News en Bon Jovi Fans Think Bon Jovi Are the Best American Rock Band Ever <!--paging_filter--><p>Early last month, we at launched our latest readers' poll, the Best American Rock Band Ever.</p> <p>Although we had thousands of great bands to choose from when kicking off the poll, we decided to narrow things down to 32, which is perfect for a month's worth of matchups. All the bands were selected by <em>Guitar World's</em> editorial staff.</p> <p>The poll included current bands and classic bands that disappeared into the woodwork decades ago. The fill list included: </p> <p><strong>Aerosmith, Alice In Chains, the Allman Brothers Band, the Beach Boys, Bon Jovi, Bruce Springsteen and the E Street Band, Creedence Clearwater Revival, the Doors, Eagles, Foo Fighters, Grateful Dead, Green Day, Guns N' Roses, Heart, Kiss, Lynyrd Skynyrd, Metallica, Nirvana, Pearl Jam, Queens of the Stone Age, Ramones, Red Hot Chili Peppers, R.E.M., Soundgarden, Steely Dan, Steve Miller Band, Stevie Ray Vaughan and Double Trouble, Styx, Tom Petty and the Heartbreakers, Van Halen, the White Stripes and ZZ Top.</strong></p> <p>Anyway, in the end, the title went to Bon Jovi, who battled it out over three days (this past Friday through Sunday) with Tom Petty and the Heartbreakers. If nothing else, the poll proved that Bon Jovi fans think Bon Jovi are the best American band ... of all time.</p> <p>So, on that note, thanks to everyone who voted legitimately. We actually received thousands upon thousands of page views and votes (not to mention scores of interesting comments). Thanks also to the crew at <a href="">Sweetwater,</a> who sponsored the poll. </p> <p>Below, you can check out the final bracket. Till next time!</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View Final on Scribd" href="" style="text-decoration: underline;" >Final</a></p> <p><iframe class="scribd_iframe_embed" src=";view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_88758" width="100%" height="500" frameborder="0"></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="/bon-jovi">Bon Jovi</a> </div> </div> </div> </fieldset> Best American Rock Band Ever Bon Jovi News Mon, 12 Oct 2015 15:52:23 +0000 Guitar World Staff 25625 at Zakk Sabbath, Zakk Wylde's Black Sabbath Cover Band, Play "War Pigs" <!--paging_filter--><p>Late last week, Zakk Wylde's Black Sabbath cover band, Zakk Sabbath, performed a set at <a href="">the Slidebar</a> in Fullerton, California.</p> <p>Below, you can watch two decent fan-filmed clips of the band playing "War Pigs" from the October 8 show.</p> <p>Besides Wylde on guitar and vocals, Zakk Sabbath features bassist Rob "Blasko" Nicholson and drummer Joey Castillo.</p> <p>While we're sort of on the topic:</p> <p>In a 2014 interview with Songfacts, Wylde said he didn't think the Ronnie James Dio-fronted version of Sabbath stayed true to the band's original sound. </p> <p>"You listen to Black Sabbath with Ronnie James Dio in it, and it's not Black Sabbath," said Wylde, who spent several years as Ozzy Osbourne's guitarist. "They should have just called it Heaven &amp; Hell right from the beginning. Because you listen to that <em>Heaven and Hell</em> album, that doesn't sound anything close to Black Sabbath. I mean, that sounds about as much like Black Sabbath as <em>Blizzard of Ozz</em> sounds like Black Sabbath. </p> <p>"If you were to play Black Sabbath for me—and I'm a huge Sabbath freako—and then with Father Dio over there, I'd be going, 'Oh, cool, what band is this? This is good stuff.' I mean, the songs don't even sound Black Sabbath-y. I mean, 'Neon Knights,' could you picture Ozzy singing over that song? I can't either. It's weird. It's a whole different band."</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="/zakk-wylde">Zakk Wylde</a> </div> <div class="field-item even"> <a href="/black-sabbath">Black Sabbath</a> </div> </div> </div> </fieldset> Black Sabbath Zakk Sabbath Zakk Wylde Videos News Mon, 12 Oct 2015 12:20:17 +0000 Damian Fanelli 25631 at Tony Iommi, Steve Vai, Zakk Wylde, Warren Haynes Recruited for 2016 Rock Fantasy Camp <!--paging_filter--><p>Steve Vai, Tony Iommi, Zakk Wylde and Warren Haynes have signed on for the 2016 edition of Rock ’n’ Roll Fantasy Camp, taking place February 11–14 in Los Angeles.</p> <p>The guitarists will take part in the camp’s Q&amp;A sessions and the concluding jam session at the Whisky a Go Go.</p> <p>Other star participants include Sammy Hagar guitarist Vic Johnson, Quiet Riot bassist Rudy Sarzo, Dio drummer Vinny Appice, and drummer Carl Palmer of Emerson, Lake &amp; Palmer.</p> <p>Attendees will be assigned to a band and work with guest star counselors to write songs, learn techniques for their instrument and acquire insights into the music business.</p> <p>The camp includes regularly scheduled jam sessions with counselors based around the music of Led Zeppelin, Ozzy Osbourne, Black Sabbath and others. Campers will also get a video download of the final night’s concert and have opportunities to interact with the guest stars participating in the camp.</p> <p>The 2016 Rock ’n’ Roll Fantasy Camp has packages starting at $5,999 and offers a Jr. Rockers program for kids 10–16 for $4,999. For complete information, visit <a href=""></a></p> News Mon, 12 Oct 2015 10:19:09 +0000 Guitar World Staff 25630 at Sparkle and Fade: The 50 Essential Albums of 1995 <!--paging_filter--><p>We've already taken a look at <a href="">the albums that defined 1985</a>, <a href="">the most iconic albums of 1975</a> and <a href="">the most important albums of 1965.</a> </p> <p>Now it's time to take a look at 1995. </p> <p>Nineteen hundred and ninety-five was a strange year for rock. It was defined by the final releases by some of classic rock's greatest, and the debuts of other, more current greats of the genre. </p> <p>More than anything, though, the year was defined by the gaping hole left at the forefront of rock by the tragic death of Nirvana's Kurt Cobain the previous year, and the wildly different approaches bands of various genres took to attempt to fill that gap. </p> <p>On the grunge side, Billy Corgan took Smashing Pumpkins on their most ambitious ride yet, the brilliant, but intimidatingly large-scale (and atrociously named) double album, <em>Mellon Collie and the Infinite Sadness</em>. Alice In Chains, meanwhile, struggled through vocalist Layne Staley's heroin addiction to produce a layered, intricately detailed self-titled album that pushed the band, and the genre, in entirely new directions. </p> <p>An unlikely English quintet named Radiohead threw off the shackles of their one-off hit "Creep" and crafted a harrowing tour de force of modern rock on their second album, <em>The Bends</em>, while Dave Grohl, Nirvana's old drummer, found his own powerful voice on the self-titled debut album of his new band, Foo Fighters. </p> <p>For some of rock's old guard, 1995 served as a curtain call. Pink Floyd released a searing live document of their final tour, while the Ramones, punk's greatest troopers, put out the appropriately titled <em>¡Adios Amigos!</em>. The Beatles, meanwhile, explored their past together on the fascinating first volume of the essential rarities collection, <em>Anthology</em>. </p> <p>But while 1995 served as a farewell for some, it was an introduction to other bands who would leave a tremendous mark. The demise of alt-country legends Uncle Tupelo gave us two fantastic debuts in Wilco's <em>A.M.</em> and Son Volt's <em>Trace</em>. Meanwhile, up in Washington state, Sleater-Kinney set their sights on the rock world for the first time with their own fierce debut. </p> <p>Bruce Springsteen went acoustic again on the world-weary <em>The Ghost of Tom Joad</em>, while Neil Young teamed up with Pearl Jam for the hard-rocking masterclass, <em>Mirror Ball</em>. </p> <p>Ninety-five was a strange year, but ultimately an endearing one with great records aplenty. Enjoy the photo gallery below. Remember you can click on each photo to take a closer look!</p> <p><strong>NOTE: This list is presented in alphabetical order!</strong></p> 1995 News Features Sun, 11 Oct 2015 19:39:46 +0000 Guitar World Staff, Intro by Jackson Maxwell 24697 at Exploring Nine of Dunlop's Best Cry Baby Wah-Wah Pedals — Video <!--paging_filter--><p>The Cry Baby Wah is one of the most iconic effects in music history, and its creation was an accident. </p> <p>In 1966, Thomas Organ Company engineer Brad Plunkett was testing a new amplifier tone circuit when he and his colleagues heard the strange but alluring effect created when he moved the tone control from left to right. Plunkett’s colleagues suggested putting the circuit into a volume pedal, and the Cry Baby Wah was born. </p> <p>Thomas Organ Company produced the pedal until 1981, when the company shut its doors.</p> <p>In 1982, Dunlop acquired the Cry Baby name and everything that remained at the original factory, from schematics to parts and tooling. Since then, the Cry Baby line has grown to include wah pedals for virtually any tonal and functional need. They can be classed into three general categories: Vintage, Multi-Functional and Signature. Wahs in the Vintage category are designed to recreate classic sounds from the early days. </p> <p>Multi-functional wahs are all about tonal and functional options. Signature wahs are designed to accommodate the unique and specific needs of some of the world’s top touring and recording guitar players. In the photo gallery below, we take a look at the most popular pedals in each category.</p> <p><strong>Bonus Video</strong></p> <p>GW's Paul Riario recently visited Dunlop HQ in California, where he tried out three signature Cry Baby pedals—the Slash, Dimebag Darrell and Jerry Cantrell models. You can see the results in the bonus video below. Note that all three of these pedals are included in our nine-pedal roundup below.</p> <p><strong>For more about Dunlop's Cry Baby pedals, visit <a href=""></a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Cry Baby Dunlop Jim Dunlop October 2015 Videos Effects News Features Gear Magazine Sun, 11 Oct 2015 18:08:52 +0000 Guitar World Staff 25183 at Columbus Day Sale: Save 25 Percent at the Guitar World Online Store <!--paging_filter--><p>Be sure to take advantage of <em>Guitar World's</em> Columbus Day Sale! </p> <p>Through October 13, 2015, take 25 percent off your purchase at the <a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=25Columbus">Guitar World Online Store.</a></p> <p>That goes for everything, including DVDs, T-shirts and more!</p> <p>Just be sure to use code <strong><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=25Columbus">25COLUMBUS</a></strong> at checkout. Once again, that's <strong>25COLUMBUS</strong>.</p> <p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=25Columbus">Head to the Guitar World Online Store now!</a></strong></p> News Features Sun, 11 Oct 2015 17:18:51 +0000 Guitar World Staff 25627 at Recording King Introduces Four New Resonator Guitars <!--paging_filter--><p>Recording King has introduced four new wood-body resonators perfect for traditional blues, bluegrass and roots players. </p> <p>The RR-51, 55, 61 and 65 deliver historic resonator tone and style with designs based on history's venerable resophonic instruments.</p> <p>The new resonators are available in roundneck and squareneck styles. The RR-51 roundneck and its squareneck counterpart (RR-61) are all-mahogany resonators finished in vintage-style brown satin. The hand-spun Recording King spider cone delivers powerful resonator sound immediately familiar to roots music aficionados. </p> <p>The traditional-style soundwell and soundholes are placed to optimize bass and treble frequencies as they exit the body for the perfect dry, throaty resonator sound. The mahogany neck and body give the 51 and 61 classic “hog” style warmth in either roundneck or squareneck versions. A bone nut and bell brass tailpiece complete the classic design, and accentuate the crisp metallic resophonic tone players demand.</p> <p>The RR-55 roundneck and 65 squareneck all-maple resonators deliver a slightly brighter sound that modern slide and blues players will love. Both share the same body design and Recording King cone as the 51 and 61 but are finished in vintage sunburst.</p> <p>All four instruments are equipped with Grover vintage-style tuners. Roundneck models (51 and 55) have a comfortable 1-3/4” nut width familiar to blues-lovers.</p> <p>Whether you're a singer/songwriter, blues, slide or bluegrass player, the new Recording King resonators offer classic tone, classic looks and classic vibe in roadworthy instruments.</p> <p>The roundneck (RR-51/55) and squareneck (RR-61/65) versions all have a street price of $549.99 and are available from RK dealers now. Learn more about all four resonators at <a href=""></a></p> <p><img src="/files/imce-images/RK-2015-Resonators.jpg" width="620" height="474" alt="RK-2015-Resonators.jpg" /></p> Acoustic Nation News Recording King Gear Acoustic Guitars Blogs News Gear Fri, 09 Oct 2015 18:35:26 +0000 Guitar World Staff 25624 at 'Fallen': Michael Sweet on Stryper's New Album, His Signature Washburn Guitar and More <!--paging_filter--><p>In a world filled with anger and angst, Stryper’s mantra has always been to shine a light in a dark place with their music and message. It’s something they’ve been doing for more than 30 years.</p> <p>On Stryper’s new album, <em>Fallen,</em> which will be released October 16, we find Michael Sweet (guitars/vocals), Oz Fox (guitars), Timothy Gaines (bass) and Robert Sweet (drums) continuing that trend with what’s possibly the band’s heaviest album to date. </p> <p>Songs like “Yahweh” (co-written by Sevendust's Clint Lowery) fuse tight thrash guitars with muscular groove while “Pride” and “Big Screen Lies” weave intricate fretwork with anthemic refrains. Stryper even pays homage to Black Sabbath with a tasty cover of “After Forever.”</p> <p>I recently spoke to Sweet about <em>Fallen</em> and his new signature Washburn guitar, the MS Priestess.</p> <p><strong>GUITAR WORLD: You’ve said <em>Fallen</em> is Stryper’s heaviest album to date. Was that the plan for it going in?</strong></p> <p>It definitely was. We’ve had people for a number of years saying how they wanted to hear heavy music, as did we. This album was an opportunity for us to not only please our fans but also to please ourselves. Stryper has always been a metal band; going back to <em>Yellow And Black Attack, Soldiers Under Command</em> and <em>To Hell with the Devil.</em> We came back to that with a fury with <em>No More Hell to Pay.</em> Now with <em>Fallen,</em> its come full circle. It’s our heaviest album, and I’d even go as far as to say that it’s our best. </p> <p><strong>Let’s discuss a few songs from the new album. What can you tell me about the title track?</strong></p> <p>Lyrically, the song is based on the story of Lucifer before he became Satan and was kicked out of heaven. If you believe in the Bible, it talks about what a beautiful creation he was. But then pride entered in an incredibly ugly way and he tried to take over heaven and dethrone God. Obviously, he was then thrown out of heaven and became Satan. Musically, it’s a powerful throwback to the simplistic style of writing. It’s a simple but powerful riff. I come from the old school of thinking that sometimes the most powerful guitar riffs are the most simple of all.</p> <p><strong>"Big Screen Lies"</strong> </p> <p>That’s a very opinionated song. I feel that many times Christians are portrayed as idiots in films and on television. It’s funny how Hollywood often portrays us Christians as being morons. Whenever you see a Christian character in a movie or TV show, they’re often the ones you’re laughing at or rolling your eyes at. This song is about that. It’s a big arm up to Hollywood, saying, "Look, you’ve got it wrong and we’re on to you. That’s not the way it is." It’s the most modern-sounding track on the album with a cool, heavy riff and an anthemic chorus. </p> <p><strong>"Let There Be Light"</strong> </p> <p>It’s taken right out of the Book of Genesis. It’s a powerful song lyrically and a bit of a Bible study. Musically, it’s got a little of that swag and groove from the <em>Against the Law</em> period.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>"Yahweh"</strong></p> <p>My wife has always been a huge Sevendust fan, but I didn’t really know too much about them. I remember I was flying on a plane with LJ [Lajon Witherspoon] and Clint [Lowery], and they introduced themselves. We ended up exchanging information and I later reached out to Clint to see if he wanted to send a few riffs and be a part of the album. He said absolutely and sent me that opening riff. I took the riff and “Stryper-ized” it, and Clint just loved it. The song would have never come to pass if it weren’t for Clint.</p> <p><strong>"Pride."</strong></p> <p>That’s one of my favorites. It’s got this really cool riff going on and a catchy chorus. I’m also singing a little bit grittier and stretching the boundaries and trying a few different things. It’s talking about how so many times pride gets in the way and destroys our relationships. </p> <p><strong>What made you decide to include a Black Sabbath cover?</strong></p> <p>We’ve played Sabbath songs since we were kids, and this was an opportunity to show people where we come from. We thought, what better song for a band like Stryper to do than “After Forever”? If you read the words to that song, it’s about as Christian as it gets. That song was tailor made for us to cover.</p> <p><strong>What are your current tour plans?</strong></p> <p>I’ve been doing acoustic solo gigs throughout the year. Stryper did a few shows but took most of the year off. Next year, though, we’ll be touring a lot from April to November.</p> <p><strong>You have a new signature Washburn guitar. How did your relationship with <a href="">Washburn Guitars</a> begin?</strong></p> <p>I met with a few people at Washburn and got the sense that they really believed in what I was doing. They also happen to make killer guitars! Their Parallaxe guitars are amazing, and this new one, the Priestess MS, is phenomenal. I also have a V that’s coming any day now. It’s a reissue of my old V with a little bit different style and the same paint job people have come to expect from me. They’re killer guitars and I’m proud to play them.</p> <p><strong>What makes the MS Priestess so special?</strong></p> <p>Everything. From the wood that’s used to the placement of the knobs and even the use of medium frets. They’re the specs I like on a guitar. I have a 24-fret ebony neck and use <a href="">Seymour Duncan Blackout</a> pickups. I’ve also reversed the position of the pickups so that the bridge pickup is in the neck position and the neck pickup is in the bridge position. They both have very similar output but I really like the way it sounds. It’s not muddy and gives me a little bit more of my own signature tone. It’s also got a Big Block Brass from Adam Riever over at FU-Tone, which makes a huge difference in the tone. When people pick it up and play it, it sounds great.</p> <p><strong>Are there any other projects you’re working on?</strong></p> <p>I’m just starting to dive into a new solo album that I’ll start recording in November. Will Hunt from Evanescence will be drumming on it. It’s going to be guitar-oriented, old-school metal, no keyboards or big background vocals. This will be the record where people will say there’s no way that’s Michael playing guitar. </p> <p><strong>What are you most looking forward to about the next stage of Stryper’s career?</strong></p> <p>You know what’s most exciting? The fact that we’re still doing this. And not just that we’re doing it but we’re doing it better than we ever have before. We’re at our peak and have a lot left in us. It’s such a blessing to be alive and breathing and still making music 32 years later.</p> <p><em>For more about about Stryper, visit <a href=""></a></em></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href=""></a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="">Twitter @JimEWood.</a></em></p> James Wood Michael Sweet Stryper Washburn Interviews News Features Fri, 09 Oct 2015 17:17:34 +0000 James Wood 25622 at The Beatles' 10 Greatest Guitar Moments <!--paging_filter--><p>The Beatles were such talented songwriters that it’s easy to overlook the fact that their music has some great—and occasionally groundbreaking—guitar work. </p> <p>With that in mind, <em>Guitar World</em> decided to celebrate the 10 best guitar moments from the band's hit-making history. </p> <p>In assembling this list, we looked beyond our personal favorite songs and reflected on where John Lennon, George Harrison and Paul McCartney showed their talents as guitarists, whether in a solo, a riff, a technique or by their astute selection of instrument and arrangement. </p> <p>For some songs, we’ve gone a step further and analyzed the guitar work to give you insights into the magic that makes these moments so special. Enjoy! And be sure to share your thoughts in the comments below or on Facebook!</p> <p>If you'd like to delve much more deeply into this topic, be sure to check out <a href="">The Fab 50: The Beatles' 50 Greatest Guitar Moments.</a></p> <p><strong>10. “Something”</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>Ironically, while the Beatles were breaking apart in 1969, George Harrison was coming into his own as a songwriter and guitarist. </p> <p>His <em>Abbey Road</em> contribution “Something” is among his finest songs, and his guitar playing here and throughout the album is masterful. Harrison’s mellifluous lead lines, in particular, are more expressive than anything he’d done before, demonstrating his newfound confidence and evolving connection to his instrument and creative muse. </p> <p>Performed with his “Lucy” 1957 Gibson Les Paul played through a Leslie speaker, the solo simmers as Harrison turns up the heat on his melody and dynamics, then cools it down with bluesy restraint. </p> <p>“George came into his own on <em>Abbey Road</em>,” says Geoff Emerick, who engineered this and other <em>Abbey Road</em> sessions. “For the first time he was speaking out and doing exactly what he wanted to do. And of course he wrote these beautiful songs and we got a great new guitar sound.” </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. "I Want You (She’s So Heavy)"</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>John Lennon was composing some of the heaviest rock and roll in the Beatles’ catalog in 1969, and this song—true to its title—is among the most crushing, thanks to an abundance of doubled and overdubbed guitar lines that give it some serious sonic heft. </p> <p>Lennon wrote the song for Yoko Ono, with whom he was newly in love, and the result is a spellbinding exercise in obsessive repetition, from its lyrics—consisting almost entirely of the title and roughly five other words—to the ominous guitar lines that recur throughout it. </p> <p>Clocking in at 7:47, the song is also one of the Beatles’ longest. </p> <p>And although it consists of nothing more than a verse and a chorus repeated several times, it is rhythmically one of their most intricate tunes, switching between 12/8 meter and 4/4 rhythms alternately played bluesy and with a double-time rock beat. Few other artists could have made so much with so little. </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. "I’m Only Sleeping"</strong><br /> <strong><em>Revolver</em> (1966)</strong></p> <p>Harrison’s startling backward guitar solo on this Lennon-penned song is one of his greatest guitar moments on 1966’s <em>Revolver</em>.</p> <p>Over the previous year, he had used an expression pedal to create a volume-swelling sound, similar to a reverse-tape effect, on several tracks, including “Yes It Is” and “I Need You." </p> <p>But for “I’m Only Sleeping,” Harrison wanted to hear his guitar truly in reverse, a decision undoubtedly inspired by Lennon’s own retrograde vocals on “Rain,” recorded earlier the same month, April 1966.</p> <p>Rather than simply improvising guitar lines while the track was played backward, he prepared lead lines and a five-bar solo for the song and had George Martin transcribe them for him in reverse. Harrison then performed the lines while the tape was running back to front.</p> <p>The result is a solo that surges up from the song’s murky depths, suffusing it with a smeared, surreal, dreamlike ambience. Within a year, Harrison’s idea would be copied by such psychedelic rock acts of the day as the Electric Prunes, who employed it on their 1966 hit “I Had Too Much to Dream (Last Night),” and Jimi Hendrix, who used it to great effect on “Castles Made of Sand.” </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. "And Your Bird Can Sing"</strong><br /> <strong><em>Revolver</em> (1966)</strong></p> <p>This middle-period Beatles gem, written primarily by Lennon, features Harrison and McCartney on impeccably crafted and performed harmony-lead guitar melodies, a pop-rock arranging approach that was still in its infancy in 1966. (It would later be employed extensively in the southern rock genre by bands such as the Allman Brothers and Lynyrd Skynyrd as well as hard rock and metal acts like Thin Lizzy, Boston and Iron Maiden.) </p> <p>Together, Harrison and McCartney’s individual single-note harmony lead guitar parts form, for the most part, diatonic (scale-based) third intervals in the key of E. (Lennon performed his rhythm guitar part as if the song were in the key of D, using a capo at the second fret to transpose it up a whole step, as he did on “Norwegian Wood,” “Nowhere Man” and “Julia.”) </p> <p>The quick half-step and whole-step bends that Harrison and McCartney incorporate into their parts here and there in lock-step fashion are particularly sweet sounding. Heard together, they have the precise intonation of a country pedal-steel part performed by a seasoned Nashville pro. </p> <p>The harmonized lines that the two guitarists play over the “minor-drop” progression during the song’s bridge section, beginning at 1:05, reveal their musical depth and sophistication and command over harmony beyond the basic “I-IV-V” pop songwriting fodder.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. "A Hard Day’s Night"</strong><br /> <strong><em>A Hard Day’s Night</em> (1964)</strong></p> <p>It lasts all of roughly three seconds, but the sustained opening chord to this classic Beatlemania track is one of rock and roll’s greatest and most recognizable musical moments. </p> <p>Bright and bold as a tolling bell, it loudly announced in 1964 not just the start of the Beatles’ latest album but also the dawning of a cultural transformation that owed nearly everything to the group’s influence. </p> <p>The song was written to order for the Beatles’ feature-length film debut, <em>A Hard Day’s Night</em>. According to George Martin, “We knew it would open both the film and the soundtrack LP, so we wanted a particularly strong and effective beginning.” </p> <p>The dense harmonic cluster that Martin and the group created is the result of four instruments sounding simultaneously: Harrison on his 12-string Rickenbacker and Lennon on his Gibson J-160E acoustic, both strumming an Fadd9 chord (with a G on the high E); McCartney on his Hofner 500/1 bass, plucking a D note (probably at the 12th fret of his D string); and Martin on grand piano, playing low D and G notes. </p> <p>The resulting chord has been described as, technically, G7add9sus4, but to millions of eager listeners in 1964, it was simply the sound of an electrifying new era.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>05. "Revolution"</strong><br /> <strong><em>1966–1970</em> (1973)</strong></p> <p>At the time that this 1968 track was recorded, distortion was well established as an electronic effect for guitarists, but no one had ever used it to the extreme that the Beatles did here. </p> <p>According to Geoff Emerick, Lennon had been attempting to create distortion by cranking up his amp during sessions for “Revolution 1,” the slower version of the song, which the Beatles recorded in May and June of 1968. </p> <p>Emerick had abetted his efforts by overloading the preamp on the microphone used to record Lennon’s guitar, but even this wasn’t enough for Lennon, who told the engineer, “ ‘No, no, I want that guitar to sound dirtier!” </p> <p>By the July recording of “Revolution,” Emerick determined that he could distort the signal even more by patching Lennon and Harrison’s guitars directly into the mixing console via direct boxes, overloading the input preamp and sending the signal into a second overloaded preamp. </p> <p>“I remember walking into the control room when they were cutting that,” recalls Abbey Road engineer Ken Scott, “and there was John, Paul and George, all in the control room, all plugged in—just playing straight through the board. All of the guitar distortion was gotten just by overloading the mic amps in the desk.” </p> <p>As Emerick himself notes in his 2006 memoir <em>Here, There and Everywhere</em>, it was no mean feat: the overloaded preamps could have caused the studio’s tube-powered mixer to overheat. “I couldn’t help but think: If I was the studio manager and saw this going on, I’d fire myself.”</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. "Here Comes the Sun"</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>Harrison’s jangly chord-melody playing on this song is exemplary. Using first- and second-position “cowboy” chords with a capo at the seventh fret, the guitarist loosely doubles and supports his catchy, syncopated vocal melody by working it into the top part of his acoustic-guitar accompaniment. </p> <p>He does this by using a “picky-strummy” technique (similar to what Neil Young would later employ in his song “The Needle and the Damage Done”), in which the pick hand gently swings back and forth over the strings in an unbroken down-up-down-up movement, like a pendulum viewed sideways. </p> <p>In doing so, Harrison selectively grazes certain strings on various downbeats and eighth-note upbeats, resulting in a seemingly casual mix of full-chord strums, single notes and two-note clusters that form a pleasing stand-alone guitar part that could easily appeal as a solo instrumental performance. </p> <p>The high register achieved by using the capo so far up the neck—the song is played as if it were in the key of D but sounds in A, a perfect fifth higher—makes the guitar sound almost like a mandolin, an effect similar to that achieved by Bob Dylan on “Blowin’ in the Wind” (also performed capo-7).</p> <p>Also noteworthy are the ringing and musically compelling arpeggio breaks that punctuate the song in various spots, such as after the first verse (immediately following the lyric “It’s all right”) and during the bridge/interlude section, behind the words “sun, sun, sun, here it comes.” </p> <p>Harrison employs a highly syncopated “1-2-3, 1-2-3, 1-2-3, 1-2-3, 1-2, 1-2” phrasing scheme in the first instance and “1-2-3, 1-2-3, 1-2-3, 1-2-3, 1-2” in the latter, creating a rhythmic “hiccup” that resets the song’s eighth-note pulse. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. "Taxman"</strong><br /> <strong><em>Revolver</em> (1966)</strong></p> <p>Bassist Paul McCartney had first demonstrated his six-string talents on 1965’s <em>Help!,</em> where he played lead guitar on several tracks and performed on acoustic guitar for his song “Yesterday.” </p> <p>But McCartney would truly come into his own as a guitarist with this cut from 1966’s <em>Revolver</em>. His stinging solo, performed on his 1962 Epiphone Casino through his cream-colored 1964 Bassman amp, is a stunningly sophisticated creation, drawn from an Indian-derived Dorian mode and featuring descending pull-offs that recall Jeff Beck’s work on the Yardbirds’ “Shapes of Things,” released earlier that year. </p> <p>How the solo came to be played by McCartney—and not Harrison, who wrote the song and was the Beatles’ lead guitarist—is a story in itself. </p> <p>According to Geoff Emerick, Harrison struggled for two hours to craft a solo before producer George Martin suggested he let McCartney give it a try. McCartney’s solo, Emerick says, “was so good that George Martin had me fly it in again during the song’s fadeout.” Portions of it, played backward, were also applied to the Revolver track “Tomorrow Never Knows.” </p> <p>Apparently, Harrison didn’t feel slighted. At the time of making <em>Revolver</em>, he was ambivalent about his musical ambitions and pondering Indian mysticism, to which he would eventually convert. </p> <p>“In those days,” he said, “for me to be allowed to do my one song on the album, it was like, ‘Great. I don’t care who plays what. This is my big chance.’ I was pleased to have him play that bit on ‘Taxman.’ If you notice, he did like a little Indian bit on it for me.”</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. "While My Guitar Gently Weeps"</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>“While My Guitar Gently Weeps” has become one of George Harrison’s signature tunes, but when he wrote the song in 1968, he couldn’t get his band mates to take an interest in it. </p> <p>Frustrated, he asked his pal Eric Clapton to sit in on the recording session for the track, hoping his presence would put the group on its best behavior. Clapton accepted the invitation and delivered a performance that remains a high point in the Beatles’ catalog. </p> <p>For the session, Clapton played a 1957 Les Paul “Goldtop” that had been refinished in red. He’d purchased the guitar in New York City sometime in the Sixties and in 1968 gifted it to Harrison, who nicknamed it Lucy. </p> <p>The guitar was already in Harrison’s possession at the time of this recording. When he picked up Clapton to take him to the studio for the Beatles session, the famous guitarist was empty handed. “I didn’t have a guitar,” Clapton recalls. “I just got into the car with him. So he gave me [Lucy] to play.”</p> <p>Harrison was concerned that Clapton’s solo was “not Beatley enough,” as the group was by the time of this recording well known for its sonic innovation. </p> <p>During the song’s mixing stage, the group had engineer Chris Thomas send Clapton’s signal through Abbey Road’s ADT—Automatic Double Tracking—tape-delay system and manually alter the speed of the delay throughout Clapton’s performance, making the pitch sound chorused. (The effect is especially noticeable in the final measure of the second middle-eight, after the line “no one alerted you.”) Ironically, while the solo is one of Clapton’s most famous, he was never credited on the recording. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. “The End”</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>A song called “The End” might seem an ironic place to start a list of the Beatles’ greatest guitar moments. But the round-robin solos that bring the track to its exhilarating peak are without question the group’s most powerful statement expressed through the guitar.</p> <p>Here, for a mere 35 seconds, three childhood friends and longtime band mates—Paul McCartney, George Harrison and John Lennon—trade licks on a song that represents, musically and literally, the Beatles’ last stand as a rock group before they broke up the following year. “The End” is the grand finale in the medley of tunes that make up much of <em>Abbey Road</em>’s second side. </p> <p>As such, it’s designed to deliver maximum emotional punch, and it succeeds completely, thanks in great part to the sound of McCartney, Harrison and Lennon rocking out on their guitars, as they did in their first, embryonic attempts to make rock and roll some 12 years earlier. </p> <p>“They knew they had to finish the album up with something big,” recalls Geoff Emerick, the famed Abbey Road engineer who worked on the 1969 album. </p> <p>“Originally, they couldn’t decide if John or George would do the solo, and eventually they said, ‘Well, let’s have the three of us do the solo.’ It was Paul’s song, so Paul was gonna go first, followed by George and John. It was unbelievable. And it was all done live and in one take.”</p> <p>Much of the song’s power comes from the sense that the Beatles are making up their solos spontaneously, playing off one another in the heat of the moment. As it turns out, that’s partly accurate. </p> <p>“They’d worked out roughly what they were going to do for the solos,” Emerick says, “but the execution of it was just superb. It sounds spontaneous. When they were done, everyone beamed. I think in their minds they went back to their youths and those great memories of working together.”</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/john-lennon">John Lennon</a> </div> <div class="field-item odd"> <a href="/paul-mccartney">Paul McCartney</a> </div> <div class="field-item even"> <a href="/george-harrison">George Harrison</a> </div> </div> </div> </fieldset> Damian Fanelli George Harrison GWLinotte January 2014 John Lennon Paul McCartney The Beatles Guitar World Lists News Features Fri, 09 Oct 2015 12:26:50 +0000 Christopher Scapelliti, Damian Fanelli, Jimmy Brown 25344 at Expert Advice: 25 More Ways to Play (and Sound) Better Right Now <!--paging_filter--><p>We figure that if you’re going to expand and maximize your talents, you might as well learn from the best.</p> <p>So we offer these 25 tips from guitarists who know their stuff—from rock royalty to jazz patriarchs to any-and-all, top-of-their-game bad asses. Hopefully, you’ll find something in these cosmic, practical and musical nuggets of wisdom that will kick that rut-raddled mind of yours into higher gears of inspiration.</p> <p>If you’re locked away in a basement for eight hours a day with a metronome and a torturous practice book that is equal parts Mel Bay/Guantanamo Bay, you’re still not assured of transcendent six-string skills.</p> <p>Sure, you might get stenographer-like dexterity and harmonic book-smarts up the f-hole, but playing soul-shaking music often requires a more diverse skill set. But this doesn’t mean that attaining the level of expression produced by someone like Jeff Beck necessitates a life of guitar monk-dom. First, don’t worry about the transcendent and unattainable talent of Jeff Beck. That’s just silly.</p> <p>What you need to do is ensure that whatever you play makes the hair on your arms stand up and quiver with bliss and excitement.</p> <p>Here's part two of this series. You can find part one, <a href="">"Expert Advice: 35 Ways to Play (and Sound) Better Right Now," right here.</a></p> <p><strong>1. Renew!</strong><br /> “Moving into uncharted territory is a key ingredient to making your practice sessions a success. Playing the same stuff over and over will only take you so far. Introduce a new set of chord voicings, tunings, or scale patterns to your routine every week. It’s not necessary to know how to implement the stuff right away, just make your fingers go to new places, and let the musicality follow naturally.” <em>—Joe Satriani</em></p> <p><strong>2. Beat on the Brat</strong><br /> “Here’s an unconventional technique for building your rhythmic chops and expanding your ideas about inventing phrases for solos—and it involves zero notes! Mute the strings with your fretting hand. Now, forget about that hand completely, and start a groove with your right hand by scratching a beat on the muted strings. The minute you start getting bored, challenge yourself to come up with a variety of rhythmic phrases—both busy and sparse. Think of the exercise as a drum solo that maintains the groove, and try to keep going for five minutes or more.” <em>—Bob Brozman</em></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>3. Unmask Your Sound</strong><br /> “Try cutting back on the effects in your setup. It may help you to better discover the music.” <em>—Bill Kirchen</em></p> <p><strong>4. Mess With Your Head</strong><br /> “Try to keep your playing as fresh as possible, and not rely on set patterns. When I practice, for example, I often tie off some strings with rubber bands to force myself to look at the fretboard differently. I might practice on the G and D strings only, or even the G and A strings.” <em>—Jim Hall</em></p> <p><strong>5. Cut Back</strong><br /> “Sometimes that massive, high-gain, mid-cut, huge bass tone can sound about two inches tall in a concert setting. The guitar’s voice is in the midrange, so try adding some midrange and cutting the bass. For even more punch, attack, and clarity, cut your gain and distortion levels. Too much gain can be counterproductive, as it compresses your tone and kills dynamics.” <em>—Greg V.</em></p> <p><strong>6. Shift Priorities</strong><br /> “Play what you would like to hear, rather than what you would like to play.” <em>—Bill Kirchen</em></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>7. Try Rhythmic Soloing</strong><br /> “If the band is playing in 7/4 time, try to play in 4/4. When you do that sort of thing, you begin to notice certain ways in which the two rhythms synchronize over a long period of time. Thinking in these long lengths, you automatically start to develop rhythmic ideas that have a way of interconnecting.” <em>—Jerry Garcia</em></p> <p><strong>8. Grease Up</strong><br /> “Want to make a solo greasy? Start on the ‘and’ of one.” <em>—Dave Wronski</em></p> <p><strong>9. Get Funky</strong><br /> “Forget about the fancy chords, and just concentrate on a funky beat.” <em>—John Lee Hooker</em></p> <p><strong>10. Lighten Up the FX</strong><br /> “It’s best if people don’t notice effects that much. If you overdo it, and everybody realizes you’re using a phaser, then you’re on the wrong track already. You’ve got to use those things with a certain degree of subtlety.” <em>—Keith Richards</em></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>11. Get Your Rhythm Chops Together</strong><br /> “To become a better rhythm player, you must listen to the drummer. I’d also advise that you listen to the masters of rhythm guitar. The work that Steve Cropper did on the Stax records is the definitive document of how to play songs and accompaniment parts. Also listen to Chuck Berry. His rhythm playing is so intense that he can go out and perform with bands he has never seen or heard before and hold them together like glue.” <em>—Danny Kortchmar</em></p> <p><strong>12. Play, Don’t Worry</strong><br /> “Don’t spend more time worrying about what it is you’re supposed to be doing, rather than just doing the work. Once I was stuck while trying to write some new music, and I asked my friend Wayne Horvitz how he did it. He gave me a pencil sharpener. The moral? There are no short cuts, so stop whining and get on with it!” <em>—Bill Frisell</em></p> <p><strong>13. Move in Stereo</strong><br /> “Try using two amps and some stereo effects to get a bigger sound onstage. A ping-pong delay sounds huge when you stand between both amps, and any type of stereo chorus, flanger, phaser, or, in my case, a Leslie simulator, creates the illusion of an even wider sound. Panning your signal from side-to-side is a cool effect. I do it using a stereo Ernie Ball volume pedal. I like the amps to be almost identical, while others—including Stevie Ray Vaughan—prefer two amps that have different sounds that compensate for each other. Finally, it’s important to understand that unless both of your amps are miked, and panned left and right in the house, nobody except you will hear the stereo effect.” <em>—Oz Noy</em></p> <p><strong>14. Be a Sponge</strong><br /> “Listening is just as important as practicing. Your ears are your greatest assets, and they work on a subconscious level. You should steal from as many different guitarists as possible, as opposed to picking one and trying to emulate that person’s style. Once you have assimilated a number of different approaches, try to blend them into one vision, instead of jumping from one style to another.” <em>—Will Bernard</em></p> <p><strong>15. Vibe a Little Vibrato</strong><br /> “Strengthen your vibrato technique by using each finger to play a note and bending it up and down continuously, in half steps. As you move to fingers two, three, and four, remember that all available fingers can help you attain this half-step movement.” <em>—Jim Campilongo</em></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>16. Alternate Pick</strong><br /> “A good way to work on alternate picking is to choose three or four notes, and work on those. Too often, players who are trying to improve their right hand dexterity get hung up by trying to play too many notes with the left hand. I hear a lot of players running whole scales from the sixth string to the first, and playing them really sloppy. Keeping it very basic—using only a few notes—and playing slowly with perfect rhythm is a task in itself.” <em>—Al DiMeola</em></p> <p><strong>17. Ignore the Obvious</strong><br /> “When you’re comping behind a vocalist or soloist, don’t always play the root of the chord on the low strings—especially if there’s a bassist on the gig. Sometimes the third and the seventh of the chord is all you need if the bass player is playing the root. It will still sound full, and the sound won’t be muddy.” <em>—Tal Farlow</em></p> <p><strong>18. Use Stage Smarts</strong><br /> “A good band is not all about playing your instruments. You have to work on your stage sound, too, so that you sound good out front. For the guitarist, that means not being so loud. Now, I love loud, but I soon realized that if I turned down, there would be more separation between the instruments, and people would actually hear me better.” <em>—Peter Frampton</em></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>19. Get Down</strong><br /> “For heavy rhythm, it has to be downpicking. It’s absolutely key. It’s tighter sounding, and a lot chunkier.” <em>—James Hetfield</em></p> <p><strong>20. Stay Hot</strong><br /> “Keep your guitar out of the case and handy. Practice short periods—anywhere from five to 45 minutes—many times throughout the day, rather than for one prolonged period. Often times, five minutes is enough time to work on a technique or musical passage. The whole idea of practice is to get your reflexes working like a gunfighter’s, so you can pull out that gun and be instantly hot.” <em>—Barney Kessel</em></p> <p><strong>21. Get Classical</strong><br /> “When playing while sitting, rest the guitar on your left leg—just like classical-guitar legend Andrés Segovia. This way, the guitar will be in the same position as when you stand. You can even get yourself one of those little foot stands to really anchor the guitar to your body when playing aggressive music.” <em>—Dave Wronski</em></p> <p><strong>22. Use Cruise Control</strong><br /> “Fast playing begins with careful and sharply targeted slow playing. You must develop the ability to ‘hear’ and ‘think’ every note. A fast passage is a rapid succession of musical notes—not the product of a frantic, panic-stricken flapping of the fingers. Begin practicing with scales or patterns, which allow you to concentrate on getting your actions and timing in good shape. Always start slowly and deliberately. Increase speed gradually. Use some form of metronome or drum machine to monitor your work. When you reach a speed at which you can no longer get things right, stop. Any further attempted acceleration will do damage, not good.” <em>—John Duarte</em></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>23. Don’t Peek</strong><br /> “Adjust your amp’s volume and EQ settings by listening, rather than looking at the settings. Simply shut your eyes, and turn the knobs to where the amp sounds best. I’m consistently surprised when I open my eyes to discover things such as the Bass being nearly full up in one situation, or the Treble on 10 in another.” <em>—Cameron Williams</em></p> <p><strong>24. Use Teamwork</strong><br /> “When you sit in with musicians you’ve never played with before, do your thing in a way that compliments their sound. Listen attentively, and make sure that what you’re doing isn’t stepping on anyone’s toes. Play as if you were a member of the unit, and keep your eyes open to allow for good communication.” <em>—Dan Lebowitz</em></p> <p><strong>25. Get in Touch</strong><br /> “Tone has more to do with touch than gear, and the most important thing is dampening anywhere you’re not playing. Dampening can be done underneath your fretting fingers or thumb, or with the outside of your strumming-hand palm or thumb. Also, the way your finger makes contact with the frets makes a big difference. You need to learn the sweet spots on your guitar like a violin player would.” <em>—Eric Johnson</em></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> News Features Lessons Fri, 09 Oct 2015 12:25:30 +0000 Guitar World Staff 25620 at New Guitar World DVD, 'String Theory: Applying Jazz Harmony to Rock Lead Guitar,' Available Now <!--paging_filter--><p>A new <em>Guitar World</em> DVD, <em>String Theory: Applying Jazz Harmony to Rock Lead Guitar,</em> is <a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=StringTheory">available now!</a></p> <p><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=StringTheory">The DVD,</a> which features instruction by GW Senior Music Editor Jimmy Brown, is a collection of the first 10 String Theory columns that appeared in <em>Guitar World</em>, and their accompanying instructional videos. </p> <p>Over the course of the 10 chapters, Brown presents a "schooled" or "informed" approach to improvisation that's rooted in a jazz mindset, but geared toward rock guitarists looking to expand their theoretical knowledge base and apply practical music theory.</p> <p><strong>With more than two hours of instruction, you'll learn how to:</strong></p> <p> • Craft musically strong melodies over chord progressions<br /> • Apply arpeggio sweeps to changing chords<br /> • Employ upper-structure voiceleading to create harmonic tension<br /> • Use chromatics to smoothly connect chord tones<br /> • Play like Michael Brecker, Carlos Santana and Gary Moore</p> <p>... and much more!</p> <p>Over the last 25 years, Brown has built a reputation as one of the world's finest music editors through his work as transcriber, arranger, and senior music editor for GW. In addition to these roles, he is a busy working musician, performing regularly as a solo acoustic guitar/vocal act and rocking out with a full band at taverns, restaurants, resorts, weddings and private parties. Jimmy earned a Bachelor of Music degree in Jazz Studies and Performance and Music Management from William Paterson University in 1988 and relies on much of what he learned then - and since then, as a professional musician-for-hire to do his job effectively. He is also an experienced private guitar teacher and an accomplished writer, two skills that go hand-in-hand in his career at Guitar World. </p> <p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=StringTheory">Head to the Guitar World Online Store now!</a></strong></p> News Features Fri, 09 Oct 2015 12:24:48 +0000 Guitar World Staff 25621 at Readers' Poll: The Best American Rock Band Ever — Bon Jovi Vs. Tom Petty and the Heartbreakers <!--paging_filter--><p>When Labor Day came and went early last month, it reminded us of the American labor movement and the contributions American workers have made to the strength, prosperity and well-being of the good ol' U.S. of A.</p> <p>However, since we're <em>Guitar World</em> people, we couldn't help but apply those sentiments to music and the American people who made and make it—bands!</p> <p>This, in turn, led to thoughts and theories about the greatest American band of all time, which led us to our latest readers' poll—the Best American Rock Band Ever! Yes, the gangs from <em>Guitar World</em> and <a href="">Sweetwater</a> want to get GW readers—you people!—involved as we attempt to crown the Best American Rock Band Ever!</p> <p>Although we had thousands of bands to choose from, we decided to narrow things down to 32, which is perfect for a month's worth of intense—and fun (it's supposed to be fun, people!) matchups. All the bands were carefully selected by <em>Guitar World's</em> editorial staff.</p> <p>Note that this poll includes current bands and bands that disappeared into the woodwork years ago. Also, if you're wondering why the Jimi Hendrix Experience aren't on this list, they weren't an American band. Hendrix was American, but he's not a band. Band of Gypsys were American, but they simply didn't make the cut based on the music released under the "Band of Gypsys" moniker. It's one of many tough sacrifices we had to make along the way. Speaking of which, be sure to read "How the Bracket Was Compiled" at the bottom of this story.</p> <p>Anyway, here are our 32 American bands, which are presented in alphabetical order. You also can check out the entire 32-band bracket below.</p> <p><strong>Aerosmith, Alice In Chains, the Allman Brothers Band, the Beach Boys, Bon Jovi, Bruce Springsteen and the E Street Band, Creedence Clearwater Revival, the Doors, Eagles, Foo Fighters, Grateful Dead, Green Day, Guns N' Roses, Heart, Kiss, Lynyrd Skynyrd, Metallica, Nirvana, Pearl Jam, Queens of the Stone Age, Ramones, Red Hot Chili Peppers, R.E.M., Soundgarden, Steely Dan, Steve Miller Band, Stevie Ray Vaughan and Double Trouble, Styx, Tom Petty and the Heartbreakers, Van Halen, the White Stripes and ZZ Top.</strong></p> <p><em>We hope you've enjoyed our Best American Rock Band Ever Poll, which has been sponsored by <a href="">Sweetwater</a>!</em></p> <h1>The Final Matchup</h1> <p><span style="font-size:18px;font-weight:bold;">Bon Jovi</span></p> <p>One of the few hair metal giants whose commercial success outlasted that of the genre, Bon Jovi have proven to be surprisingly nimble over the past 35 years. From their stadium-sized blockbuster, 1986’s <em>Slippery When Wet,</em> the band moved to adult contemporary in the Nineties, then to country in the late 2000s. Though the band’s resident shredder, Richie Sambora, recently left Bon Jovi, they have continued strongly, selling out stadiums and fulfilling Jon Bon Jovi’s promise: “I’ve seen a million faces/and I’ve rocked them all.” </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">Tom Petty and the Heartbreakers</span></p> <p>Fronted by one of the greatest songwriters the U.S. has ever produced, Tom Petty and the Heartbreakers have been crafting a uniquely American brand of rock and roll for almost 40 years. They’ve channeled Bob Dylan, country, blues, soul and the Southern rock of their native Florida into a swampy brand of music that's all their own. “American Girl,” “Refugee” and “Learning to Fly” are all radio mainstays to this day. Petty’s songwriting and Mike Campbell’s sterling leads simply never get old. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <h1>Vote Now!</h1> <p>Thanks for your many votes and many comments! This thing is done. Bon Jovi got more votes. We'll post a wrap-up story today.</p> <h1>Behold the Final Bracket!</h1> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View Final on Scribd" href="" style="text-decoration: underline;" >Final</a></p> <p><iframe class="scribd_iframe_embed" src=";view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_1443" width="100%" height="500" frameborder="0"></iframe></p> <h1>How the Bracket Was Compiled</h1> <p>Here's how the bracket was—very unscientifically—compiled.</p> <p>We drew the artists' names out of a hat (It was, in fact, a smelly Quebec Nordiques baseball cap) to help us create our bracket, which is available for your viewing pleasure below. Obviously, none of these of bands are ranked or come from a previously compiled list, so we chose purely random matchups to have as little impact as possible on the final outcome. We're actually pretty pleased with the way the bracket turned out.</p> <p>Remember that, as with any poll, genre might occasionally clash against genre, so you'll just need to decide which artist has (or has had) the most to offer within his/their genre, perhaps which one has or had more natural talent or technical skill, which one had the biggest influence on other live acts, etc.</p> <p>As always, you can vote only once per matchup (once per device, that is), and we'll be posting match-ups pretty much every day of the month, sometimes more than once per day, just to give you an early warning.</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="/bon-jovi">Bon Jovi</a> </div> </div> </div> </fieldset> Best American Rock Band Ever Bon Jovi News Features Fri, 09 Oct 2015 12:23:14 +0000 Guitar World Staff 25574 at New York City's Black Bear Tribe Upstage the Competition with “Crime of the Century” <!--paging_filter--><p>This past summer, hosted the Big Break Rock Song Contest, which called for aspiring bands and musicians to upload their original compositions and allow themselves to be judged. </p> <p>The winning entry was “Crime of the Century” by New York City rock outfit <a href="">Black Bear Tribe,</a> which can be heard below or on the group’s <em>Crime of the Century</em> EP, currently available on <a href="">iTunes</a> and <a href=";;utm_medium=open">Spotify.</a> </p> <p>Here, <em>Guitar World</em> catches up with guitarist Sam Perry to learn a little more about what makes this exciting young band tick.</p> <p><strong>What is Black Bear Tribe’s approach to making music?</strong><br /> Our overall approach to writing is to capture fun, upbeat, driving rock songs that focus on big riffs. </p> <p><strong>What are the best and worst things about being a band from New York City? </strong><br /> The best thing is being able to play shows and get exposure. There are so many clubs that constantly need bands to fill the bill, and sometimes playing a well-known venue is as simple as shooting an email to the booking agent. The only bad thing about New York for us is that the rock and roll scene is not as vibrant as it used to be. Playing on bills with like-minded bands tends to be a problem for us. </p> <p><strong>What are your day jobs?</strong><br /> Some of us work in the booze industry, some of us work with kids, and some of us work with both. Jason [Kraft, vocals] is a bartender at a whiskey bar. Matt [Cincotta, bass] works in the craft beer industry. Andrew [Nesbitt, drums] works in a craft beer bar and teaches music to kids. I bartend at a tequila bar and teach children guitar. </p> <p><strong>If you had to pick one classic band and one newer band that, when combined, best describe BBT’s sound, which bands would you choose?</strong><br /> For a classic band I’d say Deep Purple. Ritchie Blackmore’s riffs drive the music forward with a power and urgency we definitely try to emulate in BBT. For a newer band, Queens of the Stone Age because Matt and I are constantly drawing inspiration from them in terms of lyrical aesthetic and the way they construct and layer songs.</p> <p><strong>Where would you like to see Black Bear Tribe by this time next year?</strong><br /> By then, our full-length album will have dropped in February and will feature all three songs on the <em>Crime of the Century</em> EP. We’d like to find a record label to call home, to be able to go on tour and open for like-minded bands, and have the opportunity for a larger audience to hear our music.</p> <p><strong>For more about the band, visit <a href=""></a> and follow them on <a href="">Facebook.</a></strong></p> <p><em>Photo: Sherry Reina Hochbaum</em></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Black Bear Tribe December 2015 Interviews News Features Thu, 08 Oct 2015 19:29:34 +0000 Guitar World Staff 25618 at David Gilmour Premieres "The Girl in the Yellow Dress" Music Video <!--paging_filter--><p>David Gilmour has released a video for “The Girl in the Yellow Dress,” from his new album, <em>Rattle That Lock.</em> </p> <p>The video can be seen below, along with a short interview clip with Gilmour.</p> <p><em>Rattle That Lock</em> was issued September 18 and is Gilmour’s first album since 2006’s <em>On an Island.</em> </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="/david-gilmour">David Gilmour</a> </div> </div> </div> </fieldset> David Gilmour Videos News Thu, 08 Oct 2015 19:00:31 +0000 Christopher Scapelliti 25617 at Rock and Roll Hall of Fame: Deep Purple, Yes, Nine Inch Nails and Steve Miller Lead Nominees <!--paging_filter--><p>The Rock and Roll Hall of Fame has announced its nominations for its Class of 2016.</p> <p>The list includes Chicago, Cheap Trick, Deep Purple, the Cars, Nine Inch Nails, Los Lobos, Steve Miller, the Smiths and Yes. </p> <p>Other hopefuls include Janet Jackson, N.W.A, Chaka Khan, Chic, the J.B.'s and the Spinners. The top vote-getters will be announced in December, and they'll be inducted in April 2016 in New York. </p> <p>Once again, the public will have the opportunity to vote alongside the more than 800 artists, historians and music industry insiders of the Rock Hall voting body. Through December 9, fans can vote <a href="">at</a>. </p> <p>The top five acts will comprise a "fan's ballot" that will count as one of the ballots that determine the class of 2016.</p> <p>In order to be eligible for this year's ballot, artists or bands need to have released their first single or album in 1990 or earlier. Some of the nominees have appeared on previous ballots, but this is the first appearance for Chicago, Cheap Trick, the Cars, Chaka Khan, The J.B.'s, Janet Jackson, Los Lobos and Steve Miller. This marks the third time Deep Purple and the Spinners have been on the ballot. </p> <p>The Class of 2015 included Green Day, Lou Reed, Paul Butterfield Blues Band, Joan Jett &amp; The Blackhearts, Stevie Ray Vaughan and Double Trouble and Ringo Starr as a solo artist.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/deep-purple">Deep Purple</a> </div> <div class="field-item even"> <a href="/yes">Yes</a> </div> <div class="field-item odd"> <a href="/nine-inch-nails">Nine Inch Nails</a> </div> </div> </div> </fieldset> Deep Purple Steve Miller Yes News Thu, 08 Oct 2015 15:24:07 +0000 Guitar World Staff 25614 at