News en AC/DC Perform "Baptism by Fire" at Coachella — Video <!--paging_filter--><p>Below, feast your eyes on some recently posted high-quality video of AC/DC performing "Baptism by Fire," a new track from 2014's <em>Rock Or Bust</em>, at the Coachella Valley Music and Arts Festival last weekend (April 10). </p> <p>The clip, which was posted by, merges two fan-filmed videos to create a full performance of the song.</p> <p>The live performance was the band's first full show in five years.</p> <p>"I hope you guys like rock and roll, because that's all we do," said frontman Brian Johnson early in the set.</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="/acdc">AC/DC</a> </div> </div> </div> </fieldset> AC/DC ACDC Videos News Sat, 18 Apr 2015 23:26:21 +0000 Guitar World Staff Dragonforce's Herman Li Plays “Through the Fire and the Flames” Guitar Solo Underwater — Video <!--paging_filter--><p>Below, check out some pretty damn impressive footage of Dragonforce's Herman Li playing the guitar solo to “Through the Fire and the Flames” underwater. </p> <p>Well, first in the water, <em>then</em> underwater.</p> <p>This aquatic feat was part of the <a href="">Full Metal Cruise,</a> which came to an end Thursday, April 16, after six days of metal madness in the harbor of Palma de Mallorca in Spain.</p> <p>Besides Dragonforce, the Mein Schiff 1 cruise ship was rocked by Alestorm, Axxis, Bembers, Blaas of Glory, Beyond The Black, Blaze Bayley, Doro, Dragonforce, Endstille, J.B.O., Mambo Kurt, Onkel Tom, the Pressgeng, Hammerfall, Melissa van Fleet Russkaja, Saltatio Mortis, Sodom, Stormwarrior, Subway to Sally, Tankard and Uli Jon Roth.</p> <p>While we have you, <a href="">be sure to check out this effortless performance of “Through the Fire and the Flames” by 15-year-old French shredder Tina S.</a></p> <p>On that note, enjoy!</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/dragonforce">Dragonforce</a> </div> </div> </div> </fieldset> Dragonforce Herman Li Videos News Sat, 18 Apr 2015 22:58:44 +0000 Guitar World Staff IK Multimedia Releases AmpliTube UA App for All Android Devices <!--paging_filter--><p>IK Multimedia, the leading player in mobile guitar tone technology, has just announced the release of AmpliTube UA.</p> <p>It's the first real-time guitar amp and effects processing app for all Android phones and tablets that gives musicians the freedom to rock out any time and anywhere with their favorite Android mobile device. </p> <p>The companion app to the soon-to-be-released iRig UA universal digital interface, AmpliTube UA gives musicians with Android devices—version 4.2 or higher and that support USB host mode/USB OTG—the ability to experience the flexibility and full tonal power of a portable customizable guitar rig complete with three stompbox effects, an amplifier, a cabinet and a microphone.</p> <p><strong>Superior guitar tone on every Android smartphone</strong></p> <p>In 2010, IK Multimedia pioneered the mobile music creation market with the introduction of the iRig interface and AmpliTube for iPhone, iPad and iPod touch. With more than 17 million downloads on mobile devices worldwide, AmpliTube is the leading guitar app—it's a global sensation that continues to inspire guitarists, bass players and other musicians with its ease-of-use, vast library of virtual gear and limitless tone sculpting possibilities.</p> <p>An industry first, AmpliTube UA now brings this famous creative ease to Android. It lets users build great sounding virtual guitar and bass rigs by selecting from 21 included gear models that include five amplifiers, nine stompbox effects, five cabinets and two positionable microphones. AmpliTube UA's flexible signal path lets players change the order of effects and amps, and even add effects "after" the amplifier in the signal chain to provide even more creative tonal options.</p> <p><strong>An expandable amp and effects library of world-class brands</strong></p> <p>Like all versions of AmpliTube, the base collection of gear can be expanded from within AmpliTube UA. There are currently 22 models available via in-app purchase. All are based on iconic pieces of gear from world-class official brands like Fender, Orange, Ampeg, Soldano and more. There's also exclusive content available from our artist's series like AmpliTube Slash and AmpliTube Jimi Hendrix collections.</p> <p><strong>Universal Android processing</strong></p> <p>To get the most out of AmpliTube UA, it needs to be paired with the forthcoming iRig UA digital audio interface (due out in May). The combination of iRig UA and AmpliTube UA delivers universal zero latency processing and high-quality sound on the Android platform. Together they give musicians the ability to play in real-time with no audible device processing delay, a market first for Android devices.</p> <p>This previously impossible feature is now a reality due to iRig UA's built-in high performance 32-bit DSP, 24-bit A/D converter, 44.1/48kHz sample rate, and low-noise instrument preamp. With its premium specifications, iRig UA is able to provide great sound, amazing playability and unprecedented cross-platform compatibility.</p> <p>AmpliTube UA functions in a "preview" mode when an iRig UA is not connected to the device. This lets musicians build, control and apply custom guitar rigs that can be used with the provided "dry" audio demo. iRig UA is required for audio-in and guitar processing functionality.</p> <p>iRig UA's on-board digital signal processor works in conjunction with AmpliTube UA app. As all of the processing is handled onboard iRig UA, and not on the Android device, it's able to provide consistent zero-latency performance (down to just 2ms round-trip total latency) independent of the make and model of the connected smartphone or tablet. Or, in other words, it offers the plug-and-play performance that mobile musicians with Android devices crave.</p> <p><strong>The perfect pair</strong></p> <p>The pairing of iRig UA and AmpliTube UA is perfect for on-the-go practice and performance. iRig UA features a 1/4" input for a guitar, bass or other line-level instrument, a micro-USB to OTG cable and a 1/8" stereo output with volume control for headphones or connection to a live sound speaker, amplifier or mixer. It also sports a 1/8" AUX input that lets musicians connect any sound source so that they can practice and jam along to their favorite tunes with the power of AmpliTube's tone.</p> <p><strong>Pricing and availability</strong></p> <p>AmpliTube UA can now be downloaded as a free app via the Google Play store. iRig UA is available for pre-order for $99.99/€99.99 (excluding taxes). iRig UA will ship May 2015 from music and electronics retailers worldwide, and from the IK online store.</p> <p> <strong>For more information, visit <a href=""></a> or <a href=""></a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> IK Multimedia Videos News Fri, 17 Apr 2015 20:32:30 +0000 Guitar World Staff Top 10 Classic Shred Albums <!--paging_filter--><p>Wow … had to dust off the ol’ cassette deck for this one! Sure, faster shredders may have been left off this list, but arpeggio for arpeggio, these 10 albums strike the finest balance between tasteful melody and, “No way did he just play that!”</p> <p><em>Note: For those of you born after 1985, a cassette is a small, flat plastic cartridge that contains a spool of 1/8-inch audiotape. Cassette players, although now nearly obsolete, are most commonly found in cheap rental cars. </em></p> <p><strong>10. <em>Greg Howe</em> (Shrapnel, 1988)</strong> <strong>Greg Howe</strong> A funk-savvy speedster, Greg Howe injected the shred scene with some much-needed shake and soul. The funkdafied “Kick It All Over” kicks off the festivities, and the following track, “The Pepper Shake,” offers a spicy display of Howe’s legato and alternate-picking chops.</p> <p><strong>09. <em>Speed Metal Symphony</em> (Shrapnel, 1987)</strong> <strong>Cacophony</strong> <em>Speed Metal Symphony</em>, a mighty opus featuring first-chair guitar virtuosos Marty Friedman and Jason Becker, uses “speed metal” rhythm beds and shifting time signatures to help break up the cacophonous onslaught of all-out shred.</p> <p><strong>To see the rest of the list, check out the photo gallery below!</strong></p> Guitar World Lists News Fri, 17 Apr 2015 20:13:13 +0000 Guitar World Staff Guest Starrs: The Top Five Guitar Solos on Ringo Starr Songs <!--paging_filter--><p>Former Beatle Ringo Starr will be inducted into the Rock and Roll Hall of fame this weekend.</p> <p>I figured I'd celebrate this most joyous of occasions by gathering up five songs that feature some of the best guitar work to be found on Ringo's solo albums.</p> <p>After all, from 1970's <em>Sentimental Journey</em> through 2015's <em>Postcards from Paradise</em>, Ringo's albums have featured guest appearances by several talented guitarists, including George Harrison, Eric Clapton, David Gilmour, Joe Walsh, Stephen Stills, John Lennon, Robert Randolph, Jeff Lynne, Paul McCartney, Peter Frampton and former blogger <a href="">Laurence Juber.</a></p> <p>So, as promised, here are five solo Ringo Starr songs with guitar work that really stands out. </p> <p>05. <strong>PRIVATE PROPERTY,</strong> from <em>Stop and Smell the Roses</em> (1981)<br /> <strong>Guitarist:</strong> Laurence Juber</p> <p>This tune, which was written by Paul McCartney, is one of three songs McCartney and his crew (including his wife Linda, Wings guitarist Laurence Juber and pedal steel guitarist Lloyd Green) contributed to Ringo's <em>Stop and Smell the Roses</em> sessions. </p> <p>Juber's brief but brilliant solo is near the end of the song. NOTE: The song itself doesn't start until 1:04 in the video below.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 04. <strong>A DOSE OF ROCK 'N' ROLL,</strong> from <em>Ringo's Rotogravure</em> (1976)<br /> <strong>Guitarists:</strong> Peter Frampton, Jesse Ed Davis, Danny Kortchmar</p> <p>There's not much to say about the two-part guitar solo on this song (most likely played by Jesse Ed Davis and Peter Frampton), except that it's dang perfect, although a little too brief. Listen to how it starts off all friendly and happy and then heads off into a menacing place as it follows the solo's unique chord changes.</p> <p>I recently spoke to Frampton about this song, and here's how it went:</p> <p><strong>ME: You’re credited with playing guitar on a Ringo Starr single from 1976, “A Dose of Rock ’N’ Roll,” from <em>Ringo’s Rotogravure</em>. But is that you playing the actual guitar solo?</strong></p> <p><strong>PETER FRAMPTON</strong>: I can't remember [laughs]. It was the Seventies, and I know I was sober for the session, but I'm not sure about right after. I'd have to listen to it again and see. People keep coming up to me, saying, "Is this you on this?" And I have to go listen to it to find out. I did more sessions than I remember doing. There were a lot of things in the Seventies that I played on that people keep reminding me about.</p> <p>[I play the song to him.]</p> <p>Yeah, the first part is me. I forgot all about that! That's me. And then, I forget who it is that comes in there, but that sounds like I'm playing my Gibson and then a Telecaster or a Strat comes in.</p> <p><strong>ME: Well, Jesse Ed Davis is one of the other guitarists who plays on that track. [NOTE: Guitarist Danny Kortchmar also plays on the song.]</strong></p> <p>Oh, yeah, Jesse Ed Davis. That's probably who it is.</p> <p><em>To read the rest of my conversation with Frampton, <a href="">head here.</a></em></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 03. <strong>NEVER WITHOUT YOU,</strong> from <em>Ringo Rama</em> (2003)<br /> <strong>Guitarist:</strong> Eric Clapton</p> <p>This song, a bright spot from Ringo's way-too-freaking-long Mark Hudson era (Hudson was Ringo's not-so-great producer), is Ringo's tribute to George Harrison, who had died of cancer only two years earlier. </p> <p>It features some great Eric Clapton riffs, from the solo through to the end of the song. That dude playing the Strat and miming the solo in the video is not Clapton, by the way. You might want to close your eyes during the solo to avoid distraction.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 02. <strong>$15 DRAW,</strong> from <em>Beaucoups of Blues</em> (1970)<br /> <strong>Guitarist:</strong> Jerry Reed</p> <p>This is one of the killer songs from Ringo's second solo album, 1970's <em>Beaucoups of Blues,</em> which he recorded in Nashville with some of the city's best studio musicians. Charlie Daniels is on this album, as are D.J. Fontana, Pete Drake and Sorrells Pickard, who wrote this song. </p> <p>Anyway, "$15 Draw" sums up Jerry Reed's playing style to a T. You can hear Reed explore this same sort of picking in his song "Guitar Man." He plays on his own version of the song and on Elvis Presley's version. </p> <p>I've always thought this song could be a hit for someone. It tells a great story, it takes you on an emotional roller coaster and it has a super-catchy guitar riff. It might be cool if a young female country artist were to record it. (Please credit me with the idea!) </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 01. <strong>BACK OFF BOOGALOO,</strong> A-side of a 1972 Apple Records single; available on <em>Photograph: The Very Best of Ringo Starr</em><br /> <strong>Guitarist:</strong> George Harrison</p> <p>George Harrison's slide guitar playing is all over this Richard Starkey (Ringo Starr) composition, the 1972 follow-up to Ringo's first hit single, "It Don't Come Easy," which also features a great solo by Harrison. </p> <p>The song also features some fine drumming by Ringo, bass playing by <a href="">Klaus Voormann</a> and piano tinkling by Gary Wright.</p> <p>Harrison played several great guitar solos on Ringo's records throughout the years, including "Early 1970," "Down and Out," "Wrack My Brain" and "King of Broken Hearts." </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><em>Damian Fanelli is the online managing editor at </em>Guitar World<em>. He performs every year at Abbey Road on the River, he's played on sessions and soundtracks in New York and Los Angeles, and he's tired of eating apples.</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/george-harrison">George Harrison</a> </div> <div class="field-item odd"> <a href="/eric-clapton">Eric Clapton</a> </div> <div class="field-item even"> <a href="/peter-frampton">Peter Frampton</a> </div> </div> </div> </fieldset> Eric Clapton George Harrison Jerry Reed Laurence Juber Peter Frampton Ringo Starr The Beatles Blogs News Features Fri, 17 Apr 2015 19:13:02 +0000 Damian Fanelli Stevie Ray Vaughan Breaks a String, Swaps Guitar (Almost) Without Missing a Beat — Video <!--paging_filter--><p>God bless roadies!</p> <p>As any guitarist can attest, roadies are indispensable members of any band's touring operation—as illustrated in this brief video featuring the late, great Stevie Ray Vaughan and his roadie, Texas guitar whiz Rene Martinez.</p> <p>Vaughan, who can be seen performing "Look at Little Sister" for an <em>Austin City Limits</em> special in 1989, breaks his B string just a few seconds into the clip. </p> <p>At the 34-second mark, Vaughan motions to Martinez, who makes one of the smoothest Strat swaps we've ever seen.</p> <p>Granted, Vaughan and Martinez picked a perfect time to make the swap (The guitar solo was finished, etc.), but SRV misses only one or two low-E-zone double stops during the exchange. While singing!</p> <p><strong>For more about Martinez, visit <a href=""></a>.</strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> Rene Martinez Stevie Ray Vaughan Videos News Fri, 17 Apr 2015 18:58:00 +0000 Damian Fanelli The Top 10 Heavy Metal Album Openers <!--paging_filter--><p>No one ever went to a Led Zeppelin concert expecting the band to open with “The Rain Song.” </p> <p>It's a fine tune, to be sure, but the electric charge of a crowd in waiting must be met in kind. </p> <p>The same applies to the album: Kiss didn’t open <em>Destroyer</em> with “Beth,” for example. And Metallica had the prudence to place “Fade to Black” a good four songs into <em>Ride the Lightning</em>. </p> <p>When you get down to it, just about any band from any genre wants to kick things off hard and fast, and none more so than axe-wielding heavy metal masters. </p> <p>With that, we present the 10 greatest starting guns from metal’s most iconic albums.</p> <p><strong>Metallica—“Enter Sandman”</strong><br /> <strong>The Black Album</strong></p> <p>How does the world’s greatest thrash band open its masterpiece album? Not with sledgehammer riffs or machine gun drum patterns, but rather a droning E-minor tritone pattern that ushers in bass, drums and a drudging minor-2nd power chord riff. </p> <p>The song’s signature E to F interval has become so synonymous with “Enter Sandman” that, in the Nineties, a rumor began that Metallica trademarked the progression and would sue any band that used it. This proved a hoax, but showed how indelible a mark the Black Album’s opener left on heavy metal.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Pantera—“Cowboys From Hell”</strong><br /> <strong><em>Cowboys From Hell</em></strong></p> <p>Abandoning their previous glam metal sound, <em>CFH</em> showcased Pantera’s new groove metal style, no better exemplified than in the title track. </p> <p>Dimebag begins by pedaling a flanger-soaked open E string, then subtly introduces his immortal riff before launching into full-on open-string chainsaw fury.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Judas Priest—“Painkiller”</strong><br /> <strong><em>Painkiller</em></strong></p> <p>Priest drummer Scott Travis demonstrates that screaming guitars aren’t the only way to open an album with this explosive double-bass onslaught, which ushers in one of the veteran metal band’s most crushing tracks. </p> <p>Glenn Tipton and K.K. Downing lay down blazing riffs and solos, Ian Hill’s bass is rock steady with Travis, and Rob Halford’s ear-splitting vocals sound like his nuts are on the business end of a steel-toe boot; it’s a metal behemoth and a return to form after the more pop-oriented <em>Turbo</em> and <em>Ram It Down</em> albums.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Slayer—“Angel of Death”</strong><br /> <strong><em>Reign in Blood</em></strong></p> <p>Any metal band can start an album with walls of guitar and rapid-fire drum blasts, but Slayer kicks off their seminal 1986 effort with one of the most controversial tracks in the genre’s history. </p> <p>Guitarist Jeff Hanneman wrote “Angel of Death” about infamous Nazi doctor Josef Mengele. Though Hanneman and the rest of the band insisted the song is a documentary, and in no way an endorsement of Nazism, Neo-Nazi labeling ensued upon the album’s release in 1986. </p> <p>Lyrical interpretation notwithstanding, the song is still considered a “classic” thrash metal track.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Black Sabbath—“Sabbath Bloody Sabbath”</strong><br /> <strong><em>Sabbath Bloody Sabbath</em></strong></p> <p>“The riff that saved Black Sabbath” may have never come to fruition had it not been for the supposedly haunted recording location at Clearwell Castle in England. </p> <p>In 1973, guitarist Tony Iommi was suffering writer’s block trying to come up with ideas following the success of <em>Volume 4.</em> With no luck in L.A., the band reconvened at Clearwell, writing and recording in the dungeons of the 18th-century castle. While the song rarely appears in the band’s live set, it launched one of Sabbath’s most critically lauded albums and has been covered by everyone from Anthrax to Amon Amarth to, um, the Cardigans.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Iron Maiden—“Aces High”</strong><br /> <strong><em>Powerslave</em></strong></p> <p>The 24-second eighth-note intro is the subtle pattern that lulls the listener into complacency; it’s just another somber churner, a la “Hallowed Be Thy Named.” </p> <p>Then the blazing 16th note harmonies drop and <em>Powerslave</em> takes off. “Aces High” is a heavy fan favorite among metal acts like Children of Bodom and Arch Enemy, both of whom have covered the song, and recalls a feisty Iron Maiden poised to take over the metal world.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Children of Bodom—“Living Dead Beat”</strong><br /> <strong><em>Are You Dead Yet?</em></strong></p> <p>Keys are an unlikely way to open a metal album, but with melodic death metal quintet Children of Bodom, an ominous synth intro here or there is expected. </p> <p>“Living Dead Beat” opens with a John Carpenter-style synth lead, but is quickly appended with gattling gun guitars, a la Laiho and guitarist Roope Latvala. The guitars dominate the album, but throughout, the baleful melodies of Janne Wirman’s keyboards can be heard creeping in the mix.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Testament—“D.N.R. (Do Not Resuscitate)”</strong><br /> <strong><em>The Gathering</em></strong></p> <p>It would be nine years before Testament would release another studio album, but fans had much to be content with from 1999’s <em>The Gathering</em>. Loaded with some of Testament’s fastest, most aggressive material, the band itself is shy of a few classic lineup members, namely guitarist Alex Skolnick and drummer Louie Clemente. </p> <p>Former Death guitarist James Murphy and Slayer drummer Dave Lombardo filled in, their up-tempo playing styles appearing throughout the album. “D.N.R.,” at just over 3:30 minutes, is a blistering insight into the album’s pure ferocity.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Megadeth—“Last Rites/Loved to Deth”</strong><br /> <em>Killing is My Business… and Business is Good</em></p> <p>Far from the polished and intricate sonic architecture that would become Megadeth’s trademark, the debut release from Mustaine and crew makes up for its minimalism with raw, unbridled energy. </p> <p>“Last Rites/Loved to Deth” begins with an excerpt from Bach’s Toccata and Fugue in D Minor before Mustaine and guitarist Chris Poland’s guitars take center stage. The dark, baroque intro may have aligned itself better with later, more sophisticated Megadeth work, but there’s no denying “Last Rites/Loved to Deth” ushered in new champions of thrash metal.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Motörhead—“Ace of Spades”<br /> <strong><em>Ace of Spades</em></strong></strong></p> <p>Bridging the gap between punk and metal, Motörhead’s seminal 1980 release had a substantial impact on many up-and-coming thrash bands. </p> <p>The ferocious pick attack of guitarist “Fast” Eddie Clarke no doubt provoked many budding bands’ inclinations towards blazing tremolo riffs, not least of all metal kings Metallica, who released four Motörhead covers as b-sides with their single “Hero of the Day” in 1996.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/slayer">Slayer</a> </div> <div class="field-item even"> <a href="/megadeth">Megadeth</a> </div> <div class="field-item odd"> <a href="/testament">Testament</a> </div> <div class="field-item even"> <a href="/black-sabbath">Black Sabbath</a> </div> </div> </div> </fieldset> Black Sabbath Megadeth Metallica Motorhead Slayer Guitar World Lists News Features Fri, 17 Apr 2015 18:25:18 +0000 Tony Grassi Top 10 Weirdest Custom Guitars — Photo Gallery <!--paging_filter--><p>Most guitarists at one point or another in their development have gone through some sort of “I want a custom guitar” phase. </p> <p>Whether it’s a funky paint job or a radical new shape, a custom ax presents the opportunity to express yourself. Or, in the opinion of some, the opportunity to say, “Hey, look at me, I’m a horse’s arse!” </p> <p>Here, we celebrate 10 such opportunities. We’ll let you categorize them as you see fit.</p> Guitar World Lists Galleries News Fri, 17 Apr 2015 18:08:59 +0000 Guitar World Staff Secrets of Shred with Sammy Boller: Modern Shred Arpeggios — Video <!--paging_filter--><p>In this lesson, I’ll be demonstrating a modern way of playing arpeggios by combining string skipping and tapping. </p> <p>I’ll be showing you three different arpeggio shapes. At the end of the lesson, I’ll give you an example of how you can string them together into a ripping fast progression.</p> <p> Let’s start with <strong>EXAMPLE 1</strong>. This example starts with an Fmaj7 arpeggio with the root of the chord on the A string. I then take this shape and move it to the E string to play a Cmaj7 arpeggio. </p> <p>What I love about this approach is that nearly every arpeggio shape is movable between the A and E strings. For all the examples in this lesson, I play two notes with my left hand and one note with my right hand on every string in the arpeggio.</p> <p> <strong>EXAMPLE 2</strong> is the same approach but this time with Min7 arpeggios. I start with a Dm7 on the A string then move it over to the E string to play an Amin7 arpeggio. Notice I’m using the same fingering between arpeggios.</p> <p> Moving on to <strong>EXAMPLE 3,</strong> I take this approach one step further by playing Dim7 arpeggios. This time, I play Edim7 and Bdim7, respectively. This is probably the trickiest shape to get down in this lesson, but it is also the most useful. Since it is a diminished chord, it can be moved up and down the neck by three frets to achieve the next inversion of the chord. </p> <p><strong>NOTE:</strong> All diminished arpeggio shapes can be moved up and down by three frets, regardless of the technique you’re using: sweep picking, tapping, string skipping, etc. </p> <p> For our final example, <strong>EXAMPLE 4</strong> takes these shapes and strings them together into a progression. The progression is Dm7-C#maj7-G#maj7-Edim7. When I’m practicing something like this, I try to focus on the transitions between each chord. I find the more I focus on the transitions, the faster I get the progression down.</p> <p> These modern shred patterns are my favorite way of playing arpeggios because they have a completely different sound than the standard sweep picking shapes everybody plays. They are also closely related to the most common pentatonic and major scale shapes, so once you get these down, try linking them in with some of your favorite scales. I think you’ll find they are easy to grab all around the neck.</p> <p>And remember there are only two types of breakfast cereals for guitar players: BLUESBERRY CRUNCH and ARPEGGI-O’s. Cheers!</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202015-04-17%20at%201.16.19%20PM.png" width="620" height="820" alt="Screen Shot 2015-04-17 at 1.16.19 PM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202015-04-17%20at%201.16.36%20PM.png" width="620" height="548" alt="Screen Shot 2015-04-17 at 1.16.36 PM.png" /></p> <p><em>Sammy Boller is the guitarist for the Detroit rock band <a href="">Citizen Zero</a>. They’re touring and recording their first full-length album with Al Sutton and Marlon Young (Kid Rock, Bob Seger, Uncle Kracker). In 2012, Boller was selected by Joe Satriani as a winner of Guitar Center’s Master Satriani competition. He studied music at the University of Michigan. For more about Boller, or to ask him a question, write to him at or follow him on <a href="">Twitter</a>.</em></p> Sammy Boller Secrets of Shred Videos Blogs News Lessons Fri, 17 Apr 2015 18:06:56 +0000 Sammy Boller Stevie Ray Vaughan Wakes Up and Warms Up: Incredible 1986 Soundcheck — Video <!--paging_filter--><p>Even though this video has been viewed more than three million times—it still strikes me as something of a rare bird (probably because I've—somehow—never seen it before!).</p> <p>The clip, which apparently was shot in January 1986, shows Stevie Ray Vaughan and Double Trouble running through three songs—"Scuttle Buttin'," "Ain't Gone 'n' Give Up On Love" and "Say What!"—during a soundcheck at an unspecified venue.</p> <p>According to the info posted with the video, it shows "Stevie just waking up, then warming up." </p> <p>Assuming this is true, it's annoyingly insane how incredible SRV could be at the drop of a hat—or at the ring of a bedside alarm clock. It's particularly impressive how he digs into "Ain't Gone 'n' Give Up On Love," meaning he was truly "feeling it" that day. It's also sort of priceless to see Vaughan, Tommy Shannon, Chris Layton and Reese Wynans just sort of milling about before and after takes.</p> <p><em>Editor's Note: Extra info attached to video — "This was filmed Jan 1986 by Greg Savage of Savage Guitar Design and is used with permission. Greg is an expert luthier; visit Greg's page here: <a href=""></a>. </em></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> Stevie Ray Vaughan Videos News Fri, 17 Apr 2015 17:46:30 +0000 Damian Fanelli Joan Jett Talks Rock and Roll Hall of Fame, Lou Reed and "I Love Rock ’N’ Roll" <!--paging_filter--><p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=JoanExcerpt">This is an excerpt from the all-new May 2015 issue of Guitar World. For the rest of the story—and all of the May 2015 issue—head here.</a></strong></p> <p><strong>Girl’s Got Rhythm: <em>Joan Jett has been banging out some of rock’s greatest power chords since the age of 15. With her induction into the Rock and Roll Hall of Fame, there’s only one thing you need to know—she still loves rock and roll.</em></strong></p> <p>Joan Jett looks perfect. In other words, she looks exactly the way you want Joan Jett to look. </p> <p>With her iconic black shag and eyeliner, she saunters into the <em>Guitar World</em> photo studio wearing a variation on a rock and roll uniform she had worn almost her entire life: a tight black sleeveless shirt, black jeans and black motorcycle boots, all of it topped with a kick-ass leather jacket. </p> <p>And if you have to ask about the color of her jacket, you clearly haven’t been paying much attention. </p> <p>The last few years have been pretty supersonic for Jett and her band the Blackhearts. Since releasing the critically acclaimed <em>Unvarnished</em> album in late 2013, which featured the hit “Any Weather,” co-written with Foo Fighters frontman Dave Grohl, she has been touring up a storm while snagging honors right and left, like the Revolver Golden God award and the Alternative Press Icon Award. </p> <p>To complete the trifecta, this month she is being inducted into the Rock and Roll Hall of Fame, long considered music’s ultimate validation. Not bad for a veteran celebrating her fourth decade in the biz. </p> <p>Truth is, Joan Jett’s entire career is nothing short of miraculous, especially when you consider just how difficult it was for her to simply get out of the starting gate. </p> <p> “My parents got me a guitar for Christmas when I was 13 and I went to take lessons,” Jett says in her distinctive sandpapery voice. “I told the teacher I wanted to learn how to play rock and roll, and because I was just a naïve kid, I thought he was going to be able to show me in one lesson! I didn’t know that you had to learn the ropes. If he would’ve explained that to me, it would’ve been fine, but instead he said something far worse. He told me, ‘Girls don’t play rock and roll,’ and then tried to teach me ‘On Top of Old Smokey.’ ”</p> <p> In response, Joan grabbed her guitar and stormed out never to return. A mere two years later, at the age of 15, Jett proved her teacher—and every other sexist naysayer—wrong when she formed the Runaways, a groundbreaking all-female rock band, best known for their 1976 hit “Cherry Bomb.” The band didn’t last very long, but their music and exploits became legendary to multiple generations, partly due to <em>The Runaways</em>, a successful movie biopic about the band released in 2010 starring Kristen Stewart as Jett. </p> <p>While the Runaways were crucial to Joan’s development, it was her solo career that made her a household name. A succession of Top 40 hits including “Bad Reputation,” “Crimson &amp; Clover,” “Do You Wanna Touch Me (Oh Yeah)” and the 1981 monster smash “I Love Rock ’N’ Roll” cemented her status as the quintessential queen of noise. And the accompanying MTV videos didn’t hurt either. </p> <p> If you had to design a woman rocker from the ground up, it would probably look a helluva lot like Joan in videos like 1988’s “I Hate Myself for Loving You.” With her white Gibson Melody Maker slung low, she was sleek, tough and sexy—the living embodiment of the ultimate badass girl with a guitar. </p> <p> Image aside, as a musician, she’s no slouch either. One former Blackheart bandmate recently commented, “You could build a fortress on the foundation of Joan’s rhythm hand.” True, that. Her power chords detonate with the shattering force and clarity of a nail bomb going off at Tiffany’s, and outside of AC/DC’s Malcolm Young or Keith Richards, it’s hard to think of anybody that can lay down a groove like Joan. What’s her secret? That’s partly what we’re here to find out. </p> <p>It’s interesting to note that Joan rarely uses the word “rock” to describe her favorite music. Instead, she almost always refers to it by its somewhat antiquated and more formal name, “rock and roll.” Maybe it’s just out of habit, but perhaps it’s out of respect. It’s clear from our conversation Joan has a deep reverence for rock and roll. One thing is very certain: she clearly loves it. </p> <p><strong>How do you feel about being inducted into the Rock and Roll Hall of Fame?</strong></p> <p>It’s awesome and an honor. The Hall has inducted so many people that I look up to, so it’s incredible to be counted among them. That said, it’s not something I ever aspired to. When I write songs or play music it’s not something I really think about. You just want to tour and get your songs out. I mean this in the best way, but the Rock and Roll Hall of Fame is just an aside. </p> <p>The part that I think is really positive about the Hall of Fame is that rock isn’t being acknowledged at the Grammy’s and other music awards shows, so it’s cool that we have our own moment. And I really hope it stays focused on rock, because all other music already gets acknowledged on all the other shows. </p> <p><strong>You are being inducted with two other musicians that are cut from the same cloth. Both Lou Reed and Billie Joe Armstrong of Green Day are great singer/rhythm guitarists. Did you ever hang with Lou and his legendarily decadent crew in the Seventies?</strong></p> <p>No, unfortunately. In the early days, I was based on the West Coast and he was in New York City. However, I remember buying Transformer with “Walk on the Wild Side” as a kid and I was really impressed with how it freaked people out! People would say he couldn’t carry a tune, but that wasn’t the point. He was a storyteller and singing about things nobody else was talking about at the time.</p> <p>I finally met Lou at a Rock and Roll Hall of Fame ceremony a few years ago. We were sitting at different tables near each other, and that particular year there were a few acts being inducted that weren’t really rock and roll. We just kept looking at each other, making faces. It was a special moment between the two of us, because no one else saw what we were doing. [laughs]</p> <p><strong>When you were in the Runaways, you actually covered Lou Reed’s song “Rock and Roll,” but you did it more in the style of Mitch Ryder’s great 1971 version of the song.</strong></p> <p>Yeah, the weird thing is, we weren’t even aware of Lou Reed’s version at that time. We had heard Mitch Ryder’s version and fell in love with the great guitar riff that kicks off the song so we focused on that. A couple years later I started listening to Lou’s original recording, and as a rhythm guitar player I started liking it more, because it had a weird rhythm to it. It has an extra bar tucked in, which is something I always find intriguing. </p> <p><strong>“I Love Rock ’N’ Roll,” your biggest hit, actually has that extra bar in it.</strong></p> <p>The two songs are connected in a funny way. I first heard “I Love Rock and Roll” in England while the Runaways were touring. It was the B-side of a single by a group called the Arrows and I immediately thought it sounded like a hit. I played it for the band, but they didn’t want to do it because we had just recorded “Rock ’N’ Roll” and they didn’t think it was a good idea to have two songs on the same album with the words “rock ’n’ roll” in the title, so we didn’t do it. I thought to myself, I’ll just stick it in my back pocket, and maybe we’ll revisit in another album or two. Anyway, the band broke up, I ended up recording it for my solo album and the rest is history.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>You were only 15 when you formed the Runaways and had been playing guitar for just a couple of years, yet your rhythm playing was already rock-solid. Was that just something that came naturally?</strong></p> <p>After my first guitar teacher tried to discourage me from playing rock and roll, I went out and bought one of those teach yourself how to play guitar books and learned all the basic open chords and barre chords and started playing along with records. The first songs I was able to figure out were things like “Smoke on the Water” by Deep Purple, Black Sabbath songs like “Iron Man” and “Sweet Leaf” and “Bang A Gong” by T. Rex. </p> <p>I immediately gravitated to power chords because I found I could be more rhythmically accurate with them and they sounded closer to the music I was listening to. But to answer your question, I never really thought about whether I was any good or could keep a beat, I just played along to albums. My bigger problem was that I was alone—I couldn’t find other kids to rock out with. </p> <p>Eventually my family moved from Rockville, Maryland, to California, which was really great because I knew there had to be other girls in Los Angeles that could play music and maybe I could form a band. That idea really motivated me. Not long after, I met Sandy West, who would eventually be the drummer for the Runaways. She was a big, strong girl and her idol was Led Zeppelin’s John Bonham and she played like him. We set up in the rec room of her house and just started to jam, and the sound was so powerful we knew we were on to something. We said, “We gotta go find some other girls.” I knew pretty quickly that I was a rhythm guitar player and not a lead player—I just wasn’t interested in that. </p> <p><em><a href=";utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=JoanExcerpt">This is an excerpt from the all-new May 2015 issue of Guitar World. For the rest of the story, head here.</a></em></p> <p><em>Photo: Jimmy Hubbard</em></p> <p><img src="/files/imce-images/Screen%20Shot%202015-04-17%20at%2012.03.07%20PM.png" width="620" height="807" alt="Screen Shot 2015-04-17 at 12.03.07 PM.png" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/joan-jett">Joan Jett</a> </div> </div> </div> </fieldset> Brad Tolinski Joan Jett May 2015 Interviews News Features Magazine Fri, 17 Apr 2015 16:11:31 +0000 Brad Tolinski Stevie Ray Vaughan on 'Austin City Limits' — Three of SRV's 30 Greatest Recordings of All Time <!--paging_filter--><p>For someone who spent a mere seven and a half years as a heavy player on the world stage, Texas guitar-slinger Stevie Ray Vaughan left behind a wealth of recorded material—and one hell of a legacy.</p> <p>In that blink of an eye between his incongruous appearance on David Bowie’s <em>Let’s Dance</em> in 1983 and his death in a freak helicopter crash in 1990, Vaughan unleashed four indispensable studio albums that hijacked the trajectory of modern blues guitar. </p> <p>Without the aid of light shows, edgy haircuts and goofy rock-star posturing, he introduced the MTV generation to passion-fueled guitar music—not to mention the work and importance of Jimi Hendrix, Albert King, Buddy Guy and Howlin’ Wolf.</p> <p>He even had time to star in his own mini rock-star drama of drug and alcohol addiction, breakdown, recovery and triumphant return.</p> <p>In the October 2014 issue of <em>Guitar World</em>—in honor of what would have been Vaughan’s 60th birthday (It’s about as difficult to picture SRV at 60 as it is to picture Hendrix at 72)—we looked back at what we consider his 30 greatest guitar moments. Our list digs deep into his six-string artistry, while taking historical importance and other factors into account. </p> <p>In terms of material, we’ve considered everything, including his official studio work and numerous posthumous studio and live releases—basically everything that will be included on Legacy Recordings’ new 13-disc box set, <em>Stevie Ray Vaughan and Double Trouble: The Complete Epic Album Collection</em>, which was released in October, the anniversary of Vaughan’s birth. </p> <p>We also considered his DVDs and videos available on YouTube—pretty much everything and anything he recorded with a Fender Strat, a guitar that, as reported elsewhere in this issue, also happens to be celebrating its 60th anniversary this year. </p> <p>Today we focus on three performances from Vaughan's October 1989 performance on <em>Austin City Limits</em>. These recordings represent numbers 5, 11 and 12 on our Top 30 list. Enjoy!</p> <p><strong>05. “Leave My Girl Alone”</strong><br /> <strong>(<em>Austin City Limits</em>, 1989; released on <em>The Real Deal: Greatest Hits 2</em>, 1999)</strong></p> <p>One of the most frustrating things about Vaughan’s tragic death in August 1990 was the fact that, in the last two years of his life, his playing had somehow improved. Vaughan’s (and the rest of the band’s) coke-induced distractions were snuffed out, and his portal—that magical gateway that connected the guitarist to his unique source of inspiration, divine or otherwise—was wide open. </p> <p>A perfect example is this live 1989 version of Buddy Guy’s “Leave My Girl Alone,” recorded on the <em>Austin City Limits</em> TV show. </p> <p>Eric Clapton has mentioned how Jeff Beck “pulls” notes from his guitar; in this case, Vaughan is clearly “pushing” the notes out of his Strat, all in relentless, lightning-fast bursts that make you wonder what you’ve been doing with your life. </p> <p>His ominous groans between phrases underscore the passion and excitement he felt during every performance, especially when he was able to experience his surroundings as a clean and sober guitar god. — <strong><em>DF</em></strong></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>11. “Mary Had a Little Lamb”</strong><br /> <strong> (<em>Austin City Limits</em>, 1989)</strong></p> <p>“When I go out and play [“Mary Had a Little Lamb”], I can hear people say, ‘Oh, that's Stevie's number,’ ” Buddy Guy once said. “So I say, ‘Okay man, that's Stevie's number.’ But Stevie knows whose number it was.” </p> <p>“Mary,” the first Guy composition to be recorded by Vaughan, was the perfect canvas for Vaughan and keyboardist Reese Wynans to slather with their mad skills. </p> <p>Like the rest of this priceless 1989 <em>Austin City Limits</em> broadcast, Vaughan is simply on fire. </p> <p>Between the song’s funked-up sections, he delivers a series of stellar, note-perfect solos that careen and soar with the aid of some nifty whammy-bar action. — <strong><em>DF</em></strong></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>12. Tightrope </strong><br /> <strong>(<em>Austin City Limits</em>, 1989)</strong></p> <p>When Stevie cut 1989’s <em>In Step</em>, his last studio effort with Double Trouble, he showcased more of an R&amp;B/soul approach than ever before, evidenced by the hit tracks “Crossfire” and “Tightrope.” “Tightrope” is a straightforward 4/4 groover with a James Brown–meets–Albert King type of feel. </p> <p>Shot on October 10, 1989, for <em>Austin City Limits</em>, Stevie’s performance is extraordinary, displaying a combination of raw power, deep emotion and technical brilliance in perfect measure. </p> <p>His Fuzz Face–drenched solo is crushing in its power while also beautifully melodic and precise. </p> <p>The intense multi-string bent vibratos at the start of his outro solo (3:42–3:46) are just the tip of the iceberg as he closes out this truly masterful performance. <strong>— <em>AA</em></strong></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> Austin City Limits Damian Fanelli GWLinotte October 2014 Stevie Ray Vaughan Videos News Features Magazine Fri, 17 Apr 2015 15:58:22 +0000 Damian Fanelli, Andy Aledort Guitar World DVD: Go 'In Deep' with Stevie Ray Vaughan <!--paging_filter--><p>One of the most important electric blues artists of the 20th century, Stevie Ray Vaughan revived blues rock and influenced guitarists across many genres with his fiery, soulful playing. </p> <p>A new instructional DVD from <em>Guitar World</em>, <em>In Deep with Stevie Ray Vaughan</em>, will teach you everything you need to master his techniques and unlock the secrets of his indelible style. </p> <p>You'll learn how to play in SRV's style using licks, patterns and tricks that will transform your blues playing overnight! <em>In Deep with Stevie Ray Vaughan</em> features more than 60 minutes of instruction! </p> <p><strong>Highlights include:</strong></p> <p> • Essential Licks &amp; Phrases<br /> • Uptempo &amp; Slow Blues<br /> • Mastering the "Stevie Shuffle"<br /> • Great SRV Turnarounds<br /> • Phrasing, Bending &amp; Chords</p> <p>Your instructor is Andy Aledort, a longtime contributor to <em>Guitar World</em> magazine and the author and producer of literally hundreds of artist transcriptions, books and instructional DVDs, Andy has influenced and inspired guitarists around the world for decades. </p> <p><strong>Note: This product includes a PDF booklet on the DVD and can be retrieved by opening the DVD on your computer.</strong></p> <p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=InDeepSRV">This DVD is available now at the Guitar World Online Store for $14.99.</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="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> Stevie Ray Vaughan In Deep with Andy Aledort News Features Fri, 17 Apr 2015 15:39:43 +0000 Guitar World Staff Crobot Premiere New Song, "Full Moon Howl" — Exclusive <!--paging_filter--><p>Fresh off their spring headline tour, Pennsylvania rockers Crobot return today with their new single, "Full Moon Howl," which you can check out below. </p> <p>The track screams with attitude, bursting with monster guitar riffs and a manic bass line. </p> <p>"Full Moon Howl" is a bonus track from the band's new deluxe reissue of their debut album, <em>Something Supernatural.</em></p> <p>Crobot are releasing two deluxe components to the album: <em>The Something Supernatural Full Moon Edition</em>, a deluxe digital album featuring four new tracks, and the <em>Full Moon Howl</em> LP, a limited-edition 10-inch picture disc featuring four new tracks and a never-before-released live track. </p> <p>Crobot will join Volbeat and Anthrax for a North American arena tour April 24 to June 2. You can check out their current tour dates below.</p> <p><strong>The band includes Brandon Yeagley (lead vocals, harmonica), Chris Bishop (guitar, vocals), Jake Figueroa (bass) and Paul Figueroa (drums). For more about Crobot, visit <a href=""></a></strong></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> <p><strong>Catch Crobot on the road in the following cities:</strong></p> <p><em>Headlining Dates:</em><br /> 4/16 – Midland, TX – Blue Max<br /> 4/19 – Mesa, AZ – Club Red<br /> 4/20 – West Hollywood, CA – Viper Room<br /> 4/21 – Las Vegas, NV - LVCS</p> <p><em>With Volbeat &amp; Anthrax:</em><br /> 4/24 – Denver, CO – 1stBAND Center<br /> 4/25 – Rapid City, SD – Rushmore Plaza Civic Center<br /> 4/27 – Spokane, WA – Spokane Arena<br /> 4/28 – Missoula, MT – Adams Center<br /> 4/29 – Seattle, WA – WaMu Theater<br /> 5/1 – Grand Prairie, AB – Revolution Place<br /> 5/2 – Edmonton, AB – Rexall Place<br /> 5/3 – Calgary, AB – Calgary Stampede Central<br /> 5/4 – Saskatoon, SK – SaskTel Centre<br /> 5/6 – Regina, SK – Brandt Centre<br /> 5/7 – Grand Forks, ND – Ralph Englestad Arena<br /> 5/12 – Oshawa, ON – General Motors Centre<br /> 5/14 – Quebec City, QC – Quebec Colisee Pepsi<br /> 5/15 – Montreal, QC – CEPSUM Montreal<br /> 5/18 – Saginaw, MI – Dow Events Center<br /> 5/19 – Evansville, IN – Ford Center<br /> 5/20 – Chicago, IL – Aragon Ballroom<br /> 5/22 – Sioux City, IA – Tyson IBF Events Center<br /> 5/27 – Dallas, TX – Verizon Grand Prairie<br /> 5/28 – Houston, TX – Bayou Music Center<br /> 5/31 – St Louis, MO – Outdoors at Pop’s<br /> 6/2 – New York, NY – Hammerstein Ballroom</p> <p><em>Festivals: </em><br /> 5/9-Somerse, WI – Float Rite Amphitheater – Northern Invasion<br /> 5/17-Columbus, OH – Columbus Crew Stadium – Rock on the Range<br /> 5/23 – Pryor, OK – Pryor Creek Music Festival – Rocklahoma<br /> 5/24 – San Antonio, TX – AT&amp;T Center – River City Rockfest<br /> 5/30 – Kansas City, MO – Liberty Memorial Park – KC Rockfest</p> Crobot News Fri, 17 Apr 2015 11:11:56 +0000 Damian Fanelli Betcha Can't Play This: Doug Aldrich's Three-Octave Pentatonic Ascent <!--paging_filter--><p>This is a triplet-based run in A minor that starts out in the low register and moves up and across the fretboard, spanning three octaves before settling into a single position and moving back across the strings. </p> <p> I’m using hammer-ons and pull-offs in combination with picking to achieve a fast stream of notes that "pops" and flows. Each pair of triplets in bar 1 is played within a compact four-note shape that I fret with my index and ring fingers. </p> <p> When I get to the top two strings in bar 2, I continue the same phrasing approach and bring the pinkie into play to incorporate wide intervals and big fret-hand stretches and use quick position shifts to ascend the neck. On beat three of bar 2 I melodically outline a Gadd2 chord [G A B D], which creates a nice sense of harmonic movement in an otherwise A minor pentatonic [A C D E G] tonality.</p> <p> Once I get to the high A note at the 17th fret at the end of bar 2, I stay in the 14th-position A minor pentatonic box pattern for the remainder of the lick and work my way back over to the low E string, using double pull-offs in conjunction with chromatic passing tones at the 16th fret on the top two strings. </p> <p>At the end of bar 3, I play a Jeff Beck–inspired move, picking the C note at the 17th fret on the G string followed by a big, one-and-one-half-step "over-bend" up to that same pitch from A, three frets lower, pulling the string downward with my index finger. </p> <p>I also do a little bit of string skipping to disguise the sound of the scale pattern, and I finish the lick by adding the ninth, B, to the scale to suggest an A natural minor [A B C D E F G] sound. As I did with the bend, I add vibrato to the final note by pulling the string down, which is the only way to bend the low E string.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/doug.jpg" width="620" height="348" alt="doug.jpg" /></p> Betcha Can't Play This Doug Aldrich November 2008 Videos News Lessons Magazine Thu, 16 Apr 2015 21:53:59 +0000 Doug Aldrich