Rututu:</p> <p><img src="/files/imce-images/Ipad%20app%20620.jpg" width="620" height="454" alt="Ipad app 620.jpg" /></p> <p>Find out more at <a href="http://rututuapp.earthmoments.com">rututuapp.earthmoments.com</a>
 and check out the gallery of some of the instruments they sampled below!</p> http://www.guitarworld.com/acoustic-nation-rututu-app-brings-rare-stringed-instruments-your-ipad#comments Acoustic Nation EarthMoments Gear Blogs Blogs News Thu, 02 Jul 2015 13:30:46 +0000 Acoustic Nation 24861 at http://www.guitarworld.com Get a Free 'Mastering Arpeggios Part 2' Lesson at the 'Guitar World Lessons' Store — Video http://www.guitarworld.com/get-free-mastering-arpeggios-part-2-lesson-guitar-world-lessons-store-video <!--paging_filter--><p><em>Mastering Arpeggios Part 2,</em> an impressive compilation of nine instructional video lessons and tabs by Jimmy Brown, is now available through the Guitar World Lessons <a href="https://guitarworldlessons.com/product/EF57BA06-4DBD-DB72-635C-2E213E3A8004?&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=arpeggios2">Webstore</a> and <a href="https://itunes.apple.com/us/app/guitar-world-lessons/id942720009?mt=8">App.</a></p> <p>It joins the ranks of the many lessons already available through <a href="https://guitarworldlessons.com/product/EF57BA06-4DBD-DB72-635C-2E213E3A8004?&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=arpeggios2">Guitar World Lessons.</a></p> <p>To celebrate this new release, <em>Guitar World</em> is offering the first <em>Mastering Arpeggios Part 2</em> lesson, "G Major Seven Arpeggios in Positions," as a FREE download! Note that all nine <em>Mastering Arpeggios Part 2</em> lessons are available—as a package—for only $14.99.</p> <p>You can watch the trailer for <em>Mastering Arpeggios Part 2</em> below.</p> <p><a href="https://guitarworldlessons.com/product/EF57BA06-4DBD-DB72-635C-2E213E3A8004?&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=arpeggios2">This new collection</a> is the 90-minute-plus follow-up to <em>Mastering Arpeggios</em>. It introduces and covers everything you need to know about the five essential seventh-chord arpeggio qualities: major seven, dominant seven, minor seven, minor-seven flat-five and diminished seven. </p> <p>Again focusing on the popular guitar key of G, your instructor, longtime GW Senior Music Editor Jimmy Brown, presents all possible fretboard positions and two-octave fingering patterns for these arpeggios and shows you ways to transpose them to any other key, either by progressing through the cycle of fourths/fifths or taking each shape you’ve learned and moving up or down the fretboard chromatically (in one-fret increments). </p> <p>Jimmy then shows you extended two-notes-per-string “monster” patterns that move diagonally up and across the neck, spanning three octaves. Also covered are the seven diatonic seventh-chord arpeggios that live in the key of G major, demonstrated in all positions, and interval patterns of fourths, fifths, sixths and sevenths applied to the arpeggios. The lesson product concludes with an entertaining performance of an original interpretation and tab arrangement of “Presto” from “Sonata 1 For Solo Violin” by Johann Sebastian Bach, which serves as an effective and musically satisfying practice piece.</p> <p><em>Mastering Arpeggios Part 2</em> includes:</p> <p>• <strong>Chapter 1 (Part 1): G Major Seven Arpeggios in Positions</strong> his first part of Chapter 1 begins with a quick review of the G major scale and G major triad arpeggio, played up and down one string for purposes of illustration. Jimmy then demonstrates all of the fixed-position two-octave fingerings for a G major seven arpeggio between fourth and seventh positions, along the way showing you a bunch of useful “alternate picking shred cells” and a neat application for improvisation—playing Gmaj7 over an E bass note or Em or Em7 chord to create a cool, jazzy Em9 sound. </p> <p>• <strong>Chapter 1 (Part 2): G Major Seven Arpeggios in Positions (continued)</strong> This conclusion of Chapter 1 demonstrates all the remaining possible fretboard positions and fingerings for playing G major-seven arpeggios across two octaves, with additional “speed picking cells” presented along the way that reside within the larger patterns. Also covered are patterns in first and second position that combine open strings with fretted notes. </p> <p>• <strong>Chapter 2: G Dominant Seven and Minor Seven Arpeggios in Positions</strong> Using all the two-octave G major-seven shapes shown in the previous segment, this chapter shows you how to convert them to G dominant- and minor-seven shapes, by “flatting” the seventh and third. Necessary fingering adjustments are covered, as the shapes morph from major-seven to dominant-seven to minor-seven. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/L8Y3aXxGiwQ" frameborder="0" allowfullscreen></iframe></p> <p>• <strong>Chapter 3: G Minor Seven Flat-five and Diminished Seven Arpeggios in Positions</strong> Working off of all the G minor-seven shapes presented in the previous chapter, this lesson shows you how to go from minor-seven to minor-seven flat-five to fully diminished-seven, including any necessary fingering adjustments that need to be made to accommodate the lowering of certain notes by one fret. </p> <p>• <strong>Chapter 4: The Circle of Fifths/Fourths and Practicing Drills</strong> Before continuing with extended arpeggio shapes and applications, this chapter presents a concise review of what is called the “circle of fifths,” or “circle of fourths,” and demonstrates a couple of easy ways to visually remember the cycle on the fretboard and ways to use it to practice all arpeggio shapes learned thus far in all 12 keys. </p> <p>• <strong>Chapter 5: Two-notes-per-string Patterns</strong> This chapter shows you how to take the five seventh-chord arpeggio qualities covered in the previous chapters and expand them into extended “monster” runs that span three octaves by moving diagonally across the fretboard using two notes per string with quick position shifts. Different “launching points” are presented, starting on the root, third, fifth and seventh of any given arpeggio. </p> <p>• <strong>Chapter 6: Diatonic Seventh-chord Arpeggios in G</strong> This lesson offers some practical, useful music theory and technical studies by presenting a set of seven different seventh-chord arpeggios that live within the key of G major, consisting of Gmaj7, Am7, Bm7, Cmaj7, D7, Em7 and F#m7b5. </p> <p>• <strong>Chapter 7: Interval Patterns</strong> This chapter takes the two-octave shapes for the seven diatonic seventh-chord arpeggios from the previous lesson and shows you how to “scramble” the notes by playing them in melodic patterns of fourth and fifth intervals that have you continually crossing strings, which makes for a great alternate picking workout, as well as some neat sounds. </p> <p>• <strong>Chapter 8: “Presto,” from “Sonata 1 For Solo Violin” by Johann Sebastian Bach</strong> This final chapter presents a performance of Jimmy’s own guitar adaptation and fingering arrangement of a beautiful violin piece by legendary classical composer Johann Sebastian Bach called “Presto,” from “Sonata 1 for Solo Violin.” </p> <p><strong>For more information, visit the Guitar World Lessons <a href="https://guitarworldlessons.com/product/EF57BA06-4DBD-DB72-635C-2E213E3A8004?&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=arpeggios2">Webstore</a> and download the <a href="https://itunes.apple.com/us/app/guitar-world-lessons/id942720009?mt=8">App</a> now.</strong></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="/jimmy-brown">Jimmy Brown</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/get-free-mastering-arpeggios-part-2-lesson-guitar-world-lessons-store-video#comments arpeggios Guitar World Lessons Jimmy Brown Videos News Features Lessons Wed, 01 Jul 2015 20:54:39 +0000 Guitar World Staff 24859 at http://www.guitarworld.com "Thrill" to the Sounds of Japanese Girl Band Band-Maid — Video http://www.guitarworld.com/thrill-sounds-japanese-girl-band-band-maid-video <!--paging_filter--><p>Those of us who keep a fairly close eye on social-media trends (and stuff like that) can't help but notice that a new girl band from Japan has been showing up more and more. And for good reason.</p> <p>They're called Band-Maid, they rock pretty convincingly—and play their own instruments (unlike at least one other Japanese girl band of note).</p> <p>And they dress up as maids! </p> <p>Below, you can check out the music video to one of their 2014 tracks, "Thrill," which is available on an EP called <em>Ai to Jounetsu no Matadore.</em> It was released last August.</p> <p>To pick up some of their music, including "Thrill," <a href="http://www.cdjapan.co.jp/product/DAKPPRC-10">head here.</a></p> <p><strong>For more about Band-Maid, follow them on <a href="https://www.facebook.com/bandmaid?_rdr">Facebook.</a></strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Uds7g3M-4lQ" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/thrill-sounds-japanese-girl-band-band-maid-video#comments Band-Maid Videos News Wed, 01 Jul 2015 19:19:51 +0000 Damian Fanelli 24283 at http://www.guitarworld.com