News en Mark Holcomb's Signature Seymour Duncan Alpha/Omega Pickups Are Available Now — Video <!--paging_filter--><p><a href="">Back in February,</a> we told you that Periphery guitarist Mark Holcomb was getting his own signature set of Seymour Duncan Alpha/Omega pickups.</p> <p>Well, we're happy to announce that the sets are available now through the Seymour Duncan Custom Shop.</p> <p><a href="">You can check them out right here.</a></p> <p>From the company:</p> <p>The progressive metal virtuosos of Periphery are known for their technically complex rhythms and precise tones—tones that require pickups with just the right amount of output and articulation whether standing alone or working in a dense mix. The Alpha and Omega pickups were created to match that level of precision and versatility. </p> <p>Working with Mark Holcomb, the Omega bridge pickup was created to provide destructive percussion and growl in the mids and low end. It’s aggressive but it also has lots of clarity and brightness, which cuts through whether you’re playing sophisticated chords, complex single-note lines or intense solos. </p> <p>The Alpha neck pickup is unlike most traditional neck models. It was voiced to combine the best qualities of a neck and a bridge pickup, with some of that fat glassy sound but also plenty of your pick attack and fretting-hand phrasing. </p> <p>Each set comes hand signed by Mark Holcomb with a special USB drive featuring albums Juggernaut: Alpha and Juggernaut: Omega, stickers and collectable picks.</p> <p><strong><a href="">For more information, head here.</a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Mark Holcomb Periphery Seymour Duncan Accessories Videos News Gear Tue, 02 Jun 2015 21:16:35 +0000 Damian Fanelli 24612 at Lefty Eric Gales Shreds in Latest Episode of 'Dunlop Sessions' — Video <!--paging_filter--><p>Just how good a player is lefty Eric Gales?</p> <p>Check out this brand-new episode of Dunlop Sessions, which was posted to <a href="">Dunlop's YouTube channel</a> June 1.</p> <p>In the clip, Gales, a mighty lefty, throws down killer licks with his band and discusses his diverse range of influences, his first-ever performance and the importance of music as a way to express himself and connect with other people.</p> <p>The band includes Eric Gales on guitar and vocals, LaDonna Gales on additional vocals, Aaron Haggerty on drums and Steve Evans on bass.</p> <p><strong>For more about Gales, visit <a href=""></a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Eric Gales Jim Dunlop Videos News Tue, 02 Jun 2015 20:39:29 +0000 Damian Fanelli 24611 at Richard Thompson Talks New Album, 'Still,' and Working with Wilco's Jeff Tweedy <!--paging_filter--><p>Richard Thompson has made a career of shaking things up with his voice and his guitar.</p> <p>It started with British folk rockers Fairport Convention. </p> <p>Around the late Sixties, a teenaged Thompson began searching the local British music scene for a way to express himself and make a difference musically. An opportunity soon arose when he joined Fairport Convention, a new band that found interest in folk and rock sounds. As it turns out, that band did more than provide him an ample outlet to play music; they were one of the first bands to combine traditional British folk with rock and roll into a satisfying new style. </p> <p>Thompson later transitioned to a solo career, finding much acclaim as a singer-songwriter and guitarist that could use his talents to craft insightful and expressive songs full of his humanity and wit. He could stand with some of the most talented guitarists but had the vocal tenacity to stand out from the crowd. Moreover, he had the drive to find new ways to continually express and reinvent himself. </p> <p>Fast forward to 2015. Thompson has appeared on more than 40 albums and received countless honors to his name. He could have easily gone into his new album with the mindset of what worked on past albums and still find success from his loyal fanbase. </p> <p>But he isn't one to take it easy. He wanted something or someone to challenge him. That person turned out to by Jeff Tweedy, lead singer of Chicago rockers Wilco. The pair met at Wilco's rehearsal space, The Loft, for nine days and recorded a dozen songs. The resulting album, titled <em>Still</em>, comes out June 23 via Fantasy Records. </p> <p>The album features the core trio of Thompson, bassist Taras Prodaniuk, and drummer Michael Jerome, as well as contributions from Siobhan Kennedy and members of Jeff's band Tweedy (guitarist Jim Elkington and harmony vocalists Liam Cunningham and his sister Sima).</p> <p>Prior to the album's release, <em>Guitar World</em> caught up with Thompson to discuss the new album that made him feel "like a kid in a candy store."</p> <p><strong>GUITAR WORLD: You're doing a combination of electric and solo shows on this tour. Why do you like mixing it up?</strong> </p> <p>I have all different kinds of sounds. I have acoustic sounds and I have electric sounds and guitar playing sounds and solo sounds. And sometimes they don't overlap. So I have people that only come to acoustic shows and some that only come to electric shows. So I'm just trying to please everyone, I suppose. Perhaps it's misguided but that's my intention.</p> <p><strong>What you do think each presents you as a songwriter and guitarist?</strong></p> <p>I write different kinds of songs for acoustic guitar and different kinds of songs for electric guitar. And I see myself really as a songwriter and an accompanist rather than a guitar player. So I like to bring everything into the songwriting arena. If I play a guitar solo I like to extend the narrative of a song through the guitar solo. I see it as one package really. I think some people perceive it as separate things.</p> <p><strong>The final song on your new album is called "Guitar Heroes," which is almost eight minutes long. Can you talk about what it like writing that one and honoring your profession and your guitar heroes?</strong></p> <p>I suppose it's an easy song to write. I was really just trying to remember back to being a kid and what that was like and who I was listening to. If I mentioned all the guitar players I was influenced by that would be a very long song. So I was being economical. It's a fun thing to do. It's fun to do little parodies or things in the style of guitar players. It's not an original idea. In the 1950s there was a great country guitar player called [Kenneth] "Thumbs" Carllile. He was a session player and he did a song called "Springfield Guitar Social," which was a tribute to a lot of the country guitar players. It's just a three-minute thing. But it was really fun and I suppose I was trying to do something like that. </p> <p><strong>There are quite a few sonic twists in the song and it covers quite a bit of ground.</strong></p> <p>Yeah there are. There's a lot of tempo shifts. It was about finding song extracts that would fit into that one tempo. We put it together in one piece rather than sessions. We recorded it straight through and we selected overdubbing with some of the guitar parts to get the sound of different guitar players. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>You mentioned in one interview that if you could put more guitarists on it you would.</strong></p> <p>Yeah. As I was saying, there are limits to how long a piece of music can be. So it runs to about eight minutes which is enough for most people. The other thing you want to do in a song like that is change it up live. If we want to we can change up the quotes and guitar players and different songs. So it's a flexible piece I think. </p> <p><strong>What kinds of guitars and amps did you use for recording <em>Still</em>?</strong></p> <p>Well, because we were recording in Wilco's studio, the studio is a corner of a large loft space. And the loft space stores all their equipment. They have a lot of guitars and millions of amps and bass, drums and keyboards. I mean, tons and tons of stuff. So it was a bit like being like a kid in a candy store. There were so many things to choose from. </p> <p>I used predominantly a Fender Princeton, like a vintage Princeton, and a Morgan amp. I'm not very familiar with it but it sounded really good, kind of a Vox sounding amp. And I used a few other things but I can't remember. A whole bunch of different guitars. I used a Gibson ES-175 for some things. And endless pedals that were lying around in the studio. So I can't give you an absolute breakdown of everything I used but it was a lot of different stuff that I've forgotten what I used on various tracks. I also used my own Fender Strats and acoustic guitars.</p> <p><strong>Was that more than you usually use on albums?</strong></p> <p>I wouldn't say more than usual but certainly a lot. Predominantly the usual stuff I use like Fender Strats and acoustic guitars through various amps.</p> <p><strong>With guitar playing you have a great grasp of when to show restraint and when to let loose. Can you talk about mastering that art and how do you think it shows up on <em>Still</em>?</strong> </p> <p>Well I hope I do. I think that what would be called taste or musical flexibility or something. I think when you're playing in song format and accompanying the voice you have to fit in as a guitar player so you're not showboating. You're trying to play something that's sympathetic to the song, whatever that may be. It may be distorted or punk, it depends what the song is. </p> <p>As a player it's good to have a range. It's good to go from a whisper to a scream to being able to play something subtle and melodic. To play in distinct phrases and to have balance in your playing. And then to play something with more attitude when it's needed, when you need to play something that's more aggressive or more committed. </p> <p><strong>With guitar playing, are you finding yourself doing more of some kind of habit lately, like how you play?</strong></p> <p>I just practice different things and practice the basics and then when it comes to playing you try to use your imagination. And that can take you anywhere. </p> <p><strong>From what I understand your connection with Wilco and Jeff Tweedy kind of started with the AmericanaramA festival shows from a few years ago.</strong></p> <p>I've probably known Wilco for about 20 years. We've done the occasional show together. But being on the AmericanaramA tour it gave us more chances to spend time together and to jam together. So that was probably the seed of having Jeff produce an album for us. </p> <p><strong>You and Jeff come from slightly different musical paths. What led you to want him to produce the record?</strong></p> <p>We definitely come from different worlds but I think we're both roots-based musicians from slightly different generations. And I think having someone who isn't absolutely from your world and your mindset is a good thing. That's a useful person to bounce ideas off because they'll have a slightly different perspective. You don't want someone who's the same as you and thinks the same way as you. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>From what I've read it sounds like you wanted to shake things up and keep things interesting for yourself.</strong></p> <p>I've made a lot of records over the years, probably 40-plus records. And I sort of have a way of doing it when I'm my own producer. And sometimes I think you need to change that up and you need to be a bit more challenged and bring other point of views into the project. So it's good to call upon other musicians to give you a different perspective and to give a record a different sound, really, and a different kind of musical landscape. </p> <p><strong>You recorded the album at Wilco's rehearsal loft in Chicago about nine days. What was that like? How do you think the environment impacted the songs?</strong></p> <p>We actually had a very small window so that was all the time we had available. It's a loose kind of place to record. It's not like a real studio with a control booth and studio separate and separate vocal both and those things. </p> <p>It was all in one room. It's a more informal environment. There's no red light that goes on and tells you're recording. So it's just casual. That's a nice way of doing it. You don't feel tense about it, you can kind of relax and start playing with your friends when you're recording. So it's a nice and easy way of recording. </p> <p><strong>With the album you had a combination of musicians from Jeff's band and your band. Why did you decide to go in that direction?</strong></p> <p>I wanted to use my own rhythm section [drummer Michael Jerome and bass player Taras Prodaniuk], just because I feel we've developed a certain understanding and that it would be difficult for someone else to come in and play in the same way. So that's the basic trio. It's nice when you're recording with another guitar player to play some of the harmonic structure of the songs. So we borrowed Jim Elkington from the band Tweedy, and for backing vocals we had Liam and Siam Cunningham, also from Tweedy, and that worked out really well. It was a really seamless and a easy bunch of people to get to work with.</p> <p><strong>How do you think Jeff impacted the songs and guitar playing on the album?</strong></p> <p>Probably not that much. He impacted more the arrangements of the songs. I think the songs were already pretty much written. I think between us we might have done some editing, changing a verse here and there. But on the whole the songs didn't change that much. Sometimes the arrangements changed or the way we approached the songs changed or instrumentation changed. And I think Jeff's ideas in that realm were just great. He'd come up with really good suggestions. </p> <p><strong>What were the biggest surprises during the recording?</strong> </p> <p>Apart from how unbelievably cold it was in Chicago in January, which was a surprise, I was surprised by how easy it was to record and that we didn't have to really sweat over anything. </p> <p><strong>Why did you name the album <em>Still</em>?</strong> </p> <p>Originally that was supposed to go with a concept or [album cover] picture but the picture got changed out. So the title remained. I mean I quite like the title as it's ambiguous. It can mean a lot of different things. So I wouldn't read too much into it.</p> <p><strong>Some people have taken it as a theme of resilience and your own resilience through the years with playing music.</strong> </p> <p>Yeah you can take it that way, I suppose. I think to say it means any one thing is to give it too much weight and significance. Which I don't. It's just a title, you can translate it however you want. </p> <p><strong>Do you think there's a theme for these songs?</strong></p> <p>All these songs were written in a certain timeframe, probably within a six-month timeframe. And I think when you do that songs have a relationship with each other that have a harmonic or thematic connection. So I feel they're connected in that way and belong on the same record in that way. But there's isn't an overriding theme on this record.</p> <p><strong>Can you talk about writing the song "Dungeons for Eyes"?</strong></p> <p>What the song is about is meeting somebody who you love and has a past. And in that past they were either responsible for people dying or they used to kill people themselves. That was in that past and now the people are probably now politicians. And the song is what happens when you meet these people and how you'd react. That dilemma of how I going to shake this guy's hand or not. I was in this position a few years ago.</p> <p><strong>What new music are you listening to these days?</strong></p> <p>Probably mostly singer-songwriters and classical music. I'm listening to a lot of guitar players right now, except old dead ones. [Laughs] </p> <p><strong>Besides Jeff, are there any other artists that you've collaborated with recently that you really enjoyed?</strong></p> <p>Lately not much. I've mostly been working solo and with my trio. I can't think of anyone else in the past year that I've worked with in that way. </p> <p><strong>You've had such a big impact on British folk rock. What's it been like to be leading the way of that genre and keeping it relevant all these years later?</strong> </p> <p>That's not something I'm really aware of or think about. I tried to explore musically in a area that interests me that was between traditional British music and rock music. There's still people in the U.K. that do the same thing and that's continuing tradition and I happen to be one of the first people to do it. But I don't think of myself as being a pioneer of anything. I just try to play the music that to me is relevant.</p> Jeff Tweedy Joshua Miller Richard Thompson Wilco Interviews News Features Tue, 02 Jun 2015 19:01:09 +0000 Joshua Miller 24607 at Whitesnake's David Coverdale and Reb Beach Discuss New Deep Purple Tribute Album <!--paging_filter--><p>Nobody expected Whitesnake to release an album of songs originally recorded by Deep Purple—not even David Coverdale, who fronted Purple between 1973 and ’76. </p> <p>“It was certainly not part of my agenda, but I really couldn’t be happier,” Coverdale says of the twists of fate that prompted him to revisit the Purple catalog. “It looked just like a cosmic plan, like God’s chessboard moving the pieces into place.”</p> <p>That plan began with Deep Purple keyboard great Jon Lord’s 2012 cancer diagnosis. </p> <p>“The whole seed of this was Jon’s representative asking me if, on Jon’s recovery, would I be prepared to do some kind of Purple reunion. I was immediately onboard.” </p> <p>But it was not to be; Lord passed away later that year. Then Coverdale lost several other people he was close to, and in a search for meaning amid tragedy he felt an urge to reconnect with his past. “I gathered a bunch of imaginary olive branches and started reaching out to people,” he says.</p> <p>That group included Deep Purple guitar legend Ritchie Blackmore, who Coverdale hadn’t spoken to in decades. </p> <p>“The last time Ritchie and I were actually in the same room together we had a physical confrontation which was unpleasant for both of us,” he explains. “From then on it was an unsavory, competitive energy between his group Rainbow and my Whitesnake, until Whitesnake became so fucking successful there was no competition.” But the former bandmates met to talk out their differences and find their peace. “I wanted to express the sorrow of the loss of Jon and to personally offer my sincere appreciation and gratitude for taking an unknown singer and placing me on a voyage that still continues today. It doesn’t get any better than the university of Deep Purple.”</p> <p>These experiences circling around the Deep Purple legacy led to what became <em>The Purple Album</em>. With longtime guitarist Doug Aldrich leaving Whitesnake to pursue other endeavors, 13-year Whitesnake veteran Reb Beach (also of Winger) stepped up to take on a musical director role in addition to lead and rhythm guitars while former Night Ranger axman Joel Hoekstra was brought into the band to share guitar duties. </p> <p>The result is the most overtly “guitar duo” approach on a Whitesnake album since the first half of the Eighties, and Beach couldn’t be happier with the opportunity to pay tribute to elements of Ritchie Blackmore’s approach within the Whitesnake framework. </p> <p>“Ritchie Blackmore is one of the best guitar players in the world and he had a sound that was totally his own,” says Beach. “Winger opened for Deep Purple in 1993 and it was rough for me. People were shouting out ‘You suck! Blackmore rules!’ and holding up signs. The guy can play! He’s got this unique style; he pulls out these unique notes you aren’t expecting and he’s fast as hell. I had a lot to live up to.”</p> <p>In honor of Blackmore’s tone Beach changed up his gear for this album, using a custom Suhr Strat-style guitar with single coil pickups alongside his usual Koa-bodied, EMG-loaded main instrument. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p>“It’s the first time I’ve ever recorded with a single-coil guitar,” he says. “It’s got this real bite about it. I used that on almost every song. We did a couple of passes of me and a couple of passes of Joel; Les Paul and Strat, like the classic Whitesnake.” Beach’s amp of choice is a Custom Audio Electronics OD100. “Nothing beats it! It’s smooth, it’s Marshally, it’s crunchy as hell and the clean sound kills everything.” </p> <p>The two guitarists immediately developed a language together. “Joel is like a machine,” says Beach. “He did a big long solo—I think it was ‘Burn’—first take all the way through, and when the smoke had cleared I said, ‘You’ve got it!’ Then he said ‘Let me double it.’ So he doubled it perfectly. Then he said ‘Nah, I’m not sure about that one, let me try another solo.’ So he tried another solo that was just as good as the first one and he did it first take. Then he goes ‘Let me double it.’ So he doubles it absolutely perfectly. It was so perfect it was flanging! Freaked me out! He can just blow out a perfect solo for however long he wants and then double it. Forget it. That’s just insane.”</p> <p>Whitesnake now begin rehearsals for an extensive world tour that will see more Deep Purple material in the set, calling back to the day in 1972 when Coverdale first stepped on a stage to play these songs. “It’s as if my life has come full circle,” the singer concludes. “There’s a feeling of completion.”</p> <p><em>Photo: Ari Michelson</em></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/deep-purple">Deep Purple</a> </div> </div> </div> </fieldset> David Coverdale Deep Purple July 2015 Reb Beach Whitesnake Interviews News Features Magazine Tue, 02 Jun 2015 18:35:24 +0000 Peter Hodgson 24569 at Bad Moon Rising: 50 Iconic Albums That Defined 1985 <!--paging_filter--><p>Nineteen hundred and eighty-five was an endlessly intriguing year for music. </p> <p>Hair/glam metal was on the cusp of world domination, with Mötley Crüe exploring the sounds that would make them, and the genre they stood on top of, the biggest in the world in a few years time. </p> <p>As for speed and thrash metal, three of the genre's "Big Four" (Megadeth, Slayer and Anthrax), released new LPs. Though these groups also hadn't fully formed their sonic identity yet, there was definitely a sense that these groups were also gaining quite a bit of momentum. </p> <p>Rock's underground was an extraordinarily diverse and exciting place. </p> <p>The Smiths took over the U.K. with their melancholy, angst-driven jangle-pop. The Meat Puppets fused hardcore punk with healthy doses of laid-back, outlaw country. Sonic Youth turned guitar rock on its head with dark songs that embraced noise, unusual song structures and bizarre guitar tunings. The Replacements embraced the muscle and innocent romanticism of classic rock, while churning out their own thrilling, punk-indebted tales of youth. </p> <p>Singer/songwriters of all kinds dotted the musical landscape. Tom Petty released a strange but endearing LP that was half Eurythmics-style pop and half a gritty homage to his Southern roots. The gravelly voice of Tom Waits sang of the downtrodden and the out-of-luck. Nick Cave led the Bad Seeds through a gothic tour of American musical history, providing a darker, more primitive spin on the blues. </p> <p>Nineteen hundred and eighty-five was one of music's stranger years, but it had plenty worth remembering. 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 purely in alphabetical order, not an order of worst to best, or best to worst. So, there is no order of preference.</strong> Enjoy!</p> News Features Tue, 02 Jun 2015 18:28:58 +0000 Guitar World Staff, Intro by Jackson Maxwell 24476 at Grateful Dead Celebrate 50th Anniversary with '30 Trips Around the Sun' Box Set, Featuring 30 Unreleased Shows <!--paging_filter--><p>The Grateful Dead played 2,318 live shows, more than any other band in the history of music. </p> <p>For 30 years, the band's live performances were constantly morphing and evolving, making every show a unique experience. </p> <p>Now, in the midst of their 50th anniversary, the Grateful Dead announce their most ambitious release ever: <em>30 Trips Around the Sun.</em> </p> <p>Available as an 80-disc boxed set and a custom lightning-bolt USB drive, the collection includes 30 unreleased live shows, one for each year the band was together from 1966 to 1995, along with one track from their earliest recording sessions in 1965. </p> <p>Packed with more than 73 hours of music, the box set and USB drive will be individually numbered limited editions and are available now for pre-order at <a href=""></a> for $699.98. They are set to be released September 18.</p> <p>The 80-disc box set version comes in an ornate box that is individually numbered and limited to 6,500 copies, a nod to the band's formation in 1965. Along with the CDs, it also includes a gold-colored 7-inch vinyl single that bookends the band's career. The A-side is "Caution (Do Not Stop on Tracks)" from the band's earliest recording session in 1965 with the B-side of the last song the band ever performed together live, "Box of Rain," recorded during their final encore at Soldier Field in Chicago on July 9, 1995. </p> <p>"When we began discussing audio projects to commemorate the 50th anniversary of the Grateful Dead in 2012, we knew we wanted to do something completely unprecedented," says band archivist and producer David Lemieux. "We could think of nothing more exciting or ambitious than a career-spanning overview of the band's live legacy focused on what best tells the story: complete concerts.</p> <p>"Our first criterion was the very best live music to represent any given year in the band's history. We wanted to make sure that there were not only the tent-pole shows that fans have been demanding for decades but also ones that are slightly more under the radar, but equally excellent. For those who listen to the entire box straight through, chronologically, the narrative of the Grateful Dead's live legacy will be seen as second to none in the pantheon of music history."</p> <p>The first four shows included in <em>30 Trips</em> have been announced today and include a 1967 show at the Shrine Auditorium in Los Angeles and a 1987 show at New York's Madison Square Garden. The remaining shows will be revealed in the coming weeks on <a href=""></a>. All 30 of the unreleased shows in <em>30 Trips</em> will not be available for individual purchase on CD at any time in the future.</p> <p>The box also comes with a 288-page book that features an extensive, career-spanning essay written by Nick Meriwether, who oversees the Dead archives at the University of California, Santa Cruz, along with special remembrances of the band submitted by fans. Also included is a scroll that offers a visual representation of how the band's live repertoire has evolved through the years. </p> <p>The other limited edition version of <em>30 Trips Around the Sun</em> comes on a USB drive shaped like a gold lightning bolt with the Grateful Dead 50th anniversary logo engraved on the side. The drive includes all of the music from the collection in FLAC (96/24) and MP3 formats and is an individually numbered limited edition of 1,000 copies. </p> <p>September 18 also will see the release of a four-CD version of the collection titled <em>30 Trips Around the Sun: The Definitive Live Story 1965-1995.</em> This set serves as an introductory sampler to the Dead's live canon, including 30 unreleased performances—one from each concert in the boxed set—along with the 1965 recording of "Caution." Also featured is an essay by Dead aficionado Jesse Jarnow dissecting every track in the collection, which will be available at all physical retail outlets for a list price of $44.98. A digital version will also be available. </p> <p><strong>30 TRIPS AROUND THE SUN</strong><br /> <em>First Four Shows Announced</em><br /> 11/10/67 Shrine Auditorium | Los Angeles, CA<br /> 10/27/79 Cape Cod Coliseum | South Yarmouth, MA<br /> 9/18/87 Madison Square Garden | New York City, NY<br /> 10/1/94 Boston Garden | Boston, MA</p> <p><em>Gold 7-inch vinyl single</em><br /> A-Side: "Caution (Do Not Stop on Tracks)," from first recording session in 1965<br /> B-Side: "Box Of Rain," final song from the band's final show, Soldier Field, Chicago, 7/9/1995</p> <p><strong>30 TRIPS AROUND THE SUN: THE DEFINITIVE LIVE STORY 1965-1995</strong><br /> <strong><em>Track Listing</em></strong></p> <p><em>Disc One</em><br /> 1. "Caution (Do Not Stop On Tracks)" - 1965<br /> 2. "Cream Puff War" - 1966<br /> 3. "Viola Lee Blues" - 1967<br /> 4. "Dark Star" - 1968<br /> 5. "Doin' That Rag" - 1969<br /> 6. "Dancing In The Street" - 1970<br /> 7. "The Rub" - 1971<br /> 8. "Tomorrow Is Forever" - 1972<br /> 9. "Here Comes Sunshine" - 1973</p> <p><em>Disc Two</em><br /> 1. "Uncle John's Band" - 1974<br /> 2. "Franklin's Tower" - 1975<br /> 3. "Scarlet Begonias" - 1976<br /> 4. "Estimated Prophet" - 1977<br /> 5. "Samson and Delilah" - 1978<br /> 6. "Lost Sailor>Saint Of Circumstance" - 1979<br /> 7. "Deep Elem Blues" - 1980</p> <p><em>Disc Three</em><br /> 1. "Shakedown Street" - 1981<br /> 2. "Bird Song" - 1982<br /> 3. "My Brother Esau" - 1983<br /> 4. "Feel Like A Stranger" - 1984<br /> 5. "Let It Grow" - 1985<br /> 6. "Comes A Time" - 1986<br /> 7. "Morning Dew" - 1987<br /> 8. "Not Fade Away" - 1988 </p> <p><em>Disc Four</em><br /> 1. "Blow Away" - 1989<br /> 2. "Ramble On Rose" - 1990<br /> 3. "High Time" - 1991<br /> 4. "Althea" - 1992<br /> 5. "Broken Arrow" - 1993<br /> 6. "So Many Roads" - 1994<br /> 7. "Visions Of Johanna" - 1995</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/grateful-dead">Grateful Dead</a> </div> </div> </div> </fieldset> Grateful Dead The Grateful Dead News Tue, 02 Jun 2015 18:16:42 +0000 Guitar World Staff 24608 at Session Guitar: The Top 10 Session Guitarists of All Time <!--paging_filter--><p>One of the most important things I can discuss with people who want to become session players is how they need to take a good long look at those who have gone before. </p> <p>In the photo gallery below is a list of some of my faves—and a brief description of each player.</p> <p>Some may be familiar, others may be obscure. Some are still active, some have gone on to that soundstage in the sky. No matter, we are looking at some of the top players of recent recorded history. Listen to them, study them, learn from them.</p> <p>And now, in the photo gallery below, I offer up my top 10 session guitarists. </p> <p>Let me know if you think I've missed anyone! Let’s hear some of your favorites.</p> <p><strong>Ron Zabrocki on Ron Zabrocki:</strong> <em>I’m a session guitarist from New York, now living in Connecticut. I started playing at age 6, sight reading right off the bat. That’s how I was taught, so I just believed everyone started that way! I could pretty much sight read anything within a few years, and that aided me in becoming a session guy later in life. I took lessons from anyone I could and was fortunate enough to have some wonderful instructors, including John Scofield, Joe Pass and Alan DeMausse. I’ve played many jingle sessions, and even now I not only play them but have written a few. I’ve “ghosted” for a few people that shall remain nameless, but they get the credit and I got the money! I’ve played sessions in every style, from pop to jazz.</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="/jimmy-page">Jimmy Page</a> </div> </div> </div> </fieldset> Brent Mason Jimmy Page Led Zeppelin Ron Zabrocki Session Guitar Blogs News Features Tue, 02 Jun 2015 17:27:33 +0000 Ron Zabrocki 11951 at The Bumm Guitar Features an On-Board Drum Kit of Sorts — Video <!--paging_filter--><p>Last month, we couldn't help but notice the appearance of several new YouTube videos about something called the Bumm Guitar.</p> <p>What is the Bumm Guitar, you ask?</p> <p>Based on the two videos below, which don't provide a lot of extra information, the Bumm Guitar is a single-cutaway acoustic guitar that's been heavily modified—to the point that it now features an onboard drum kit of sorts.</p> <p>It seems that while you're strumming or picking out notes, you also can use your thumb to touch one of seven mini-drum pads, each of which makes a unique percussion sound; it ultimately provides something similar to the sound of a full drum kit.</p> <p>We'll let the videos below do the talking, or the bumming.</p> <p><strong>For more about the Bumm Guitar—and Pensen Paletti, the guitarist in the videos—follow Paletti on <a href="">Facebook.</a></strong></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> Bumm Guitar new stuff WTF Videos News Tue, 02 Jun 2015 16:41:11 +0000 Damian Fanelli 24605 at The Top 10 Talk Box Moments in Rock <!--paging_filter--><p>The goal of any musician is to sing through his chosen instrument. </p> <p>And thankfully, advances in technology have made that possible- literally. </p> <p>In the 1970's, someone had the bright idea to take an amp's signal and run it in to the guitarist's mouth via a plastic tube, allowing him to, in a sense, speak to the audience through single notes. At the time, it blew the wah pedal out of the water. </p> <p>So what makes a great talk-box player? Good question. </p> <p><strong>10. Bon Jovi, "Livin' on a Prayer"</strong></p> <p>Damn, man! This is the Jovi at their funkiest! A round of applause to Richie Sambora for laying down some sweet-ass talk box over that rolling bass groove. Keep that dream alive!</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. Mötley Crüe, "Kickstart My Heart"</strong></p> <p>Mick Mars is not one of metal's more remarkable soloists. Yet he may have been the first to send a flurry of tremolo-picked notes flying out of his mouth. It's a sound as scary as his makeup. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. Nazareth, "Hair of the Dog"</strong></p> <p>To some Scottish accents render words unintelligible. So while Nazareth guitarist Manny Charlton is probably just making electronic noises in the breakdown of this cock-rocker, there's a chance he's actually issuing a cry for Scottish independence. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. Weezer, "Beverly Hills"</strong></p> <p>The talk box makes a comeback in the 21st century (we can't keep picking stuff from 1972, folks)! Oddly, because the song hints at the excess of Seventies rock, Rivers Cuomo's talk-box embellishments feel totally appropriate. For some reason, the Muppets come to mind when he cuts loose. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. Steely Dan, "Haitian Divorce"</strong></p> <p>One of the most melodic talk-box solos ever recorded is also a prime example of studio trickery. Session man Dean Parks played the lead, but Walter Becker added the effect later—which required him essentially to ghost-play the exact same solo, and jack his jaw accordingly. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>05. Pink Floyd, "Pigs"</strong></p> <p>David Gilmour was already one of the most articulate lead players in the prog-rock pantheon. Give him a talk box and... look out! He's literally wailing on this track; a string bend becomes a drawing syllable that never ends. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. Alice in Chains, "Man in the Box"</strong></p> <p>Rather than using the talk box as other guitarists had—to make an ordinary solo sound like it was recorded by space aliens—Jerry Cantrell broke new ground by using it to "sing" harmonies with Layne Staley. Grunge reinvented <em>some</em> rock clichés for the better. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. Joe Walsh, "Rocky Mountain Way"</strong></p> <p>This song is a classic not just for its chunky riff but also for how Walsh takes robot scat singing to new heights. Live clips reveal that Walsh really gets into his box work; you can actually see the drool dripping from the tube. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. Jeff Beck, "She's a Woman"</strong> </p> <p>Beck is a weird-guitar-sound pioneer, so it made perfect sense when he used the talk box to slur some syllables on this funked-up Beatles cover (Note: Although it's attributed to Lennon/McCartney, this is a Paul McCartney number all the way). Which raises the question: Is <em>Blow by Blow</em> truly an instrumental album?</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. Peter Frampton, "Do You Feel Like We Do"</strong></p> <p>Not only is <em>Frampton Comes Alive!</em> one of the biggest-selling live albums of all time, but with its biggest hit Frampton singlehandedly increased the vocabulary of the talk box, spitting out phrases previously unattempted by guitarists and easily one-upping Beck on articulation. Just listen to how the audience roars when the guitar asks the immortal question: "Do you feel like we do?" Stoned, maybe? </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/joe-walsh">Joe Walsh</a> </div> <div class="field-item even"> <a href="/peter-frampton">Peter Frampton</a> </div> <div class="field-item odd"> <a href="/jeff-beck">Jeff Beck</a> </div> </div> </div> </fieldset> GO May 2006 Guitar One Jeff Beck Joe Walsh Peter Frampton talk box News Features Tue, 02 Jun 2015 14:24:49 +0000 Guitar World Staff 24596 at Delta Deep, Featuring Def Leppard's Phil Collen, Premiere New Song, "Down in the Delta" — Exclusive <!--paging_filter--><p>Today, presents the exclusive premiere of "Down in the Delta," a new song by Delta Deep, a band featuring Def Leppard guitarist Phil Collen and Stone Temple Pilots bassist Robert DeLeo.</p> <p>The self-titled debut album by the band—which also features vocalist Debbi Blackwell-Cook and drummer Forrest Robinson—will be released June 23 via Mailboat Records. </p> <p>The new disc also features guest appearances by Def Leppard vocalist Joe Elliott, Whitesnake’s David Coverdale, Sex Pistols drummer Paul Cook and bassist Simon Laffy.</p> <p>"I used my natural PC1 but also kept all my demo guitars because they were a bit sloppy and had a great feel," Collen said about "Down in the Delta." </p> <p>"I wanted to keep the song sounding nasty. I think that vibe inspired Robert and Forrest. When they played along with my guitars they kept that same energy going. By the time Debbi added her vocals the song was as filthy as we could make it."</p> <p>Collen initially started Delta Deep in 2012 after jamming at home with Blackwell-Cook, who happens to be the godmother of Collen’s wife, Helen. What started as a casual pairing quickly turned into much more. Collen, Helen and Debbi began writing original music, which Collen and Debbi recorded in Collen’s home studio. Later that year, a chance meeting re-acquainted Collen with Memphis native Forrest Robinson. A friend suggested giving STP bassist Robert DeLeo a call.</p> <p>“We really wanted Robert in this band," Collen said. "He had the added firepower of being the premiere pioneer and most ‘badassed bass player’ to come out of the alternative rock explosion.” </p> <p><em>Delta Deep</em> is <a href="">available for pre-order now via iTunes, where "Down in the Delta" happens to be available for instant download.</a></p> <p><strong>For more information about Delta Deep, visit <a href=""></a> and follow them on <a href="">Facebook.</a></strong></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src=";color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></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="/def-leppard">Def Leppard</a> </div> </div> </div> </fieldset> Def Leppard Delta Deep Phil Collen Robert DeLeo Stone Temple Pilots News Tue, 02 Jun 2015 14:11:42 +0000 Damian Fanelli 24599 at 311 Premiere “Earth People,” an Unreleased Song from 1997's 'Transistor' Sessions — Exclusive <!--paging_filter--><p>Today, presents the exclusive premiere of “Earth People,” a previously unreleased song from the recording sessions that led to <em>Transistor,</em> the band's Platinum-selling 1997 album.</p> <p>The song is part of <em>Archive,</em> the band's new appropriately named 81-track box set, which celebrates 311's 25 years as a successful creative force.</p> <p>The album, which will be released June 30 via Volcano Entertainment/Legacy Recordings, features a range of rarities from 1992 to 2014, including 61 previously unreleased recordings and a 60-page book. The band also will kick off a 30-show U.S. tour on July 2. You can see all their current dates below—plus a complete track list for <em>Archive.</em></p> <p>“In preparing to make this box set, we took a trip through our own history and the history of our studio recordings from <em>Music</em> to <em>Stereolithic</em>,” writes the band in the liner notes <em>Archive.</em> </p> <p>“We felt we didn't really need another ‘Greatest Hits’ compilation, so we started searching for things we knew a true 311 fan would like to hear and see. While searching, it became clear that we were going to dive deep into the archives and uncover material that no one outside the band had ever laid eyes or ears on. It is our sincere hope that you will love this collection as much as we loved making it.” </p> <p><em>Archive</em> is available for pre-order—with a limited-edition lithograph and/or collector’s patch—from <a href=""></a>. Fans also can pre-order the set from <a href="">Amazon.</a></p> <p>Meanwhile, 311’s U.S. summer tour is set to get under way July 2 at Scottsdale, Arizona's Talking Stick Resort and continue through early August. Highlights include a 4th of July weekend concert event at Las Vegas’ Mandalay Bay Beach, where the band will play their “blue” album in its entirety. For details and complete ticket information, visit <a href=""></a></p> <p><strong>311 features singer/guitarist Nick Hexum, singer/DJ S.A. Martinez, guitarist Tim Mahoney, drummer Chad Sexton and bassist P-Nut. For more about the band, visit <a href=""></a></strong></p> <p><iframe width="620" height="365" src=";partnerId=346C2586-D3F8-4B75-BA0D-398FDB6E4C08" frameborder="0" allowfullscreen></iframe></p> <p><strong>311—Unity Tour 2015</strong></p> <p><em>JULY</em><br /> 2 Scottsdale, AZ Talking Stick Resort<br /> 3, 4 Las Vegas, NV Mandalay Bay Beach<br /> 6 Oklahoma City, OK Diamond Ballroom<br /> 7 Kansas City, MO Crossroads<br /> 9 Detroit, MI Festival*<br /> 10 Cincinnati, OH The Shoe at Horseshoe Casino<br /> 11 Chicago, IL Aragon Ballroom<br /> 12 Milwaukee, WI Riverside Theatre<br /> 14 Columbus, OH LC Pavilion<br /> 15 Cleveland, OH Hard Rock Live Northfield Park<br /> 17 Long Island, NY Great South Bay Music Festival*<br /> 18 Asbury Park, NJ Stone Pony Summerstage<br /> 19 Atlantic City, NJ Borgata Festival Park<br /> 20 Hampton Beach, NH Hampton Beach Casino Ballroom<br /> 22 Richmond, VA Innsbrook After Hours<br /> 23 Virginia Beach, VA Farm Bureau Live at Virginia Beach Amphitheatre<br /> 24 Charlotte, NC Uptown Amphitheatre<br /> 25 Jacksonville, FL Connection Festival*<br /> 26 Orlando, FL Hard Rock Live<br /> 28 Birmingham, AL Iron City<br /> 30 Lake Charles, LA L’auberge Casino Pool<br /> 31 Houston, TX Bayou Music Center</p> <p><em>AUGUST</em><br /> 1 Dallas, TX Southside Ballroom<br /> 2 Austin, TX ACL Live at The Moody Theater<br /> 4 Omaha, NE Sokol Auditorium</p> <p><em>SEPTEMBER</em><br /> 19 DelMar, CA Kaaboo Festival*</p> <p><em>*FESTIVAL APPEARANCE</em><br /> <br /><br /> <strong>311 <em>Archive</em> Tracklist:</strong></p> <p><strong>CD 1: B-SIDES &amp; BONUS TRACKS:</strong><br /> 1. Transistor Intro (Transistor - Hidden Track - 1997) 2. Let the Cards Fall (Enlarged To Show Detail Bonus CD EP - 1996) 3. Outside (National Lampoon’s Senior Trip Original Soundtrack - 1995) 4. Gap (Enlarged To Show Detail Bonus CD EP - 1996) 5. Tribute (Enlarged To Show Detail Bonus CD EP - 1996) 6. Firewater Slo-Mo (Enlarged To Show Detail Bonus CD EP - 1996) 7. Blizza (Soundsystem– Japanese Release Bonus Track - 1999) 8. Dancehall (Enlarged To Show Detail 2 Bonus CD EP - 2001) 9. Bomb the Town (Enlarged To Show Detail 2 Bonus CD EP - 2001) 10. Will the World (Enlarged To Show Detail 2 Bonus CD EP - 2001) 11. We Do It Like This (Enlarged To Show Detail 2 Bonus CD EP - 2001) 12. Dreamland (Enlarged To Show Detail 2 Bonus CD EP - 2001) 13. What Do You Do (Evolver - Japanese Release Bonus Track - 2003) 14. Little Brother (Don’t Tread on Me - Japanese Release Bonus Track - 2005) 15. I Like the Way (Uplifter - Deluxe Edition Bonus Track - 2009) 16. Get Down (Uplifter - Deluxe Edition Bonus Track - 2009) 17. How Long Has It Been (Uplifter – iTunes Exclusive Track - 2009) 18. Sun Come Through (Uplifter – Amazon Exclusive Track - 2009) 19. Vape'n Away (Stereolithic – 311 Day Edition - 2014)</p> <p><strong>CD 2: UNRELEASED SONGS:</strong><br /> 1. Summer of Love (Unreleased Version - 1994) 2. Juan Bond (311 Sessions - 1995) 3. Firewater - Normal Speed (311 Sessions - 1995) 4. Next (311 Sessions - 1995) 5. Grifter (Transistor Sessions - 1997) 6. Writer's Block Party (Transistor Sessions - 1997) 7. Earth People (Transistor Sessions - 1997) 8. The Quickening (Transistor Sessions - 1997) 9. Everything (Transistor Sessions - 1997) 10. Old Funk (Transistor Sessions - 1997) 11. Space Funk (Transistor Sessions - 1997) 12. Lemming (Transistor Sessions – 1997) 13. Cali Soca (Soundsystem Sessions - 1999) 14. Seal the Deal (Soundsystem Sessions - 1999) 15. Who's Got the Herb (Unreleased Version - 2001) 16. Time is Precious (Evolver Sessions - 2003) 17. Into the Flames (Don't Tread On Me Sessions - 2005) 18. Stealing My Girl (Don't Tread On Me Sessions - 2005) 19. Week of Saturdays (Uplifter Sessions - 2009) 20. Simplify (Uplifter Sessions - 2009)</p> <p><strong>CD 3: PRE-PRODUCTION VERSIONS &amp; DEMOS </strong><br /> 1. Welcome (Pre-Production Version – 1992) 2. Visit (Pre-Production Version – 1992) 3. Feels So Good (Pre-Production Version – 1992) 4. Paradise (Pre-Production Version – 1992) 5. Homebrew (Pre-Production Version – 1993) 6. Offbeat Bare-Ass (Pre-Production Version – 1993) 7. Six (Pre-Production Version – 1993) 8. Lose (Pre-Production Version – 1993) 9. Come Original (Pre-Production Version – 1999) 10. Freeze Time (Pre-Production Version – 1999) 11. Flowing (Pre-Production Version – 1999) 12. Livin n' Rockin (Pre-Production Version – 1999) 13. Full Ride (Pre-Production Version – 2001) 14. Champagne (Pre-Production Version – 2001) 15. Sick Tight (Pre-Production Version – 2001) 16. How Do You Feel (Pre-Production Version – 2004) 17. Down (Demo - 1995) 18. Let the Cards Fall (Demo - 1995) 19. Random (Demo - 1995) 20. The Continuous Life (Demo - 1997)</p> <p><strong>CD 4: DEMOS:</strong><br /> 1. Color (Demo - 1997) 2. Starshines (Demo - 1997) 3. Inner Light Spectrum (Demo - 1997) 4. Stealing Happy Hours (Demo - 1997) 5. Strong All Along (Early Title: Pass the Grass) (Demo w/Vocals - 1999) 6. Large in the Margin (Early Title: Forward) (Demo w/Vocals - 1999) 7. Mindspin (Demo - 1999) 8. Eons (Early Title: Stop Dat) (Demo - 1999) 9. Can't Fade Me (Early Title: Kill) (Demo w/Vocals - 1999) 10. Sick Tight (Demo - 2001) 11. From Chaos (Demo- 2001) 12. I Told Myself (Demo- 2001) 13. You Wouldn't Believe (Demo - 2001) 14. I'll Be Here Awhile (Demo w/Vocals - 2001) 15. Seems Uncertain (Demo w/Vocals - 2003) 16. Give Me A Call (Demo w/Vocals) 17. Speak Easy (Early Title: Romantic Odyssey) (Demo - 2005) 18. Sun Come Through (Early Title: Rockin aught8) (Demo - 2009) 19. Jackpot (Early Title: New Thingy) (Demo - 2009) 20. Rock On (Early Title: Rock On Circus) (Demo - 2011) 21. Ebb &amp; Flow (Early Title: Go!) (Demo - 2014) 22. Paradise (Acoustic Version - 1992)</p> 311 News Tue, 02 Jun 2015 14:08:55 +0000 Damian Fanelli 24600 at Learn Guitar World's '50 Greatest Rock Songs of All Time' <!--paging_filter--><p>The name says it all: <em>Guitar World's 50 Greatest Rock Songs of All Time</em> presents the 50 best as decided by the editors at <em>Guitar World</em> magazine, transcribed note-for-note. </p> <p><strong>The 512-page book Includes: </strong></p> <p> All Along the Watchtower<br /> All Day and All of the Night<br /> Barracuda<br /> Bohemian Rhapsody<br /> Carry on Wayward Son<br /> Crazy Train<br /> Detroit Rock City<br /> Enter Sandman<br /> Free Bird<br /> Highway to Hell<br /> Hotel California<br /> Iron Man<br /> Layla<br /> Misirlou<br /> Pride and Joy<br /> School's Out<br /> Smells like Teen Spirit<br /> Smoke on the Water<br /> Sweet Child O' Mine<br /> Tush<br /> Welcome to the Jungle<br /> You Really Got Me </p> <p> ... and more! </p> <p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=50GreatestRockSongs">The book is available now at the Guitar World Online Store for $35. Head there now for more info!</a></strong></p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe></p> News Features Tue, 02 Jun 2015 12:18:36 +0000 Guitar World Staff 18457 at Mark Tremonti Talks New Solo Album, 'Cauterize' <!--paging_filter--><p>Mark Tremonti is not the kind of guy who likes to sit still. </p> <p>Between his stint in Creed, his regular gig in Alter Bridge and with his latest project Tremonti, he consistently finds himself amidst a never-ending cycle of writing, recording and touring. </p> <p>It takes a tremendous amount of work ethic and drive to juggle two and sometimes three projects at a time, which is why it should hardly surprise anyone that he’s decided to record two simultaneous follow-up records to 2012’s <em>All I Was</em> rather than just one.</p> <p><em>Cauterize</em> is the first of a set of two albums Tremonti recently laid down with the help of his backing band and producer Michael “Elvis” Baskette and will hit the shelves this summer. Another record, <em>Dust</em>, will follow along sometime thereafter. </p> <p>“I’ve always considered myself as more of a songwriter than a guitar player, and with this huge mountain of song ideas that I needed to whittle down, having a couple of bands to do that with really helps to get those songs to see the light of day.”</p> <p>A key addition this time around to the Tremonti recording unit was bassist Wolfgang Van Halen, who had spent the previous summer on the road with the group. </p> <p>“As soon as we started touring he was just kind of a member of the band,” says Tremonti. “He keeps the rhythm section super tight…and he’s just real creative. When Wolfgang was a part of the whole writing process he came up with things in his mind that by the time we went into the studio it was just perfectly laid down.” </p> <p>With so much material saved up, most other artists might have just released a double record and called it a day, but Tremonti’s old-school ideas of what an album is supposed to convey prevented him from taking that route. </p> <p>“A lot of times when I hear an album and it’s too long I feel like I lose track of the album,” he said. “I wanted this record to be concise, like so many of the albums I grew up listening to. A record you could live with for a year and a half before the next one comes out.”</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="/creed">Creed</a> </div> <div class="field-item even"> <a href="/alter-bridge">Alter Bridge</a> </div> </div> </div> </fieldset> Alter Bridge Creed July 2015 Mark Tremonti Interviews News Features Magazine Mon, 01 Jun 2015 21:31:47 +0000 Corbin Reiff 24577 at Built To Spill's Doug Martsch Talks New Album, 'Untethered Moon' <!--paging_filter--><p>For more than 20 years, Boise, Idaho–based Built to Spill have been carving out a distinct niche in the rock and roll universe, balancing a tuneful, indie-pop aesthetic against a tendency to fly off on long, distorto-guitar excursions that recall the work of Dinosaur Jr’s J. Mascis and Neil Young in full-on Crazy Horse mode. </p> <p>The band’s new and eighth studio album, <em>Untethered Moon</em>, lays out this paradox right from the get-go—leadoff track “All Our Songs” builds to a finale that explodes in a skronky guitar lead (“I wanted it to sound like the Stooges or something, sorta belligerent” says singer and guitarist Doug Martsch), and doesn’t let up until closer “When I’m Blind,” which gives over roughly six of its eight-and-a-half minutes to Martsch to wring out as many frenzied notes from his Fender Strat as possible.</p> <p>Despite the multitude of tones and textures layered throughout these songs, Martsch recorded all the guitars on <em>Untethered Moon</em> on his own, accompanied only by the new BTS rhythm section of bassist Jason Albertini and drummer Steve Gere. </p> <p>“Though that changes from record to record,” he says about his guitar duties, pointing out that he sometimes utilizes additional players in the studio. </p> <p>“But this time I had the songs done, and I wanted to work on them with just the rhythm section to get stuff all figured out. I thought maybe I’d bring the other guys in at the end to put on some finishing touches, but by then it just seemed like it was fine and didn’t need anything else.”</p> <p>Those “other guys” are guitarists Brett Netson and Jim Roth, both of whom play with Built To Spill live. In fact, the band has long been known for its triple-guitar attack onstage, a configuration that helps to bring Martsch’s multifarious six-string studio work to life. “Most of our catalog, we’re kind of known for having a lot of textures in our songs,” he says. “There’s a lot going on. So it’s cool to be able to cover that stuff onstage.”</p> <p>As for the fact that Martsch has been able to pursue his unique vision for Built to Spill for close to a quarter century now, it’s something that the frontman says still amazes him. “I never dreamed of having even a shitty music career,” he says. “So to have one I feel pretty good about, that’s unbelievable to me.”</p> <p><em>Photo: Rene Gomez</em></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Built To Spill Doug Martsch July 2015 Interviews News Features Magazine Mon, 01 Jun 2015 21:22:42 +0000 Richard Bienstock 24579 at 'Red Light District': Kicking Harold Guitarist Tim David Kelly Talks New Album, Gear and More <!--paging_filter--><p>Kicking Harold—a band featuring Tim David Kelly (lead vocals, guitar), Bret Domrose (bass) and Michael Odabashian (drums)—consider themselves modern rock alchemists, with "modern" being the operative word.</p> <p>In fact, the first single from their latest album, <em>Red Light District,</em> fits that philosophy rather nicely. </p> <p>After years of unsuccessful attempts to re-release the original song, the band decided to give a 21st-century upgrade to the fan-favorite, "Kill You," a song that originally appeared on their 1996 debut album, <em>Ugly and Festering</em>. </p> <p>A video for “Kill You,” which features an appearance by adult film star Mary Carey, has already racked up more than 50,000 views.</p> <p>I recently spoke with guitarist Tim David Kelly about <em>Red Light District,</em> his gear and more.</p> <p><strong>GUITAR WORLD: If I asked you to describe the sound of <em>Red Light District</em>, what would you say?</strong></p> <p>I would say it’s a combination of all of our albums put together. There are elements of our early days when we were a little bit grungier to the more current style of where we are now. We’ve really tried to evolve the band without reducing where we’ve come from. </p> <p><strong>What’s your songwriting process like?</strong></p> <p>Over the years, it’s been different for every album. The last album we did was more of a personal studio project built up layer by layer. As a songwriter, I’m constantly writing. I’ll usually keep small, one-minute demos of verses, choruses and lyrics, and then when it’s time to make an album, I’ll start going through all of the different ideas to find the ones that work best. </p> <p><strong>Let’s talk about a few tracks from <em>Red Light District,</em> starting with “Underneath It All."</strong></p> <p>That’s a good example of how songs can hang around for a long time. I originally wrote that song around 2006. It was something I had worked up and played but never got around to recording. When we started looking for songs for this album, I wanted to choose something from around that time period. I really liked the riff and revamped it to what it is now. Once you hit the studio everything comes to life!</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>"Drinkin’ to Forget You"</strong></p> <p>That song was actually written with completely different lyrics. It started out as more of a love song. I had tracked the whole song and really liked the music and melody but when I was listening back, I realized the love lyrics didn’t seem to work. So I pulled them off and re-wrote the song around the opposite theme! [laughs].</p> <p><strong>Why did you decide to do a remake of "Kill You"?</strong></p> <p>That was originally the first single off of our very first album when we got signed. In the late Nineties our old record label let the album go out of print. So even though the song was still in rotation on radio, it was no longer available. I remember approaching the label about buying back the masters to release to the fans, but they basically told us no. That’s when our manager suggested we re-track it. So we decided to change things up and include it on the new album. </p> <p><strong>The INXS song "Need You Tonight" was an interesting cover selection. How did this song make it on to the album?</strong> </p> <p>I’ve always loved INXS, and we used to do a heavy version of “Devil Inside." I remember wanting to do a cover of a Number 1 song for this album, so what I did was buy the Number 1 hits of the Eighties. I listened to every song from 1980 to 1990, trying to figure if any of them would work. I actually had no idea that “Need You Tonight” was one of the songs that went to Number 1. I loved it and knew right away it was the one to do!</p> <p><strong>When did you know you wanted to have a career in music?</strong></p> <p>The genesis of the whole thing actually began in high school. I had two friends who played guitar and piano and were starting a band. I didn't want to be left out so I had one of them teach me guitar. I learned the chords to “Fly by Night” by Rush and that was it. That’s when I was hooked and really started immersing myself in it. I started playing when I was 15 and about a year later was already doing four sets a night in bars. I even remember having to hide in the kitchen in between sets because we weren’t old enough to be in the bar when we weren’t playing [laughs].</p> <p><strong>What’s your current setup like?</strong></p> <p>I’ve had the same amp for 20 years now. It’s a 1990 Marshall 50-watt JCM 900. I’ve had to re-tube it over the years, and I like to run it through 75-watt 4x12 speakers because they don’t crunch out as much. For the past few albums, I’ll usually have my Les Paul as my main guitar and a newer 335 with the double coils. They sound like Les Pauls but are a little rounder.</p> <p><strong>What gives you the most excitement about music?</strong> </p> <p>For me, it’s about playing and connecting with fans. There’s nothing like going into a rehearsal room or playing a gig, cracking open a beer, firing up the guitar and having that camaraderie with a band and audience. That’s really what it’s all about!</p> <p><em>For more about Kicking Harold, visit <a href=""></a></em></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></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 Kicking Harold Tim David Kelly Interviews News Features Mon, 01 Jun 2015 20:51:32 +0000 James Wood 24582 at