News en Black Veil Brides' Jake Pitts on Metallica's Black Album — The Record That Changed My Life <!--paging_filter--><p><strong>Metallica</strong><br /> <em>Metallica</em> (The Black Album) (1991)</p> <p>Metallica’s Black Album (<em>Metallica</em>) definitely changed the way I looked at the guitar and what my goals were going to become in life. </p> <p>I can’t remember the exact moment I discovered the album, but I do remember I was around 13 years old and had gotten this new cool toy for my birthday called the Rhythm Bandit. It was a little device you would hook up to your CD player and flip a switch that was supposed to isolate the rhythm guitar. </p> <p>I remember sitting in the living room of our little house in Boise, Idaho, for hours and hours, learning every song on the Black Album with the help of the Rhythm Bandit, which allowed me to hear the guitar parts better. </p> <p>I actually went to one of my guitar lessons and said I wanted my guitar to sound like Metallica, but I wasn't talking about my playing—I was talking about tone. </p> <p>I don’t know anyone who understands tone at that age, as most kids just want to crank the gain to 10, but I've always had a good ear for sound. I never would have thought back when I was sitting on my living room floor learning those songs that I would be doing one of my albums with the legendary Bob Rock himself.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/metallica">Metallica</a> </div> </div> </div> </fieldset> August 2014 Black Veil Brides Jake Pitts Metallica The Record that Changed My Life Interviews News Features Magazine Fri, 01 Aug 2014 10:52:13 +0000 Jake Pitts We Are The In Crowd's Jordan Eckes and Cameron Hurley's Summer Tour Survival Guide — Warped Tour <!--paging_filter--><p><em>In this new feature from the August 2014 issue of <em>Guitar World</em>, the guitarists of Avenged Sevenfold, Morbid Angel, Trivium and other metal acts tell how they'll beat the heat and tame the crowds on the season's biggest tours.</em></p> <p><strong><em>TODAY: We Are The In Crowd's Jordan Eckes and Cameron Hurley — WARPED TOUR</em></strong></p> <p><strong>Jordan Eckes</strong></p> <p><strong>Tips for playing in extreme heat?</strong></p> <p>Stay hydrated and don’t play on an empty stomach! The last thing you want to do is pass out onstage and cause a panic. Trust me: playing on 120-degree days is no joke. </p> <p><strong>One item you’ll carry with you at all times this summer?</strong></p> <p>Sunglasses.</p> <p><strong>Considerations when playing an outdoor show versus an indoor show?</strong></p> <p>When you’re running entirely DI like we do, there will be times when the wind will completely throw the sound around, so you need to be aware of that. And we always need to be prepared for rain. </p> <p><strong>Primary gear you’ll be playing this summer?</strong></p> <p>Nothing too fancy, just my Music Man Reflex custom and an Avid Eleven Rack for amp simulation. For a long time I used a JCM 900 through a Palmer PDI-03 speaker simulator, but it makes life so much easier having a two-space rack. Once everything is mixed at front-of-house, it’s really hard to tell what's “real” and what’s digital these days.</p> <p><strong>Tips for winning over a tough crowd?</strong></p> <p>If a crowd isn’t feeling your set, there’s really not much you can do besides try to pump them up. Talk about whoever’s headlining that day, and try to interact with the crowd instead of playing your set as fast as possible.</p> <p><strong>Advice for a band just starting to play live?</strong></p> <p>Get your drummer on a click. It will make your live show more enjoyable and you’ll grow tighter as a band. Don’t be afraid of laying out banter for your set before a show. Make sure your lead singer knows what he or she needs to say before a particular song. Just have fun—and, please, use a floor tuner!</p> <p><strong>Cameron Hurley</strong></p> <p><strong>Your sweatiest concert ever?</strong></p> <p>It was at the Cockpit in Leeds, England, on our headlining tour of the U.K. earlier this year. The venue is shaped like a giant soup can, and when it’s packed it feels like you’re playing in one, too. Our clothes didn’t dry for about two days after that.</p> <p><strong>Tips for playing in extreme heat?</strong></p> <p>Pace yourselves, stay hydrated, and try not to drink too much alcohol before you play. There isn’t much more you can do about the heat, so you’d better get used to standing around in sweat-soaked clothes.</p> <p><strong>One item you’ll carry with you at all times this summer?</strong></p> <p>I tend to lose most of things I should carry on me at all times. But one thing I’ll never tour without is my FGN Masterfield guitar. It’s a beautiful, Japanese-made semi-hollowbody, and I can get just about any sound I’m looking for out of it.</p> <p><strong>Considerations when playing an outdoor show versus an indoor show?</strong></p> <p>Don’t underestimate how much the sun will wear you down. The first few times you have to play outside in the middle of the summer, you’ll feel like you just ran a triathlon. If it's really sunny and you use a lot of pedals, try putting them somewhere onstage where there’s shade. There’s nothing worse than looking down at your tuner and seeing nothing but the glare from the sun.</p> <p><strong>Primary gear you’ll be playing this summer?</strong></p> <p>Over the past few years, we’ve slowly transitioned to having a fully digital setup. I’m playing an Avid Eleven Rack with a MIDI-controlled pedal board. It’s simple and easy to travel with, and it’s very convenient to transition from using it for writing and demoing when we’re off tour to using it as a live rig on tour.</p> <p><strong>Tips for winning over a tough crowd?</strong></p> <p>Some crowds are harder to please than others. On a good day, everything just connects, the crowd is responsive, and we put on a show we feel great about. Other days you need to put in more work, raise the energy and get in their faces a bit more. Don’t lose confidence if the crowd doesn’t seem blown away. Chances are there was at least one person who loved it, and they’ll remember it.</p> <p><strong>Advice for a band just starting to play live?</strong></p> <p>When you’re first starting out, you might be more worried about playing a perfectly tight set and forget that you also need to put on an entertaining show. Keep the crowd engaged, and get them involved with the show so they can connect with more than just the music.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> 2014 Summer Tour Survival Guide August 2014 Cameron Hurley Jordan Eckes We Are The In Crowd Interviews News Features Magazine Fri, 01 Aug 2014 10:45:56 +0000 Jeff Kitts, Sammi Chichester Periphery's Misha Mansoor Discusses Dream Theater's 'Metropolis Pt. 2: Scenes from a Memory' — The Record That Changed My Life <!--paging_filter--><p><strong>Dream Theater</strong><br /> <em>Metropolis Pt. 2: Scenes From A Memory</em> (1999)</p> <p>“This is the album that got me into progressive music and made me think differently about guitar.</p> <p>"It’s the most formative album for me in deciding I was going to be a musician and take guitar seriously. Before hearing <em>Scenes from a Memory</em>, I was mostly a drummer. I was probably 15 or 16 when my friend from high school played it for me. </p> <p>"I had heard the name Dream Theater before, but I didn’t pay attention because sometimes the word prog gets a bad rap, so I kinda wrote them off. But my friend lent me the album along with their DVD, <em>Metropolis 2000: Scenes from New York</em>, where they play the album live. The combination of hearing the record and also seeing that they could actually play that stuff live was amazing. They nail it. I didn’t even know it was possible, and it rocked my world. </p> <p>“Before that, I played guitar a little bit, but it was mostly about playing drop-D power chords. Nothing serious. But the possibilities of what music could be expanded so much after I heard <em>Scenes from a Memory</em>. It was a mind fuck. I stopped playing drums and took guitar seriously. I sat down and learned as much of the solos and riffs on that album as I could. That’s how I started developing my chops. </p> <p>“The beauty of John Petrucci is that he’s the whole package. Shredders are a dime a dozen, but this guy writes some of the sickest riffs and best songs ever. I wanted to emulate him and absorb as much of his music as possible. I didn’t even want to be original. Dude, I wanted to straight up be John Petrucci! </p> <p>"<em>Scenes from a Memory</em> was my introduction to Dream Theater, and it’s still my favorite record by them. It has so much sentimental value for me because it had such a big impact on my guitar playing.”</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> Dream Theater July 2014 Misha Mansoor Periphery The Record that Changed My Life Interviews News Features Magazine Fri, 01 Aug 2014 10:27:50 +0000 Misha Mansoor The Doors' Robby Krieger Discusses Bob Dylan's 'Bringing It All Back Home' — The Record That Changed My Life <!--paging_filter--><p><em>Robby Krieger of the Doors chooses and discusses the record that changed his life.</em></p> <p><strong>Bob Dylan</strong><br /> <em>Bringing It All Back Home</em> (1965)</p> <p>“This guy from Marblehead, Massachusetts, who I knew in school named Bill Phinity turned me onto Bob Dylan. </p> <p>"We had a jug band called the Back Bay Chamberpot Terriers. This was the same time that Jerry Garcia, Bob Weir and Pigpen were playing in a jug band before they formed the Grateful Dead, but they were a lot better than us. Our only gig was for the Ladies Auxiliary. We played a bunch of Dave Van Ronk stuff. </p> <p>“I was 19 and attending [The University of California] Santa Barbara when <em>Bringing It All Back Home</em> came out. I was taking a lot of acid in those days, and everything Dylan said just really connected with me. There are a lot of great songs on that album—‘Maggie’s Farm,’ ‘Mr. Tambourine Man,’ ‘It’s All Over Now, Baby Blue.’ ‘Subterranean Homesick Blues’ is one of my favorites. That was actually the first rap song as far as I’m concerned. Dylan used the words like notes. He didn’t really care what they said, just how they sounded. </p> <p>“I always liked the way that Dylan played guitar, although I never tried to copy the way he played.</p> <p>"I was always amazed by how he could play guitar and sing or play harmonica at the same time. But the spirit of Dylan’s music has always stayed with me through everything I’ve done with the Doors and the Robby Krieger Band.”</p> <object width="620" height="365"><param name="movie" value="//;hl=en_US" /><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><embed src="//;hl=en_US" type="application/x-shockwave-flash" width="620" height="365" allowscriptaccess="always" allowfullscreen="true"></embed></object><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="/bob-dylan">Bob Dylan</a> </div> <div class="field-item even"> <a href="/doors-0">The Doors</a> </div> <div class="field-item odd"> <a href="/robby-krieger">Robby Krieger</a> </div> </div> </div> </fieldset> Bob Dylan July 2014 Robby Krieger The Doors The Record that Changed My Life Interviews News Features Magazine Fri, 01 Aug 2014 10:25:20 +0000 Robby Krieger Prestige Guitars at 2014 Summer NAMM: Musician Pro — Video <!--paging_filter--><p>As always, several members of the <em>Guitar World</em> crew were on hand at the 2014 Summer NAMM Show in lovely and talented Nashville, Tennessee, taking pics, getting the latest gear news and shooting plenty of videos.</p> <p>While we were at the show, we stopped by Prestige Guitars' booth. Our visit is chronicled in the video below. </p> <p>In the clip, we get the lowdown on the particulars of Prestige's Musician Pro hollow-body electric guitar. </p> <p>Take a look and tell us what you think in the comments below or on Facebook. And while you're at it, be sure to check out our massive <a href="">2014 Summer NAMM photo gallery.</a></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Prestige Guitars Summer NAMM 2014 Videos Electric Guitars News Gear Fri, 01 Aug 2014 10:22:22 +0000 Guitar World Staff Lullwater: The Story Behind "Albatross" — Exclusive Video <!--paging_filter--><p>Today, presents the premiere of an exclusive new video by Georgia rockers Lullwater. </p> <p>In the clip, which you can check out below, Lullwater singer/guitarist John Strickland discusses the band's single, "Albatross," and its accompanying music video.</p> <p>“'Albatross' is a hard-hitting track that let us express what the band was going through at the time," Strickland says. </p> <p>"During the recording process, we were able to capture genuine emotion that is the driving force behind the song. We couldn't be happier with the way things are going now. We're excited 'Albatross' is catching on and the fans are digging it. Without them we wouldn't be able to do what we love."</p> <p>"Albatross" is from the band's self-titled 2013 album. To check out the official "Albatross" music video, <a href="">head here.</a> </p> <p>Lullwater will make a special appearance at <a href="">Inked Out NJ</a> September 13 and 14 while continuing to play dates across the U.S. — as they've been doing steadily over the last year.</p> <p>For more about Lullwater, visit their <a href="">official website</a> and <a href="">Facebook page.</a></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Lullwater Videos News Fri, 01 Aug 2014 10:20:33 +0000 Damian Fanelli The Feed Premiere New Album, 'Outsider' — Exclusive <!--paging_filter--><p>Today, presents the exclusive premiere of <em>Outsider</em>, the new album by the Feed.</p> <p>The album — a collection of three scuzzed-out jams that rock like T. Rex at a Spoon show — marks the return of the band after a three-year hiatus and their first release since their <em>Sawhorse Sessions</em> EP in 2011. It will be released August 5.</p> <p>The Feed’s primary songwriter, vocalist/keyboardist Dave Grelle, can't help but rave about guitarist Jordan Heimburger’s playing on <em>Outsider</em>.</p> <p>"Jordan is the ideal guitarist for the Feed," Grelle says. "Since we pull influences from everywhere, it’s important to have a guitarist who’s well versed in every genre. Whether it’s his Stonesy slide work or psychedelic fuzz, he always plays just what the song calls for.</p> <p>"When writing tunes, I leave plenty of room for the players to put their own stamp on them. I usually have a pretty good idea of what I’m going for, but the guitar parts Jordan orchestrates on the fly are always way cooler than what I originally heard in my head."</p> <p>Heimburger, a recent addition to the band, is noticeably pumped up about <em>Outsider</em>.</p> <p>"This was a super-fun recording session because I was able to set up alone in the big room at Sawhorse Studios in St. Louis and really let the volume rip," he says. </p> <p>"We played all the tracks live with the other three dudes in the second room across the hall pumped through my headphones. It was cool to have space to get loud without bleed and essential for me to be in the same space with the amp for all of that harmonic interaction and vibe. </p> <p>"I tracked all but one of the songs through a '66/'67 Vox AC30, and the tone is basically guitar straight in. I fell in love with that amp and got a little choked up when I had to give it back to the good friend who lent it to me for the session. All you have to do is play all right and the track sounds killer! My main guitar was a St. Louis-built custom Strat style by K-Line Guitars. </p> <p>"It was so cool to go to Chris's shop and hand pick the woods, finish, pickups and be in touch throughout the build. The other guitars on the record were an American Ash Telecaster and a Telecaster Deluxe. For some of the more overdriven sounds, I used a Boss EQ as a frequency-shaped clean boost to push tubes, which is my go-to for live solos and to dirty up tone without the compression of dynamics a distortion box adds."</p> <p>For more about the Feed, follow them on <a href="">Facebook.</a></p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src=";auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true"></iframe></p> The Feed News Fri, 01 Aug 2014 10:18:43 +0000 Damian Fanelli Guitarist Dick Wagner Dead at 71; Worked with Alice Cooper, Lou Reed <!--paging_filter--><p>Guitarist Dick Wagner, who was best known for his work with Alice Cooper and Lou Reed, died today in Scottsdale, Arizona. He was 71.</p> <p>Wagner had contracted a lung infection after heart surgery and died following respiratory failure, <em>Billboard</em> reports.</p> <p>Only last week, Wagner posted this message to fans through his Facebook account: “I love you all very much. I can't wait to play for you all again one day soon. Thank you for all your kind wishes.”</p> <p>Alice Cooper was among the first to pay his respects:</p> <p>“Even though we know it's inevitable, we never expect to suddenly lose close friends and collaborators,” he said. “Dick Wagner and I shared as many laughs as we did hit records. He was one of a kind. He is irreplaceable.</p> <p>“His brand of playing and writing is not seen anymore, and there are very few people that I enjoyed working with as much as I enjoyed working with Dick Wagner. A lot of my radio success in my solo career had to do with my relationship with Dick Wagner. Not just on stage, but in the studio and writing.</p> <p>“Some of my biggest singles were ballads what I wrote with Dick Wagner. Most of <em>Welcome to My Nightmare</em> was written with Dick."</p> <p>Gene Simmons of Kiss described Wagner as “the consummate gentleman axeman” in his tribute.</p> <p>The guitarist had famously overcome a series of medical issues during the past decade, retraining himself on guitar after a stroke paralyzed his left arm. He re-emerged to begin recording, writing and performing shows.</p> <p>Wagner was born in Iowa and later settled in Saginaw, Michigan. He was a key figure in southeastern Michigan’s emergent rock scene in the 1960s, a guitarist who made his name with the Bossmen and the Frost.</p> <p>In 1972, Wagner moved to New York and formed Ursa Major, which included Billy Joel on keyboards and Rick Mangone on drums. The band toured with Jeff Beck and then with Cooper.</p> <p>In 1973, Wagner was recruited by Bob Ezrin for Lou Reed's band, along with guitarist Steve Hunter. Soon after, Wagner and Hunter were joined by Prakash John, Pentti "Whitey" Glan and Ray Colcord for Reed's <em>Rock 'n' Roll Animal</em> tour. The band toured internationally with Reed, culminating in the <em>Rock 'n' Roll Animal album</em>, which was recorded live at the Brooklyn Academy of Music in December 1973.</p> <p>Wagner was recruited by Cooper for his 1975 album, <em>Welcome to My Nightmare</em>, and went on to work with a host of A-list artists, including Peter Gabriel and Rod Stewart. Legend has long held that Wagner was a secret hired hand on albums by several high-profile bands.</p> <p>“He was just a humble and talented guy, and I think that's why Jack Douglas and those guys loved him — he was just this consummate pro,” Brian Pastoria, a Detroit musician and studio operator who worked with Wagner, told the <a href="">Detroit Free Press</a>. “I think Dick Wagner took Alice to another level in his career. He was already the showman at that point, but musically he had to show that he really had it.”</p> <p>Wagner lived in Arizona in later years, but regularly made his way back to Michigan, including a June 29 show in Owosso, his final home-state performance.</p> <p>Wagner — who released the 2012 memoir <em>Not Only Women Bleed, Vignettes from the Heart of a Rock Musician</em> — remained prolific through the end, said manager and business partner Suzy Michaelson.</p> <p>“He was very proud of his songwriting, and very proud that he was coming back and playing really, really well again after having been paralyzed, and all the different things he’d been through,” Michaelson told the <em>Detroit Free Press</em>.</p> <p>Michaelson said a memorial tribute will take place in Michigan. </p> Dick Wagner News Thu, 31 Jul 2014 20:40:55 +0000 Guitar World Staff Exodus Reveal Cover Art for New Album, 'Blood In, Blood Out' <!--paging_filter--><p>Legendary thrash metal band Exodus have revealed the art for their upcoming album, <em>Blood In, Blood Out</em>, which will be released in the fall via Nuclear Blast. </p> <p>The cover was illustrated by Swedish artist Par Olofsson, who also created the art for Exodus' 2008 album, <em>Let There Be Blood</em>.</p> <p>“I fed [Olofsson] the title and he immediately came up with the final concept, and it’s perfect," said Exodus guitarist Gary Holt. "One of my favorite covers we’ve ever done, and it fits the title and theme to a T!”</p> <p>Note that you can see a larger version of the cover art below.</p> <p><em>Blood In, Blood Out</em> is the band's 10th studio album. It marks their first release with returning vocalist Steve “Zetro” Souza since 2004’s <em>Tempo Of The Damned</em>. It also features Metallica guitarist (and former Exodus guitarist) Kirk Hammett on one song, "Salt in the Wound." </p> <p>"It felt really casual, really cool — just like it did back in 1980 when we were all just hanging out back in the day," Hammett told <em>Rolling Stone</em>. "Me, recording a solo on their album was a huge thing for me. Other than the Exodus demo that's been heard by a lot of people, it's the only time I ever recorded with Exodus. It was a huge thing for me." </p> <p>Exodus are also hitting the road, as you can see below:</p> <p><strong>EXODUS in South America</strong></p> <p>08/10 – Montreal, WC @ Heavy MTL - Main Stage B at 1:30PM<br /> 10/01 - Belem, Brazil @ Botequim<br /> 10/02 - Brasilia, Brazil @ CEDEC<br /> 10/04 - Sao Paulo, Brazil @ Carioca Club<br /> 10/05 - Rio De Janeiro @ Brazil Circo Voador<br /> 10/07 - Asuncion, Paraguay @ Kop Town<br /> 10/09 - Buenos Aires, Argentina @ Groove<br /> 10/11 - Santiago, Chile @ Club Kmasu Premier<br /> 10/12 - Antofagasta, Chile @ Rock and Soccer<br /> 10/14 - Lima, Peru @ Centrica<br /> 10/16 - San Jose, Costa Rica @ Club Pepper's<br /> 10/18 - Mexico City, Mexico @ Circo Volador</p> <p><strong>EXODUS in North America with Slayer and Suicidal Tendencies</strong></p> <p>11/11 – The Fox Theater - Oakland, CA (2nd show added!)<br /> 11/12 – The Fox Theater - Oakland, CA<br /> 11/14 – The Forum - Inglewood, CA<br /> 11/15 – Comerica Theatre - Phoenix, AZ<br /> 11/17 – Coca Cola Bricktown Events Venter - Oklahoma City, OK<br /> 11/18 – ACL Live at the Moody Theater - Austin, TX<br /> 11/19 – Verizon Theatre at Grand Prairie - Grand Prairie (Dallas), TX<br /> 11/21 – Hard Rock Café/Hard Rock Live - Orlando, FL<br /> 11/22 – The Tabernacle - Atlanta, GA<br /> 11/24 - Empire - North Springfield, VA (just added – EXODUS ONLY)<br /> 11/23 – The Fillmore - Charlotte, NC<br /> 11/25 – Washington Avenue Armory - Albany, NY<br /> 11/26 – Sands Bethlehem Event Center - Bethlehem, PA<br /> 11/28 – The Palladium - Worcester, MA<br /> 11/29 – Wellmont Theatre - Montclair, NJ<br /> 11/30 – Tower Theater - Upper Darby (Philadelphia), PA<br /> 12/02 – Agora Theatre - Cleveland, OH<br /> 12/03 - Madison Theatre - Covington, KY (just added – EXODUS ONLY)<br /> 12/04 – Egyptian Room at Old National Centre - Indianapolis, IN<br /> 12/05 – The Fillmore Detroit - Detroit, MI</p> <p><img src="/files/imce-images/attachment.jpg" width="620" height="620" alt="attachment.jpg" /></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="/exodus">Exodus</a> </div> </div> </div> </fieldset> Exodus News Thu, 31 Jul 2014 20:11:22 +0000 Damian Fanelli The Bottle Rockets’ Brian Henneman: Rickenbacker Romance and Amplifier Angst <!--paging_filter--><p>Maybe you go way back with Brian Henneman: back to Illinois in the Eighties and the yeeeeeeeee-haaaaaaaa thrash-twang cowpunk-and-scorched-brimstone of Chicken Truck, perhaps? </p> <p>Or maybe you remember when Brian worked for Uncle Tupelo in the early Nineties: the roadie who would humbly come out for the encore, strap on a guitar and take the top of everyone’s head off with his lead breaks on a thundering cover of Neil Young’s “Cortez The Killer” … and then start lugging stuff out to the van.</p> <p>And while we’re at it, how about the role Henneman played in alt-country history that rarely gets acknowledged? A lot of the snarl, growl, chug and crunch you hear on Wilco’s debut album — 1995’s <em>A.M.</em> — was courtesy of Henneman. (He was listed as a “special guest” for those pre-Jay Bennett sessions.) Put an ear to the greasily chicken-picked “That’s Not the Issue” or the Crazy Horseness of “Too Far Apart”: pretty cool, eh?</p> <p>But never mind past glories and overlooked genius: The easiest way to dial into the music of Brian Henneman is to sit down with some Bottle Rockets — his main focus for the last 20-plus years. You could spend a lot of time trying to categorize their music — anything from rock ‘n’ twang to Americana punk — but in the end, you’re better off just listening and enjoying. </p> <p>An excellent crash course in the Rockets would be Bloodshot Records’ recently released two-disc bundle that combines the band’s first two albums with a slew of neat previously unreleased music. Altogether, there are 11 albums in the Bottle Rockets’ catalog so far — 10 studio and one live — with a new one simmering.</p> <p>Behind Henneman’s insightful lyrics and shoot-from-the-bluejeaned-hip riffs lies a total guitar nerd, one who still part-times in his hometown guitar shop when he’s not on the road and will talk gear for as long as you have time to spare. I had the chance recently to ask Brian about reuniting with the one that got away, the lifespans of parakeets and the recipe for Instant Keith Richards.</p> <p><strong>GUITAR WORLD: Brian, in most photos I’ve seen of late, you’re brandishing a Rickenbacker … it looks to me like the two of you are going steady.</strong></p> <p>Yep, a Rickenbacker 360 … love it!</p> <p><strong>I’ve heard you refer to it during shows as your “new favorite guitar.” It sounds like you’d been pining for one for awhile.</strong></p> <p>Oh, yeah, 20 years, man. [laughs] I had one 20 years ago, but in those days I was too broke to keep it, you know? It was one of those deals where the house payment came due and the Rickenbacker had to go.</p> <p><strong>I think everybody has a “one that got away” story.</strong></p> <p>You got that right … and I’d been wanting one again ever since. [laughs] I’ve always loved the sound of a Rick. Tom Petty: he’s always played them. And Roger McGuinn, of course. I’m a huge, huge, huge Roger McGuinn fan. </p> <p>So I finally bit the bullet and got myself one again. I’m old enough and wise enough now to get exactly the one I wanted; in the color I wanted; with every feature I wanted … and it cost a lot of money, but I figure it’s going to be the last guitar I buy in my life. [laughs]</p> <p>I’ve got enough of ‘em. I’m full of guitars. [laughs]</p> <p><strong>Tell me what you like about the 360.</strong></p> <p>For one thing, I’m using a capo on a lot of the new songs, and the Rickenbacker is the best frigging capo guitar ever. The neck is really evenly shaped and it doesn't pull strings out of tune.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><strong>It seems like you’ve got a handle on the beast, as far as coaxing different tones out of it in the course of a set.</strong></p> <p>You know, I haven't really played my other guitars much since I got the Rick.</p> <p><strong>At the same time, John Horton — your picking partner in the Bottle Rockets — might work through a number of guitar voices during a show.</strong></p> <p>Oh, yeah, sometimes a Strat; sometimes a Flying V or a Firebird … John plays all kinds of stuff. The thing is, the Rickenbacker balances out with all of them … it always stands out from anything John wants to play.</p> <p><strong>Have you ever tried a combination that didn't balance out?</strong></p> <p>Ha! Good question! Yeah, one time we tried playing with two Stratocasters at the same time … and that did not work. [laughs]</p> <p><strong>Anybody get hurt?</strong></p> <p>Oh, man … We kept turning up because neither one of us could hear each other. At the end, we were so fucking loud … and we still couldn't hear each other.</p> <p><strong>But you’re still going to keep your Tele's handy, right?</strong></p> <p>I’ve got a Tele on my kitchen table here right now. (laughs)</p> <p><strong>Is it your <a href="">Creston Tele — good ol’ Oat?</a> That’s my idea of total guitar porn …</strong></p> <p>Isn’t it? [laughs] Yeah, Creston Lea builds a frigging awesome guitar … the one you’re talking about is actually my best Tele. My other one is a total frigging mutt: The body is like, from 1951 or something. There are no original parts except the body. And that’s a really good guitar, too, except it’s kind of flimsy and old funky and doesn’t like to stay in tune. So the Creston is the go-to Tele for any kind of real, live road use.</p> <p><strong>I know your amp of choice for a long while was a Fender Blues Junior. Do you still have that?</strong></p> <p>The Blues Junior is a frigging great amp. I used that thing for five years and it was just a killer amp. It finally just died of old age; they're like … like parakeets, you know?</p> <p>So when it died, there was this amp at the guitar shop I work at — Killer Vintage in St. Louis — called a Buster. It’s made by Louis Electric and is a lot like a Tweed Deluxe with a stronger power section.</p> <p>So then I was at the crossroads: Do I get this thing for, like, the price of five Blues Juniors? Or do I just keep getting Blues Juniors until I die? Just wear ‘em out and replace ‘em?</p> <p>You know, I’m figuring my life span versus a Blues Junior’s would be about, oh, three more or so … something like that. Which would’ve been cheaper than the Buster … but I went ahead and got it anyway. It's a fucking killer amp.</p> <p><strong>And that’s what you’re using now.</strong></p> <p>Well, no … You see, I got the Buster before I got the Rick … and it's the best amp in the world for a Telecaster. You are Keith Richards when you plug into it, you know?</p> <p>But the Rickenbacker didn't sound as good out of the Buster. It’s too dirty for the Rick. So then I was going through all this shit to try to get the Rick tone I wanted …</p> <p><strong>And ended up with …?</strong></p> <p>A ’74 Fender Deluxe Reverb, which is perfect for the Rickenbacker. I still have the Buster … and maybe I should’ve stuck with the Blues Junior! </p> <p><Strong>I have one myself. All I’ve done is swap out the stock speaker with an Eminence Cannabis Rex and a new set of tubes. I’m playing a Classic Series Fifties Esquire through it with one of Jim Weider’s Big T bridge pickups. I love the thing. </strong></p> <p>Cool, sounds like a great combination. The Blues Juniors are the perfect size and the perfect volume. Look: I got five years out of mine. If I got five years, you’ll have yours the rest of your life. [laughs]</p> <p><em>A former offshore lobsterman, Brian Robbins had to wait a good four decades or so to write about the stuff he wanted to when he was 15. Today he’s a freelance scribe, cartoonist, photographer and musician. His home on the worldwide inner tube is at <a href=""></a> (And there’s that <a href="">Facebook</a> thing too.)</em></p> Brian Henneman Brian Robbins The Bottle Rockets Interviews News Features Thu, 31 Jul 2014 16:17:30 +0000 Brian Robbins Bad Seed Rising Premiere New Song, "Wolves at the Door" — Listen <!--paging_filter--><p>Maryland-based teenage rock band Bad Seed Rising released their debut EP, <em>Charm City</em>, earlier this year on <a href="" target="_blank"> iTunes</a> via Roadrunner Records. </p> <p>Today, the group has teamed up with <em>Revolver</em> and <em>Guitar World</em> to premiere their lyric video for "Wolves at the Door." Check it out below and let us know what you think in the comments or on Facebook!</p> <p>For more on Bad Seed Rising, visit their <a href="" target="_blank">official website</a> and follow them on <a href="" target="_blank">Facebook</a>.</p> <p><iframe src="//" height="365" width="620" allowfullscreen="" frameborder="0"></iframe></p> Bad Seed Rising News Thu, 31 Jul 2014 15:59:05 +0000 Guitar World Staff Betcha Can't Play This: John Li's Django Reinhardt-Inspired Run <!--paging_filter--><p>This run is heavily inspired by the great gypsy jazz guitarist Django Reinhardt. </p> <p>I begin by highlighting an Am6 arpeggio, with many chromatics and flat fives thrown in. I then move to Dm6 in bar 2, adding similar chromatic ornamentations. </p> <p>Next up is a B fully diminished seventh (over E7b9) with notes from the B half-whole scale thrown in for some percussive and melodic flavor. Finally, I end on what I would barely call an altered E dominant seventh, over which I actually play an A whole-half scale, before finally ending the entire thing on E.</p> <p>As indicated above and below the tab, I use a mixture of alternate and economy picking and some quick position shifts to get through the passage smoothly. When economy picking, rather than thinking of it as successive down-strokes or upstrokes, simply rest your pick on the adjacent string and push with the joints of your fingers. </p> <p>Instead of having your wrist do most of the work, it becomes more of a guide for the pick, and movement becomes minimized or economized. The object is to be able to play the lick smoothly and in time. As always, practice with a metronome and start out slowly!</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-05-06%20at%2012.20.38%20PM.png" width="620" height="616" alt="Screen Shot 2014-05-06 at 12.20.38 PM.png" /></p> August 2010 Betcha Can't Play This John Li Videos News Lessons Magazine Thu, 31 Jul 2014 15:34:16 +0000 John Li Brian Setzer Premieres "Let's Shake" Music Video <!--paging_filter--><p>Earlier today, everyone's favorite rockabilly cat, Brian Setzer, premiered his new music video over at <a href=""></a></p> <p>Lucky for you, you can check out "Let's Shake" below. </p> <p>As always, be sure to let us know what you think of it in the comments below or on Facebook!</p> <p>"Let's Shake" is the lead-off single from Setzer's new album, <em>Rockabilly Riot! All Original,</em> which will be released August 12 via Surfdog Records. You can check out our new interview with Setzer <a href="">right here.</a></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/brian-setzer">Brian Setzer</a> </div> </div> </div> </fieldset> Brian Setzer Videos News Thu, 31 Jul 2014 14:34:47 +0000 Damian Fanelli Judas Priest's Rob Halford, Glenn Tipton and Richie Faulkner Talk New Album, 'Redeemer of Souls' <!--paging_filter--><p><em>This is an excerpt from the September 2014 issue of </em>Guitar World<em>. For the rest of this story, plus features on Dan Auerbach's off-beat guitars, Eric Clapton and his new J.J. Cale tribute album, 17 Amazing practice amps, columns, tabs and reviews of new gear from Epiphone, ESP Guitars, Visual Sound, Blackstar, G&amp;L Guitars, Ibanez and more, <a href=";utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=BlackKeysExceprt">check out the August 2014 issue at the Guitar World Online Store.</a></em></p> <p>When <em>Guitar World</em> sat down with Judas Priest guitarists Glenn Tipton and Richie Faulkner and frontman Rob Halford in New York City earlier this summer, there was a palpable sense of excitement and confidence in the air as we talked about Priest’s new return-to-form album, <em>Redeemer of Souls</em>. </p> <p>It felt like a fresh beginning for a group that, just a few years earlier, had seemed on the verge of imploding.</p> <p>In December 2010, more than 40 years after the group’s formation in Birmingham, England, Judas Priest had announced that their Epitaph World Tour would be a farewell jaunt. </p> <p>When, a few weeks later, Rob Halford said in an interview, “I think it’s time,” and asked fans to “not be sad” and “celebrate and rejoice over all the great things we’ve done,” the heavy-metal community took it as a sign that the mighty Judas Priest were finally hanging up their studded leather belts. </p> <p>With the internet abuzz over the uncertainty of their future, Judas Priest went into damage control mode and quickly issued a statement that read, in part, “This is by no means the end of the band. In fact, we are presently writing new material, but we do intend this to be the last major world tour.” </p> <p>For much of their career, the band members’ comments about Judas Priest’s future probably wouldn’t have caused much of a stir. But in today’s 24/7 feeding frenzy known as the internet, it’s a very different story.</p> <p>“It does make you choose your words carefully,” Halford says. “With today’s speed of communication, you’ve only got to get one word wrong and the whole place blows up. In retrospect, there probably should have been a different way to project the whole Epitaph experience.”</p> <p>Some additional turbulence shook the Judas Priest camp in April 2011 when longtime guitarist K.K. Downing announced that he was leaving the group just two month’s ahead of the Epitaph tour. The band wasted no time announcing 31-year-old British guitarist Richie Faulkner as Downing’s replacement. Faulkner’s debut with the band took place on national television on May 25, 2011, when Judas Priest performed live during the season finale of <em>American Idol.</em></p> <p>After the completion of the 120-date Epitaph tour in May 2012, Judas Priest took some much needed time off to regroup and begin work on a new album. They made a few public appearances, and a couple of best-of packages found their way into the marketplace, but otherwise things were fairly quiet on the Priest front.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p>Then, this past April, the band announced a July 15 release date for <em>Redeemer of Souls</em>, its first album of new material since 2008’s poorly received conceptual double album, <em>Nostradamus</em>. Wisely, the group issued a free stream of the title track alongside the announcement. From its opening chugging riff to Halford’s distinct voice intoning, “It’s time to settle the score,” to Tipton and Faulkner’s searing solo trade-offs, <em>Redeemer of Souls</em> makes it clear that Priest has not only survived the past few years’ unrest but also regained the fire in their belly that had been missing for quite some time.</p> <p><strong>GUITAR WORLD EXCERPT: Back in 2010–2011, there was a lot of speculation that Judas Priest were on the verge of disbanding. But with Redeemer of Souls and new tour dates on the horizon, it seems as though the band has a renewed sense of energy.</strong></p> <p><strong>Rob Halford:</strong> I think it’s very natural for a band that’s had a long career in rock and roll to become a little bit philosophical. That’s just human nature, and we weren’t afraid to talk about it. But I don’t think we ever said specifically “This is the end.” It was probably the “Farewell Tour” that gave people that impression. We probably should have called that something different. We called it that because it was our way of saying that this is the end of the big, massive world tours. We’re still going to go out and play, but it’s not going to be these big two-year schleps, which are grueling for any band.</p> <p>But there’s definitely a change in tone around the band these days, and a lot of that is because of this guy right here [points to Faulkner]. Richie has brought something to this band that is very infectious and vibrant, and I think you can sense all of that great feeling coming through in these new songs.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><strong>Glenn, did you feel that there was a negative vibe swirling around the band during the Epitaph tour?</strong></p> <p><strong>Glenn Tipton:</strong> I don’t know if it was a negative vibe around us as much as it was a little bit unsure of what the future held for Judas Priest. For me, the Epitaph tour was one of the most satisfying and gratifying tours we had ever done. It was a grueling task to go out and play for two and a half hours every night, but to play a song off every album brought out a lot of sentimental feelings, and I think we all rose to the occasion.</p> <p>But you’re right in the sense that there was a little bit of uncertainty around the band—what we were going to do next, that kind of thing. And it wasn’t until we started writing the album and really getting into the meat and potatoes of it that we realized, Hold on, this is going to be more than just another album—there’s something special going on here. And that starts to breed enthusiasm. You look forward to the future. You look forward to playing these songs onstage. So I think the band has evolved since the Epitaph era into a different way of thinking. We’ve never been more content, and we’re excited about the future.</p> <p><strong>Halford:</strong> In light of the Epitaph experience, if and when the final note is played, we certainly won’t be announcing it. I think it’s just going to happen one day, and that’s probably the nicest way to do it. You take very small steps back until you’re done, and I think it’ll be that way for us. But the fact that Priest’s music will live forever, the way Beethoven and Bach’s music lives forever, that really is the most incredible accomplishment that you can dwell on and feel proud of.</p> <p><strong>After the Epitaph tour, did you feel as though there was unfinished business within the band? Like there was more to accomplish?</strong></p> <p><strong>Tipton:</strong> I think we’ve always felt that way. We’ve never been satisfied with one record—we’ve always wanted to do another. It’s the same with touring: you know that at some point you’re going to want to go out and do another tour. Even with this record, we recorded 18 songs. I mean, where did that come from? So there’s plenty left in this band.</p> <p><strong>Richie, what was it like for you around the time of the Epitaph tour? Was it disappointing to join a legendary band like Judas Priest and suddenly have people speculating about the group’s demise?</strong></p> <p><strong>Faulkner:</strong> When I came onboard and was welcomed into the family, I was very aware of where the band were in their career. Not that I wasn’t already aware of it, since I’m a fan of the band, but it certainly wasn’t something I was going to pass up just because there’s a chance that the band was coming to the end of its career. And maybe if there was any sense within the band of winding down, maybe I’m the one who’s keeping them going. And some people out there might not like me for that, but what was I going to do? Not join the band? Sometimes you just have to take the bull by the horns. And as a result, here we are with 18 new studio tracks and a new Judas Priest album. </p> <p><strong>Were you involved in the songwriting for <em>Redeemer of Souls</em> from the get-go?</strong></p> <p><strong>Faulkner:</strong> From day one, it’s always been a family of creative people. It’s not one or two people calling the shots and you just show up, play a gig and go home. From the rehearsals to picking the set list to the stage production, it’s a very inclusive process, and that transcends right into the songwriting for the album.</p> <p>Priest have always had the vocalist and the two-guitar-player writing team, and it was the same this time. I was taught to write metal songs by these guys. When you're 14 or 15 years old, you listen to <em>Screaming for Vengeance</em> and use that as a model for writing songs. So, for me, when you’re now in the studio writing songs with these guys, you don’t have to put on a different hat or write songs you wouldn’t normally write; it comes from your heart, because it’s what you’ve been brought up with. So it was a very organic and intuitive experience for me to write songs with these guys.</p> <p><em>Photo: Jimmy Hubbard</em></p> <p><em>This is an excerpt from the September 2014 issue of </em>Guitar World<em>. For the rest of this story, plus features on Dan Auerbach's off-beat guitars, Eric Clapton and his new J.J. Cale tribute album, 17 Amazing practice amps, columns, tabs and reviews of new gear from Epiphone, ESP Guitars, Visual Sound, Blackstar, G&amp;L Guitars, Ibanez and more, <a href=";utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=BlackKeysExceprt">check out the August 2014 issue at the Guitar World Online Store.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/judas-priest">Judas Priest</a> </div> </div> </div> </fieldset> Judas Priest September 2014 Interviews News Features Magazine Thu, 31 Jul 2014 14:24:09 +0000 Jeff Kitts Christmas in July Sale at Guitar World Store: All DVDs $10! <!--paging_filter--><p>Yes, exactly like the headline says, we're having a major "Christmas in July" sale at the <a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=XmasInJuly">Guitar World Online Store!</a> </p> <p>Each DVD at the store is only $10!</p> <p>We have five pages of top-notch instructional DVDs to scroll through!</p> <p><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=XmasInJuly">Head to the store now!</a></p> News Features Thu, 31 Jul 2014 14:21:06 +0000 Guitar World Staff