News en Austin Power: Stevie Ray Vaughan's 30 Greatest Recordings <!--paging_filter--><p><strong>Guitar World<em> celebrates the 30 greatest recordings of Stevie Ray Vaughan—from “Texas Flood” to “Riviera Paradise”…from “Couldn’t Stand the Weather” to “The Sky Is Crying.”</em></strong></p> <p>For someone who spent a mere seven and a half years as a heavy player on the world stage, Texas guitar-slinger Stevie Ray Vaughan left behind a wealth of recorded material—and one hell of a legacy.</p> <p>In that blink of an eye between his incongruous appearance on David Bowie’s <em>Let’s Dance</em> in 1983 and his death in a freak helicopter crash in 1990, Vaughan unleashed four indispensable studio albums that hijacked the trajectory of modern blues guitar. </p> <p>Without the aid of light shows, edgy haircuts and goofy rock-star posturing, he introduced the MTV generation to passion-fueled guitar music—not to mention the work and importance of Jimi Hendrix, Albert King, Buddy Guy and Howlin’ Wolf.</p> <p>He even had time to star in his own mini rock-star drama of drug and alcohol addiction, breakdown, recovery and triumphant return.</p> <p>In honor of what would have been Vaughan’s 60th birthday (It’s about as difficult to picture SRV at 60 as it is to picture Hendrix at 72), <em>Guitar World</em> looks back at what we consider his 30 greatest guitar moments. Our list digs deep into his six-string artistry, while taking historical importance and other factors into account. </p> <p>In terms of material, we’ve considered everything, including his official studio work and numerous posthumous studio and live releases—basically everything that will be included on Legacy Recordings’ recently released 13-disc box set, <em>Stevie Ray Vaughan and Double Trouble: The Complete Epic Album Collection.</em></p> <p>We also considered his DVDs and videos available on YouTube—pretty much everything and anything he recorded with a Fender Strat, a guitar that, as reported elsewhere in this issue, also happens to be celebrating its 60th anniversary this year. — <em>Damian Fanelli</em></p> <p><strong>30. “Texas Flood” (<em>Live at Montreux 1982 &amp; 1985</em>, 2001)</strong></p> <p>Sure, there are scores of stellar live versions of “Texas Flood” online, but there’s simply something magical about this raw performance from July 17, 1982, at the Montreux Jazz and International Music Festival. </p> <p>The extended, dynamics-filled rollercoaster ride finds SRV reaching into his bag of King-meets-Hendrix licks—not to mention behind his back, where his Strat rested for the final third of the song. SRV floored everyone that night, except for a handful of blues purists who can be heard (and seen in the video) booing loud and clear. </p> <p>“We weren’t sure how we’d be accepted,” Vaughan told <em>Guitar World</em> in 1983. But he knew it went well when David Bowie appeared backstage and an important alliance was born. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>29. Love Struck Baby (<em>Live at the El Mocambo</em>, 1991)</strong></p> <p>“Love Struck Baby,” the opening track on <em>Texas Flood,</em> is an SRV original, a straightforward rocker in the style of rock and roll pioneer Chuck Berry. </p> <p>This explosive live version from SRV &amp; Double Trouble’s July 20, 1983, performance at El Mocambo clearly illustrates Vaughan’s incredible touch, tone and phrasing from the very first note. </p> <p>The rhythm guitar parts are built from Berry’s signature alternating root-fifth/root-sixth style, and Vaughan’s solos borrow from both Berry and T-Bone Walker, Stevie’s great influence. During his first and second solos, Vaughan leans heavily on an Adim7 voicing fretted on the top three strings that is slowly bent up one half step and vibrato-ed in the style of Walker. </p> <p>At the end of his second solo, he employs an unusual A7add2 chord voicing—made popular by blues great Freddie King on his instrumental hit “Hide Away”—sliding down the fretboard from this voicing and jumping into unison bends played on the third and second strings, with the ring finger used to bend the third string and the index finger used to fret the second string.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>28. Say What! (<em>Soul to Soul</em>, 1985)</strong></p> <p>The opening track on SRV and Double Trouble’s third album, “Say What!” is a swinging 12/8 instrumental that features intense, virtuoso guitar work drenched in echo and heavy wah-wah. </p> <p>“ ‘Say What!’ had been a jam, like Hendrix's ‘Rainy Day, Dream Away,’ ” Tommy Shannon recalls. Rumor has it that, for this track, Vaughan used a wah that had formerly belonged to Jimi Hendrix. </p> <p>Allegedly, the wah was acquired by brother Jimmie Vaughan in a trade with Hendrix when the two played a show together in Forth Worth, Texas, in 1969. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>27. “Let's Dance” (David Bowie, <em>Let’s Dance</em>, 1983)</strong></p> <p>It’s crazy enough that, in the synth-happy early Eighties, newcomer Vaughan had a top-20 hit with a Strat-fueled, 12-bar-blues shuffle called “Pride and Joy.” </p> <p>Even more bizarre is that, the same year, his raunchy Albert King–inspired bends graced a bona-fide mega-hit, David Bowie’s jittery “Let’s Dance,” which spent a solid three weeks at the top of the charts. </p> <p>The song—and the album of the same name—is notable because it served as the world’s introduction to Vaughan’s dynamic fretwork, a fact lost on most of Bowie’s newer, younger audience. </p> <p>For a heftier serving of SRV, check out the seven-plus-minute version of this track, plus “Cat People (Putting Out Fire)” and “China Girl.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>26. Ain’t Gone ’n’ Give Up on Love (Capitol Theater, 1985)</strong></p> <p>Cut originally for 1985’s <em>Soul to Soul</em>, “Ain’t Gone ’n’ Give Up on Love” is a great slow blues in A with some interesting twists and turns found in the bridge chord progression. </p> <p>This smoldering version, cut on September 21, 1985, at the Capitol Theater in Passaic, New Jersey, is one of the many great examples of Stevie’s pure and complete mastery of the slow blues idiom. Throughout the song, his soloing style leans heavily on his Albert King influence, blended masterfully with his incredibly precise articulation and powerfully emotional execution. </p> <p>Although he performs increasingly complex improvised phrases as the solo progresses, his rhythmic sense is sharp and he retains total control throughout.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>25. Superstition (<em>Live Alive</em>, 1986)</strong></p> <p>Stevie Wonder originally wrote this fantastic riff rocker for Jeff Beck before reclaiming it as his own and making it a Number One smash in 1972. </p> <p>A decade later, SRV wrestled it back on his 1986 <em>Live Alive</em> and made it the monstrous guitar song it always wanted to be. The only demerit is that Stevie—the undisputed king of corny music videos—used the track as an excuse to make yet another hilariously bad promotional clip.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>24. Change It (<em>Soul to Soul</em>)</strong></p> <p>Arguably Stevie’s best single. </p> <p>He sounds like the big bad wolf threatening to blow down some girl’s door—and if that won’t do it, his snarling guitar solo will. Although the lyrics are generally positive, his vocals are menacing as all hell. Another terrible video, though. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>23. Blues at Sunrise (<em>In Session,</em> 1999)</strong></p> <p>Stevie Ray Vaughan and his hero and mentor Albert King convened on December 6, 1983, to perform for the <em>In Session</em> live music television series produced by the Canadian television station CHCH-TV in Hamilton, Ontario. </p> <p>Vaughan, whose debut release <em>Texas Flood</em> had been out for only a few months, was largely unknown to most viewers at that time. In fact, King didn’t know him by name and initially refused to perform with Vaughan—until King realized he was the same Austin, Texas, guitar prodigy that King had already played with many times before, known to him as “Little Stevie.” </p> <p>The show features King’s band and consists mostly of his material, aside from a scorching version of Vaughan’s “Pride and Joy.” The two guitarists “battle” back and forth beautifully, King often laughing as he is tickled pink by Vaughan’s virtuosity.</p> <p>“Blues at Sunrise” is the high point of a session that many consider to contain some of the greatest playing SRV ever recorded. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>22. Crossfire (<em>In Step</em>, 1989)</strong></p> <p>“When Stevie first heard ‘Crossfire,’ it reminded him of ‘Shotgun’ by Junior Walker,” bassist Tommy Shannon recalls of Vaughan’s only Number One hit. </p> <p>Shannon, one of the song’s composers, actually wrote the butt-shaking bass line that serves as its primary riff, but according to keyboardist Reese Wynans, the track had a somewhat difficult birth. </p> <p>“We put it together little by little, and it wasn’t easy,” he says. “But in the end it came out just right.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>21. “The House Is Rockin'” (<em>In Step</em>)</strong></p> <p>We’re suckers for a killer guitar riff, and “The House Is Rockin’,” the lead single from Vaughan’s 1989 comeback album, <em>In Step,</em> is built around a doozy. </p> <p>Actually, the riff—a Chuck Berry–inspired E power chord shape played on the seventh fret (tuned down a half-step, of course)—is fairly basic. It’s Vaughan’s pinky gymnastics on the fifth and sixth strings that give it its own chugging, barrelhouse flavor. </p> <p>“Doyle [Bramhall] wrote that part,” Vaughan told <em>Guitar World’s</em> Andy Aledort in 1989. “He writes these great songs.” With this track, Vaughan once again managed to bring a tasty piece of roots rock to the Top 20.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>20. Tin Pan Alley (<em>Montreux,</em> 1985)</strong></p> <p>When Stevie Ray Vaughan and Double Trouble played the Montreux Jazz Festival for the second time on July 15, 1985 (almost three years to the day from their first appearance), Stevie joked with the adoring crowd: “First time here, we got booed… First time we got a Grammy!” </p> <p>The 1985 performance included Reese Wynans on keyboard, whicih led Vaughan to dub the group Serious Trouble. </p> <p>“Tin Pan Alley” is a very slow, emotive minor blues that had been in SRV’s live set for years by the time he first cut it in the studio in January 1984 for <em>Couldn’t Stand the Weather</em>. </p> <p>This version includes legendary Texas guitarist Johnny Copeland sitting in on vocals and guitar, and Stevie’s guitar work throughout—performed on the white Charlie Wirz Strat with Dan Armstrong “lipstick tube” pickups—is absolutely astonishing. </p> <p>His tone, his touch, his feel and his phrasing are just phenomenal. Electric blues guitar just does not get any better than this. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>19. Come On (Part III) (<em>Soul to Soul</em>) </strong></p> <p>Every Stevie Ray album had to have a little Hendrix on it somewhere, and his third album, <em>Soul to Soul</em>, was no different. </p> <p>While he stays pretty faithful to Jimi’s <em>Electric Ladyland</em> version of “Come On,” Vaughan outsings and outplays the original in every way. Hey, it was bound to happen. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>18. “The Sky Is Crying” (<em>Blues at Sunrise</em>, 2000)</strong></p> <p>Although the officially released version of this Elmore James cover, from 1991’s <em>The Sky Is Crying</em>, features welcome embellishment courtesy of keyboardist Reese Wynans, Vaughan’s tame and somewhat predicable solo owes a bit too much to “Texas Flood.” </p> <p>This three-piece version, recorded earlier (during sessions for <em>Couldn’t Stand the Weather</em>) and released nine years later on <em>Blues at Sunrise</em>, captures the band at its live-in-the-studio best. </p> <p>SRV slides up and down the neck with abandon, laying into a solo so fluid and tasty that it makes you wonder why it hadn’t been released during his lifetime.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>17. Telephone Song (<em>Family Style,</em> 1990)</strong></p> <p>Released a month before Stevie’s death, this track is just one of the many highlights from the vastly underrated 1990 <em>Family Style</em> album, recorded with his older brother, Jimmie. </p> <p>If Stevie had a fault, it was that he was a little too earnest, but with his bro and producer Nile Rodgers onboard, he sounds like he’s loose and having a blast. </p> <p>“Telephone Song” is surely the funkiest studio track of his career, and his improvised rap at the end is a hoot.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>16. Look At Little Sister (<em>Soul to Soul</em>)</strong></p> <p>To think of “Look At Little Sister” as a somewhat inferior follow-up to “Pride and Joy” is to miss its many virtues. </p> <p>Sure, it features less guitar, but Stevie’s lascivious vocals are fantastic, and the track’s superior sound and production add substantial heft to its grinding stripper chug. It’s dirty in a way that the blues should be. </p> <p>You can’t help but imagine what this sweet thing looks like when SRV spies her “shakin’ like a tree” and “rollin’ like a log.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>15. “May I Have a Talk with You” (<em>The Sky Is Crying,</em> 1991)</strong></p> <p>This cover of a Howlin’ Wolf tune stands out as one of the rare polished-sounding studio recordings where Vaughan actually flubs a note. </p> <p>The (let’s call it) tiny imperfection occurs at the 4:01 mark, when SRV is coming back for a landing after a series of bends high on the neck. But the error plays only a bit part in this particularly exciting and majestic slow-burn solo and reminds us that Vaughan was, occasionally, mortal. </p> <p>Well, mortal-ish.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>14. Scuttle Buttin’ (<em>Couldn’t Stand the Weather</em>)</strong></p> <p>Composed as a tribute to Lonnie Mack, who is among rock’s first virtuoso lead guitarists, this 1:52 shot of pure adrenaline opens with one of Stevie’s flashiest and most imitated licks.</p> <p>Featuring a series of quick—and relatively easy—open-string pull-offs, “Scuttle Buttin’ ” is the song for guitarists to learn when they want to impress skeptical parents, buddies and girlfriends.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>13. Cold Shot (<em>Rockpalast</em>, 1984)</strong></p> <p>Originally included on SRV’s brilliant sophomore release, 1984’s <em>Couldn’t Stand the Weather</em>, “Cold Shot” is a swinging shuffle with a dark, heavy blues feel. </p> <p>The song was written by keyboardist Mike Kindred, who was part of the Triple Threat group that preceded the formation of Double Trouble. Stevie loved “Cold Shot” and kept it in the repertoire for his entire career. </p> <p>At the time of this performance, which took place on August 25, 1984, at Freilichtbühne Loreley, St. Goarshausen, Germany for the <em>Rockpalast</em> television broadcast, SRV and Double Trouble were still performing as a trio, and the band’s pure power at this stage of its development is simply incredible. </p> <p>With his Fender Vibratone cranked to the max, Stevie rips through his first solo, relying on hybrid-picked non-adjacent double-stops played on the third and first strings. </p> <p>Notes on the high E string are fingerpicked, while notes on the G string are sounded with the pick. SRV’s solid fret-hand strength allows him to execute the many bends and hammer-ons played on the G string while simultaneously fretting the high A root note on the E string at the fifth fret. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>12. Tightrope (<em>Austin City Limits</em>, 1989)</strong></p> <p>When Stevie cut 1989’s<em> In Step</em>, his last studio effort with Double Trouble, he showcased more of an R&amp;B/soul approach than ever before, evidenced by the hit tracks “Crossfire” and “Tightrope.”</p> <p> “Tightrope” is a straightforward 4/4 groover with a James Brown–meets–Albert King type of feel. Shot on October 10, 1989 for<em> Austin City Limits</em>, Stevie’s performance is extraordinary, displaying a combination of raw power, deep emotion and technical brilliance in perfect measure. </p> <p>His Fuzz Face–drenched solo is crushing in its power while also beautifully melodic and precise. The intense multistring bent vibratos at the start of his outro solo (3:42–3:46) are just the tip of the iceberg as he closes out this truly masterful performance.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>11. “Mary Had a Little Lamb” (<em>Austin City Limits</em>, 1989)</strong></p> <p>“When I go out and play [“Mary Had a Little Lamb”], I can hear people say, ‘Oh, that's Stevie's number,’ ” Buddy Guy once said. </p> <p>“So I say, ‘Okay man, that's Stevie's number.’ But Stevie knows whose number it was.” </p> <p>“Mary,” the first Guy composition to be recorded by Vaughan, was the perfect canvas for Vaughan and keyboardist Reese Wynans to slather with their mad skills. </p> <p>Like the rest of this priceless 1989 <em>Austin City Limits</em> broadcast, Vaughan is simply on fire. Between the song’s funked-up sections, he delivers a series of stellar, note-perfect solos that careen and soar with the aid of some nifty whammy-bar action.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>10. Testify (<em>Texas Flood</em>)</strong></p> <p>The idea of Stevie Ray covering a funky song by the great R&amp;B band the Isley Brothers might seem bizarre until you consider that rhythm and blues was a big part of the Double Trouble playbook. </p> <p>Besides, his choice of “Testify” makes perfect sense when you realize that the guitarist on the Isley’s original 1964 version was none other than his hero, Jimi Hendrix. </p> <p>More a tip of the hat than a cover, Stevie pays respects to Hendrix’s original opening riff before ditching the rest of the song and heading into parts unknown. It’s just as well. “Testify” wasn’t very good in the first place, and Vaughan carves a much more exciting path while ripping a total of seven—count ’em, seven—electrifying solos, each more intense than the one before it. </p> <p>But what really makes this one of Stevie’s very best performances is the variety of sounds he gets by using his wah pedal to subtly color his sound, as it gradually shifts from silky smooth to full-on banshee wail. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>09. “Couldn't Stand the Weather” (Capitol Theatre, 1985)</strong></p> <p><em>Couldn’t Stand the Weather</em>, Vaughan’s 1984 sophomore album, featured impressive guitar work and sold well, two factors that confirmed SRV and Double Trouble weren’t a mere flash in the pan. </p> <p>Still, many critics and fans at the time couldn’t help but notice that the album was something of a letdown. With its combination of originals and covers and heavy reliance on the blues, the eight-song collection had a “more of the same” feel about it. </p> <p>Thirty years later, however, one can’t help but notice that <em>Couldn’t Stand the Weather</em> is where a Texas-sized portion of Vaughan’s most essential recordings live. These include “Voodoo Chile (Slight Return),” “Cold Shot,” “Tin Pan Alley” and the funky title track, which—contrary to the “more of the same” criticism—finds Vaughan working hard to break out of the blues mold of <em>Texas Flood</em>. The song features several fine guitar parts, from its free-form intro to its funky figures to its Albert King–Jimi Hendrix stew of a solo. </p> <p>One of the most inspiring performances of the song—from September 1985 at New Jersey’s Capitol Theatre—can be found on YouTube (below), courtesy of the Music Vault. It’s all there: Vaughan’s power, intensity, focus and mammoth stage presence, plus a new-for-1985 breakdown section that gave keyboardist Reese Wynans a chance to shine. This version also scores bonus points for its choreography! (<em>P.S.: I was in the audience that night! — Damian Fanelli</em>)</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>08. Riviera Paradise (<em>In Step,</em> 1989)</strong></p> <p>Stevie called it “The King Tone”—the bell-like, crystalline timbre of a Fender Strat played clean, warm and in the in-between (out-of-phase neck-middle and bridge-middle) pickup positions. </p> <p>And he put it to extraordinary use on In Step’s “Riviera Paradise,” one of his rare but unforgettable forays into the world of Wes Montgomery–inspired jazz blues. Done in one magic take, the recording session was the stuff of legends.</p> <p> “Stevie told me he had an instrumental he wanted to try, and I said that I only had nine minutes of tape left,” producer Jim Gaines recalls. “He said, ‘Don’t worry, it’s only four minutes long.’ We dimmed the lights and the band started playing this gorgeous song, which went on to six minutes, seven minutes, seven-and-a-half… The performance was absolutely incredible, totally inspired, dripping with emotion—and here we were, about to run out of tape. </p> <p>“I was jumping up and down, waving my arms, but everyone was so wrapped up in their playing that no one was paying me any mind. I finally got Chris’ attention and emphatically gave him the cut sign. He started trying to flag down Stevie, but he was hunched over his guitar with his head bent down.</p> <p> Finally, he looked up, and they brought the song down just in time. It ended, and a few seconds later the tape finished and the studio was silent, except for the sound of the empty reel spinning around.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>07. Rude Mood (<em>Texas Flood</em>)</strong></p> <p>Along with “Testify” and “Lenny,” “Rude Mood” is another of the three instrumental tracks recorded for SRV’s debut release.</p> <p>Written by Vaughan and inspired by the Lightning Hopkins song “Hopkin’s Sky Hop,” this barn-burning track serves as a tour de force display of Stevie’s mastery of a great many different guitar techniques, including fast alternate picking, complex sections devised of fingers-plus-pick hybrid-picking techniques, and seamless transitions from hard-driving rhythm playing to blazing single-note solos. </p> <p>As a composition, it is perfectly constructed into distinct and individual 12-bar choruses, each of which brings the intensity of the song to a new and higher level. </p> <p>Says Double Trouble drummer Chris Layton, “In early ’79, [country DJ] Joe Gracey made early recordings of Double Trouble while Lou Ann [Barton], Jack Newhouse and Johnny Reno were still in the band. That was blues stuff like, 'Ti Na Nee Na Nu,’ ‘Scratch My Back’ and ‘Sugarcoated Love,’ along with an early version of ‘Rude Mood.’ Those recordings were done in the tiny basement of KOKE, a country station. Gracey recorded us on a four-channel mixer with a reel-to-reel, with everything done totally live using just four microphones.”</p> <p>It’s fascinating to hear the recording of “Rude Mood” from that period, because the <em>Texas Flood</em> version, which is much faster, is a note-perfect recreation of it. There is virtually no improvisation whatsoever. It is almost unheard of for a blues guitar player to compose something that lengthy and complicated, and perform it note-perfectly for years and years, just as Stevie did. </p> <p>He displays incredible attention to detail on this song, and this is even more obvious when you compare the two studio versions, recorded four years apart.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>06. Lenny (<em>Live at the El Mocambo</em>)</strong></p> <p>“Lenny” is a beautiful, Hendrix-inspired ballad that Stevie wrote for his wife, Lenora. </p> <p>The solo section is made up of alternating bars of Emaj13 and Amaj9. Stylistically, the song is very similar to Jimi Hendrix’s classic ballad, “Angel.” For this El Mocambo performance, Stevie chose to play a guitar he dubbed Lenny, a 1963/1964 guitar that Lenny bought for Stevie in the early Eighties. </p> <p>It was stripped down to the natural wood and features a light-brown stain as well as a butterfly tortoiseshell inlay in the body. The guitar originally had a neck with a rosewood fretboard, but Stevie soon replaced it with a maple neck that was a gift from his brother, Jimmie. </p> <p>In true Hendrix style, Stevie treats the arpeggiated bridge section (the B6-D6-G6-Bb6-A6 chord progression) with subtle whammy bar manipulations. His improvised lines are based primarily on E major pentatonic (E F# G# B C#), with brief use of the minor third, G, as a passing tone into the major second, F#. </p> <p>Of great importance is the subtle use of hammer-ons, pull-offs and slides throughout, which serve to provide a liquid feel to his well-articulated and melodic phrases. When playing these lines, Stevie sticks with the index and ring fingers of his fret-hand. Of note is the smooth and effortless way he moves from playing straight 16th notes to playing lines articulated in 16th-note triplets. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>05. “Leave My Girl Alone” (<em>Austin City Limits</em>, 1989; released on <em>The Real Deal: Greatest Hits 2</em>, 1999)</strong></p> <p>One of the most frustrating things about Vaughan’s tragic death in August 1990 was the fact that, in the last two years of his life, his playing had somehow improved. </p> <p>Vaughan’s (and the rest of the band’s) coke-induced distractions were snuffed out, and his portal—that magical gateway that connected the guitarist to his unique source of inspiration, divine or otherwise—was wide open. </p> <p>A perfect example is this live 1989 version of Buddy Guy’s “Leave My Girl Alone,” recorded on the <em>Austin City Limits</em> TV show. Eric Clapton has mentioned how Jeff Beck “pulls” notes from his guitar; in this case, Vaughan is clearly “pushing” the notes out of his Strat, all in relentless, lightning-fast bursts that make you wonder what you’ve been doing with your life. </p> <p>His ominous groans between phrases underscore the passion and excitement he felt during every performance, especially when he was able to experience his surroundings as a clean and sober guitar god. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>04. Little Wing (<em>Live at the El Mocambo</em>, 1991)</strong></p> <p>Stevie Ray Vaughan’s electrifying performance of Jimi Hendrix’s timeless ballad during his July 20, 1983, performance at the El Mocambo Club in Toronto, Canada, is one of the best live versions he ever performed, beautifully filmed and captured at what was the very beginning of his rapid ascent to stardom. Stevie always played the song as an instrumental. </p> <p>Six months after this performance, he would record an instrumental version of “Little Wing” in the Power Station studio in NYC while working on his sophomore release, <em>Couldn’t Stand the Weather</em>. </p> <p>Without mimicking any of Jimi Hendrix’s licks, Stevie expresses his own distinct musicality—as well as complete and utter mastery of the guitar—while beautifully and faithfully emulating Jimi’s style. He relies on specific elements, such as strong and wide vibratos, razor-sharp string bending and expressive legato techniques, delivered with a swinging 16th-note triplet feel. </p> <p>Throughout, Stevie focuses his formidable technique on emotionally expressive phrases, as each new improvised melody balances perfectly against the last.</p> <p> Jimi’s original studio take may have been a mere 2:24 in length, but SRV uses “Little Wing” as a vehicle for extended improvisation, as this stellar version stretches out to just over seven minutes long. A huge plus for all guitarists is that the DVD of this concert, <em>Live at the El Mocambo</em>, stays focused on his hands virtually the entire time, allowing for close scrutiny of just about every blazing lick, bend and vibrato that he performs.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>03. Voodoo Chile (Slight Return) (<em>Couldn’t Stand the Weather</em>, 1984)</strong></p> <p>It’s ballsy when any guitarist attempts to cover a Jimi Hendrix song, let alone a masterpiece like “Voodoo Chile (Slight Return).” And even though SRV was no ordinary guitarist, he labored long and hard over the decision to include his version of the tune on his second album, <em>Couldn’t Stand the Weather.</em></p> <p> “I love Hendrix’s music,” Vaughan told <em>Guitar World</em> in 1985, “and I just feel it’s important for people to hear him. I know if I take care of his music that it will take care of me. I treat it with respect—not as a burden. See, I still listen to Hendrix all the time, and I doubt I’ll ever quit.”</p> <p> In many ways Stevie was a perfect envoy for Jimi, as witnessed by his electrifying studio take on “Voodoo.” His uncanny ability to smooth out some of Hendrix’s weirder edges without losing any of the music’s power or excitement allowed him to credibly deliver Jimi’s avant-garde blues to a whole new generation of guitar fanatics.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>02. “Pride and Joy” (<em>Texas Flood</em>)</strong></p> <p>Imagine what radio listeners in 1983 thought when they first heard the fat, droning Eb notes that kick off Stevie Ray Vaughan’s “Pride and Joy.” </p> <p>After their steady diet of Irene Cara, Flock of Seagulls and Human League, did they even know it was a guitar? Regardless, the notes—which quickly morphed into a rollicking Texas shuffle—underscored the return of heart-felt guitar music as a viable artistic force. </p> <p>Part of what makes “Pride and Joy” stand out from, well, pretty much everything else is its reliance on heavy-gauge open strings, including the high E (.13, tuned to Eb), B (.15, tuned to Bb) and low E (.58, tuned to Eb). Throw in Vaughan’s trademark “Number One” Strat, an Ibanez TS-808 Tube Screamer, a Roland Dimension D Chorus and a Dumble amp (which belonged to Jackson Browne), and you’ve got something truly unique. </p> <p>“Stevie wrote ‘Pride and Joy’ for this new girlfriend he had when he was inspired by their relationship,” Layton said. “Then they had a fight and he turned around and wrote ‘I’m Cryin’,’ which is really the same song, just the flip side, lyrically.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>01. “Texas Flood” (<em>Texas Flood,</em> 1983)</strong></p> <p>Stevie Ray Vaughan and Double Trouble—bassist Tommy Shannon and drummer Chris Layton—didn’t walk into Jackson Browne’s Down Town Studio in Los Angeles in late 1982 with highfalutin plans about recording their monster debut album. </p> <p>In fact, their sites were set much lower. “We were just making a tape,” Layton said. “We hoped maybe we were making a demo that would actually be listened to by a real record company.” Browne had offered them 72 hours of free time, and the group recorded 10 songs over its last two days at the studio. </p> <p>The last tune to be tracked was “Texas Flood,” an obscure slow-blues tune recorded in 1958 by Texas bluesman Larry Davis (with Fenton Robinson on guitar) that had been a staple of Vaughan’s live shows for years. Vaughan’s version, which borrowed heavily from Davis’ arrangement and singing style, was recorded in a single take—live—just as the clock ran out. According to Nick Palaski and Bill Crawford’s <em><a href="">Stevie Ray Vaughan: Caught in the Crossfire</a></em>, there were only two overdubs, both covering mistakes made when Vaughan broke strings. </p> <p>Listening to Vaughan’s ferocious Albert King–on-steroids two-string bends, it’s a miracle another three or four E and/or B strings didn’t self-destruct every few bars. </p> <p>The stark, five-and-a-half-minute recording is a composite of everything that made Vaughan great, from the note choices to the intensity to his ability to learn from, yet build upon, the groundwork laid by his influences.</p> <p><iframe width="360" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> best Damian Fanelli geatest GW Archive GWLinotte October 2014 Stevie Ray Vaughan top 30 Guitar World Lists Videos News Features Magazine Thu, 05 Mar 2015 15:31:06 +0000 Damian Fanelli, Brad Tolinski, Andy Aledort Guitar Tricks: Eight Things You Need to Know About Arpeggios <!--paging_filter--><p>As you advance in your guitar studies, you'll surely come across the term "arpeggio." </p> <p>Arpeggios are a great way to add color and complexity to your playing. You can make riffs out of them, use them in solos or even create melody lines with their fluid sound. </p> <p>Nearly all of the greats use arpeggios. Yet, if you're like a lot of guitarists, you might be shying away from them because you fear being overwhelmed by the "Twin Ts": theory and technique. If you have a basic understanding of how chords work, though, it's high time to get your feet wet. </p> <p>Here are eight things you need to know to help demystify the arpeggio. </p> <p>01. <Strong>What an arpeggio is exactly</strong> The word arpeggio (ar-peh-jee-oh) comes from the Italian word arpeggiare, which means "to play a harp." (If you can visualize harpists, they often articulate notes by plucking the strings one at a time.) Arpeggios, often called broken chords, are simply notes from a chord played individually instead of strummed together. </p> <p>02. <strong>What arpeggios can do for you</strong>. Arpeggios create a fast, flowing sound. Besides using them for speed in playing, arpeggios add a kick to improvisation skills. Because an arpeggio contains all the notes of its chord, you can use them in your solos and link them to what's going on in the chord structure beneath you to create cool sounding licks. Arpeggios always sound good over their matching chord in a progression, therefore, they generally form the melodic home bases and safe notes for improvising guitarists. <a href="">This guitar chord chart will help visualize the notes of each arpeggio on the guitar neck.</a></p> <p>03. <strong>Scales vs. arpeggios.</strong> Let's clear up any confusion you might have between scales and arpeggios. Scales are a series of notes played one by one that fit sonically within a particular key signature (e.g., G major scale would be G, A, B, C, D, E, F#). Arpeggios, on the other hand, are a series of notes played one by one that consists of the notes within a particular chord (e.g., G major arpeggio would be G, B, D). Like a scale, an arpeggio is linear: it's a set of notes you play one at a time. Unlike scales that contain some extra notes not always played in chords, arpeggios use only the notes found in a single chord. Both scales and arpeggios can be played in ascending, descending or random order.</p> <p>04. <strong>Arpeggio shapes.</strong> As with scales, there are a variety of shapes to learn when playing arpeggios. There are generally five CAGED shapes for each arpeggio, except the diminished 7th, for which there is just one. Learn arpeggios in different positions on the neck so you become familiar with the shape of the arpeggio rather than concentrating on which frets to put your fingers in. Learn the shapes one at a time. Although you need to get all five of the shapes down—eventually—it's far better to be able to play one perfectly than five poorly. Practice moving from one arpeggio shape to another, back and forth and back and forth.</p> <p>05. <strong>Which arpeggios to learn first.</strong> The best guitar arpeggios to learn first are the major triad (1, 3, 5) and the minor triad (1, b3, 5). The major and minor triads are the most common and most used guitar arpeggios in all of music. While a triad contains only three notes, an arpeggio can be extended with chords like a major seventh, a 9th, 11th, 13th, etc., giving you endless possibilities.</p> <p>06. <strong>Different picking styles.</strong> There are several ways you can play arpeggios—alternate picking, legato, <a href="">hammer-ons</a> and <a href="">pull-offs</a>, sweep picking and tapping are among them. (For the more experienced player, there also are lead techniques you should be confident with for playing arpeggios at higher speeds, such as string skipping and finger rolling.) Experiment with each way of playing these arpeggios to see which one works best for you and your particular style. </p> <p>A note here about fingerpicking: While fingerpicked chords are technically arpeggios since the chords are broken up, the individual notes aren't typically muted after they're played and thus ring together. The listener can literally hear the entire chord from the vibrations of each individual note. Arpeggios typically only have one note playing at any given time and are a slightly different idea from broken chords. </p> <p>07. <strong>Grab the arpeggio by the "root."</strong> When you're brand new to arpeggios, you always want to start and end on a root note (the note upon which a chord is built. Literally, the root of the chord.) This will help train your ears to hear the sound of the scale. Start on the lowest pitched root note, play up as far as you can, then go back down as low as you can, and then back up to the root note.</p> <p>08. <strong>Form and speed.</strong> To play arpeggios, you should mute each note immediately after picking it by lifting the fretting finger. This will keep the notes from "bleeding" into one another and sounding like a strummed chord. Every note needs to sound individually. Start off slowly. Perfect your form before you add speed to the mix. You don't want to develop bad habits that you will have to correct later. </p> <p>For more on playing arpeggios, give <a href="">some of these "how to play arpeggios" guitar lessons</a> a try, as well as Ben Lindholm's <a href=";s_id=1310">"10 Ways to Play Arpeggios."</a> </p> <p><em>Kathy Dickson writes for the online guitar lesson site <a href="">Guitar Tricks.</a></em></p> Guitar Tricks Blogs News Lessons Thu, 05 Mar 2015 13:58:11 +0000 Kathy Dickson Joe Satriani and Steve Vai Play "Satch Boogie" in 1988 — Video <!--paging_filter--><p>We love when guitar greats get together to play songs with the word "Boogie" in the title.</p> <p>Like the time <a href="">Stevie Ray Vaughan and Jeff Beck met up in Hawaii to perform "Jeff's Boogie" in 1984.</a></p> <p>And then there's the time Steve Vai and Joe Satriani, Vai's former guitar instructor, shared a stage in 1988 to perform "Satch Boogie." You can check out this full live performance of Satriani's 1987 signature tune in the video below. </p> <p>As always, let us know what you think in the comments or on Facebook!</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="/steve-vai">Steve Vai</a> </div> <div class="field-item even"> <a href="/joe-satriani">Joe Satriani</a> </div> </div> </div> </fieldset> Joe Satriani Steve Vai Videos News Thu, 05 Mar 2015 13:56:26 +0000 Damian Fanelli Universal Audio Announces Apollo Twin SOLO Desktop Audio Interface <!--paging_filter--><p>Apollo Twin brings stunning 24/192 kHz sound quality to your desktop and the ability to record in real time with authentic plug-ins from Ibanez, Friedman, Chandler, ENGL and more. </p> <p><strong><a href="">[[ Enter to Win an Apollo Twin SOLO Desktop Audio Interface from Universal Audio! ]]</a></strong></p> <p>It ships with the UAD Realtime Analog Classics Plug-In Bundle—everything you need for recording, mixing and mastering guitar. The bundle features legacy editions of the LA-2A Classic Audio Leveler, 11 76LN Limiting Amplifier and Pultec EQP-1A Program Equalizer, plus Softube Amp Room Essentials, the new 610-B Tube Preamp plug-in and more.</p> <p>Available in both SOLO and DUO models (with either one or two Analog Devices SHARC processors, respectively), Apollo Twin is now shipping worldwide with estimated street prices of $699 (SOLO) and $899 (DUO).</p> <p><strong>Apollo Twin Features</strong></p> <p>● Desktop 2x6 Thunderbolt audio interface with world-class 24-bit/192 kHz audio conversion<br /> ● Realtime UAD Processing for tracking through vintage Compressors, EQs, Tape Machines, Mic Preamps and Guitar Amp plug-ins with near-zero (sub-2ms) latency<br /> ● Thunderbolt connection for blazing-fast PCIe speed and rock-solid performance on modern Macs<br /> ● New Unison technology offers stunning models of classic tube and transformer-based mic preamps<br /> ● 2 premium mic/line preamps; 2 line outputs; front-panel Hi-Z instrument input and headphone output<br /> ● 2 digitally controlled analog monitor outputs for full resolution at all listening levels<br /> ● Up to 8 channels of additional digital input via Optical connection<br /> ● Includes "Realtime Analog Classics" UAD plug-in bundle, featuring Legacy editions of the LA-2A Classic Audio Leveler, 1176LN Limiting Amplifier and Pultec EQP-1A Program Equalizer, plus Softube Amp Room Essentials, 610-B Tube Preamp and more<br /> ● Runs UAD Powered Plug-Ins via Audio Units, VST, RTAS &amp; AAX 64<br /> ● Available with UAD-2 SOLO or UAD-2 DUO DSP processing onboard</p> <p><strong>For more about Apollo Twin, visit <a href=""></a> For more about UAD Powered Plug-Ins Platform, <a href="">head here.</a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> March Madness Universal Audio Accessories Home Recording News Gear Thu, 05 Mar 2015 13:40:54 +0000 Guitar World Staff Explore Theory Further with Guitar World's New DVD, 'Mastering Arpeggios 2' <!--paging_filter--><p>A new <em>Guitar World</em> DVD, <em>Mastering Arpeggios 2</em>, is <a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=MasteringArpeggios2">available now at the Guitar World Online Store for $14.99!</a></p> <p>The follow-up instructional guide to <em>Mastering Arpeggios</em>, this Part 2 DVD takes you further in guitar theory!</p> <p>With more than 90 minutes of instructional video, <em>Mastering Arpeggios 2</em> will teach you everything you need to know about the five essential seventh chord arpeggios. You'll reach the next level of playing with instruction on:</p> <p> • Major-seven, Dominant-seven, Minor-seven, Minor-seven Flat-five, and Diminished-seven forms<br /> • Two- and Three-ovtave Monster Shapes<br /> • Four- and Five-note "Shred Cells"<br /> • Interval Pattersn<br /> • Melodic Sequences for All Styles of Music<br /> ... and much more!</p> <p><em>Mastering Arpeggios 2</em> also includes a bonus section on How to Play Like Bach!</p> <p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=MasteringArpeggios2">Head to the Guitar World Online Store now!</a></strong></p> <p>Your Instructor is Jimmy Brown who over the last 25 years has built a reputation as one of the world's finest music editors through his work as transcriber, arranger, and senior music editor for Guitar World magazine, the world's best-selling magazine for guitarist. 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> News Features Thu, 05 Mar 2015 13:40:16 +0000 Guitar World Staff The DIY Musician: How to Build a 2x4 Lap Steel Guitar <!--paging_filter--><p>This is one of the easiest homemade guitars I've ever built, and it took me only an hour to make. </p> <p>This lap steel was made from an extra 2x4 I had in my shed, with just a few saw cuts to the wood. I even used a pre-wired acoustic sound hole pickup, so there was no wiring needed. Anybody can build this lap steel guitar!</p> <p>The lap steel plays great, too. It's set up with a standard 23-inch scale, just like the store bought-lap steels! The whole thing feels great on your lap and looks absurdly cool. </p> <p>Here’s a quick video (below). As you can tell, I’m still learning how to play this properly. (I built it so that I could learn how to play it). I love this instrument and will pull it out during my concert this Friday night. (The show is at <a href="">Liquid Hero Brewery,</a> 50 E. North St., York, Pennsylvania, 7 to 10 p.m. Friday, March 6. Come see me!)</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p>These plans will give you a very basic, yet absolutely playable lap steel. It might look like a lot of steps, but trust me, this instrument is easy to build. You are basically just marking down a few lines, making a couple cuts to the 2x4 and installing simple hardware.</p> <p>This is my first prototype 2x4 lap steel. I have a second one on the shop table right now. Look for a followup column on installing better pickups and adding some cool “hobo” mods. </p> <p><strong>Parts needed</strong></p> <p>• 32” section of 2x4 pine lumber. (Note: Due to harmful chemicals, do not use pressure-treated lumber!)<br /> • Two (2) 1/2” diameter allthread rods, 3.5” long (Allthread rods are like bolts without a head. You can find these at hardware stores. I found a box of them at a flea market.)<br /> • One pack of guitar tuners, three-to-a-side <a href="">(such as this $8.29 pack of tuners)</a><br /> • Pre-wired acoustic soundhole pickup <a href="">(such as the $13.49 Gold Foil pickup here)</a><br /> • One pack of medium-gauge electric guitar strings.</p> <p><strong>Tools needed</strong></p> <p>• Electric drill + two drill bits: 3/32” and 5/16”<br /> • Table saw or circular saw<br /> • Small screwdriver.</p> <p><strong>Directions</strong></p> <p>01. Cut a standard pine 2x4 into a 32” length.</p> <p><img src="/files/imce-images/2X4%20STEP%201.jpg" width="620" height="198" alt="2X4 STEP 1.jpg" /></p> <p>02. <strong>Cut out the headstock</strong>: Turn the 2x4 on its side and mark a vertical line 4” from the left end. Mark a horizontal line 5/8” from the top (as pictured). Cut away the bottom portion in the headstock area (shaded are in the picture). I used a dado blade on my table saw. You can also do the same thing by running the saw in multiple passes over the shaded area and then using a chisel to remove any extra wood chips. <a href="">(Still unsure? Here’s a link to a quick tutorial.)</a> </p> <p><img src="/files/imce-images/2X4%20STEP%202.jpg" width="620" height="483" alt="2X4 STEP 2.jpg" /></p> <p>03. <strong>Optional</strong>: I smoothed out the underside of the headstock on my belt sander. It also provided a little heel curve.</p> <p>04. <strong>Drill tuner holes</strong>: Mark your tuner holes on the underside of the headstock. I went in about 5/8” in on each side and spaced the tuners roughly an inch apart. Use a 5/8” drill bit to drill the tuner holes.</p> <p><img src="/files/imce-images/2x4%20step%204.jpg" width="620" height="600" alt="2x4 step 4.jpg" /></p> <p>05. Turn the 2x4 back over and the following marks on the board, starting from the butt end and going up toward the headstock:<br /> a) 1.5” (this will be our through-body string feed)<br /> b) 3” (bridge location)<br /> c) 4.5” (pickup cavity)<br /> d) 6” (pickup cavity)<br /> e) 26” (nut location)</p> <p>06. <strong>Cut out the pickup cavity</strong>: Notch out the wood between the 4 ½” and 6” line. Go about ¾” deep. Use the same dado technique as above with the headstock. </p> <p><img src="/files/imce-images/2x4%20step%206.jpg" width="620" height="450" alt="2x4 step 6.jpg" /></p> <p>07. <strong>Drill the string feed holes</strong>. Use a 3/32 drill bit to drill six holes for the strings to feed through the body. Quite honestly, I eyeballed these holes. The rough measurements from left to right are: 3/4”, 1 1/8”, 1 ½”, 2”, 2 ½”, 2 ¾”</p> <p><img src="/files/imce-images/2x4%20step%207.jpg" width="620" height="507" alt="2x4 step 7.jpg" /></p> <p>08. <strong>Mark your fret guides</strong>: Measure out the frets by starting at the 26” nut location and making pencil marks for each fret location. Then use a contractor’s square to draw the fret lines. (I used a Sharpie for some quick and dirty fret lines. You also can paint or woodburn them if you want.)</p> <p><img src="/files/imce-images/2X4%20STEP%208.jpg" width="620" height="483" alt="2X4 STEP 8.jpg" /></p> <p><strong>Fret markers*:</strong></p> <p> 1 1.29”<br /> 2 2.50”<br /> 3 3.65”<br /> 4 4.74”<br /> 5 5.76”<br /> 6 6.73”<br /> 7 7.64”<br /> 8 8.51”<br /> 9 9.32”<br /> 10 10.0”<br /> 11 10.8”<br /> 12 11.5”<br /> 13 12.1”<br /> 14 12.7”<br /> 15 13.3”<br /> 16 13.8”<br /> 17 14.3”<br /> 18 14.8”<br /> 19 15.3”<br /> 20 15.7”<br /> 21 16.1”<br /> 22 16.5”<br /> 23 16.9”<br /> 24 17.2”<br /> 25 17.5”<br /> 26 17.8”<br /> 27 18.1”<br /> 28 18.4”</p> <p>09. <strong> Optional</strong>: Carve grooves for bridge and nut. Use a wood rasp to notch grooves at the 3” mark and the 26” mark. These grooves will keep the allthread bolts from moving. (You can see these grooves in the picture at Step 13.) </p> <p>10. Install the tuners and bushings at the headstock. <a href="">For tips, see this video.</a> </p> <p><img src="/files/imce-images/2x4%20step%2010.jpg" width="620" height="600" alt="2x4 step 10.jpg" /></p> <p>11. <strong>Install the pickup</strong>. Depending on the pickup you choose, installing could be one of many different ways. As you can see, I just bent the cheap mounting tabs down on my pickup and shoved a couple screws into them to mount to the guitar. My pickup cavity was too deep, so I put a little bit of cardboard to raise it up. Ideally, you want the pickup to rest approx. ¼” away from the strings. </p> <p><img src="/files/imce-images/2x4%20step%2011.jpg" width="620" height="435" alt="2x4 step 11.jpg" /></p> <p>12. <strong>String up the lap steel, but leave the strings slackened.</strong> If the strings start to pull through the soft pine wood, place a small nail through the ball loop of the string to keep it anchored.</p> <p>13. <strong>Carefully wedge the allthread bolts into the 3” and 26” marks.</strong> These will act as your nut and bridge. </p> <p><img src="/files/imce-images/2x4%20step%2013.jpg" width="620" height="373" alt="2x4 step 13.jpg" /></p> <p>14. Space the strings evenly over the pickup, using the threads on the nut and bridge bolts as your string slots. </p> <p>15. <strong>Tune the guitar.</strong> Try an open D chord to start (D, A, D, F#, A, D, low to high).</p> <p>16. <strong>Optional:</strong> If the strings keep pulling out of the threads on the nut, use simple roundhead wood screws to act as string trees. Simply slacken the offending string, position the screw beside the string (so the screw head holds the string down) and insert it just deep enough to provide tension on the string. </p> <p><img src="/files/imce-images/2x4%20step%2016.jpg" width="620" height="483" alt="2x4 step 16.jpg" /></p> <p>17. <strong>Crank it up!</strong> Use your choice of slide or just grab a beer bottle and go. In the video qt the top of this story, I’m using a deep well socket!</p> <p><strong>NOTES:</strong> If you can’t find allthread rods to serve as bridge and nut, try other bolts, pipe pieces with notches cut into them or sections of ham bones.</p> <p>Please spread the word and share this story on Facebook! Wanna build more? Read my story, <a href="">How to Make a Mailbox Dobro.</a></p> <p>*I used the Stewart MacDonald fret calculator for these measurements. (Thanks, StewMac!) They have been rounded off to the nearest hundredth.</p> <p><em>Shane Speal is the "King of the Cigar Box Guitar" and the creator of the modern cigar box guitar movement. Hear the music, see the instruments and read about his Cigar Box Guitar Museum at <a href=""></a>. Speal's latest album, </em><a href="">Holler!</a><em> is on C. B. Gitty Records.</em></p> News Shane Speal The DIY Musician Videos Blogs Blogs News Wed, 04 Mar 2015 23:11:10 +0000 Shane Speal Meet the “Accou-Stick" Guitar-Playing Lizard <!--paging_filter--><p>Photographer Aditya Permana was observing a forest dragon lizard in Yogyakarta, Indonesia, for an hour-plus, when it suddenly struck a human-like pose, kicking back and appearing to play a guitar made out of a leaf.</p> <p>“I did not directly photograph the lizard at first, until the lizard [felt] calm and comfortable around me,” Permana told Caters News Agency.</p> <p>Obviously, the little fellow felt calm and comfortable. It's completely chilling on a tree root, elbow propped up and "strumming” the leaf.</p> <p>“I noticed it looked like it was playing a guitar—and it didn’t move at all,” Permana said,</p> <p>The Mirror described the pose as a “crazy critter” strumming on its “accou-stick instrument.” It also suggested several songs for the lizard’s set list, such as “Don’t Beleaf a Word” by Thin Lizzy, “You Can Leaf Your Hat On” by Tom Jones, “If You Leaf Me Now” by Chicago, “Karma Chameleon” by Culture Club and “Don’t Leaf Me This Way” by Thelma Houston. We'll take our leaf of you now.</p> <p><strong>Photo by Aditya Permana/Mercury Press/Caters News</strong></p> <p><img src="/files/imce-images/LIZARD-PLAYING-THE-GUITAR-1.jpg" width="620" height="722" alt="LIZARD-PLAYING-THE-GUITAR-1.jpg" /></p> Aditya Permana News Wed, 04 Mar 2015 22:21:42 +0000 Guitar World Staff Review: Epiphone 1939 Century Guitar Amplifier — Video <!--paging_filter--><p><em>These videos and audio files are bonus content related to the April 2015 issue of </em>Guitar World<em>. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the <a href=";utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=April2015VideosPage">Guitar World Online Store</a>.</em></p> <p>Back in the late Thirties when the electric guitar was still in its infancy, Epiphone produced a variety of Electar model amplifiers to pair with their electric guitar models. </p> <p>The Century and Zephyr amps were designed to go with Epiphone’s classiest, top-of-the-line electric guitar models with the same names. Unlike most amps produced at the time, which resembled luggage, the Century and Zephyr amps were housed in maple or birch cabinets with tasteful art deco styling that looked right at home on stage in the upscale nightclubs where they were often used.</p> <p>Epiphone recently introduced a reissue of the 1939 Century amplifier. </p> <p>This compact 20-watt 1x12 combo faithfully reproduces the original version’s cabinet down to the six-point screws, grill cloth and chrome-plated carrying handle while offering a newly designed tube amp circuit. </p> <p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=April2015VideosPage">For the rest of this review, including FEATURES, PERFORMANCE, the BOTTOM LINE and more, check out the April 2015 issue of Guitar World.</a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> April 2015 Epiphone Videos Amps News Gear Magazine Wed, 04 Mar 2015 19:53:57 +0000 Chris Gill, Video by Paul Riario Metallica's Lars Ulrich on New Album: "It's Pretty Close" <!--paging_filter--><p>Metallica might have a few side projects lined up—everything from a few shows this summer to re-releasing their back catalog—but none of it is getting in the way of recording their new studio album.</p> <p>"We are fucking in it," Lars Ulrich <a href="">told Rolling Stone's Kory Grow.</a> "We've got lots of songs, and we're honing them and tweaking them. It's pretty close."</p> <p>Sources say the band members have written nearly 20 songs for the new album, the followup to 2008's <em>Death Magnetic</em>. They''' likely enter the pre-production recording phase in the near future. </p> <p>Ulrich assures fans that Metallica are not planning on pulling a Beyoncé- or U2-style surprise release. "Right now, it's not like we're going to do one of those things where we'll just give it to iTunes on Thursday without telling anybody," he said. "That's not in the cards."</p> <p>"In our world, there's been a distinct difference between the creative phase and the recording phase," Ulrich added. "With this project, we're trying to bridge the two a little more organically and not have there be such a great divide between the processes. We want to see if we can bring some of the creative curiosity, the impulsive stuff that happens when you're first playing a song into the studio.</p> <p>"You want to tweak it and get it good, but you also want to record it in a way where it doesn't feel labored over and overthought," he continues. "We're trying to figure out where that line is." Stay tuned for updates!</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/metallica">Metallica</a> </div> </div> </div> </fieldset> Metallica new album update News Wed, 04 Mar 2015 18:46:21 +0000 Guitar World Staff Review: Seymour Duncan 805 Overdrive Pedal — Video <!--paging_filter--><p><em>These videos and audio files are bonus content related to the April 2015 issue of </em>Guitar World<em>. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the <a href=";utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=April2015VideosPage">Guitar World Online Store</a>.</em></p> <p><strong><em>GOLD AWARD WINNER</em></strong></p> <p>The variety of overdrive and distortion pedals on the market these days is truly staggering. </p> <p>The vast majority is basically good at one or two applications, such as clean boost, blues overdrive, hard rock rhythm crunch, or metal distortion, but pedals that can do all of this (and do it very well) are very rare indeed.</p> <p>The Seymour Duncan 805 Overdrive may be based upon the classic 808 Tube Screamer overdrive, but that’s really just a starting point as it does so much more. </p> <p>Instead of building an imitation with perhaps a few circuit changes thrown in for good measure, the 805 Overdrive features an entirely different chip (an MC33178) and provides an expertly voiced three-band EQ section that delivers higher levels of saturated gain, lower noise and increased tonal versatility. </p> <p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=April2015VideosPage">For the rest of this review, including FEATURES, PERFORMANCE, the BOTTOM LINE and more, check out the April 2015 issue of Guitar World.</a></strong></p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at --><script language="JavaScript" type="text/javascript" src=""></script><object id="myExperience4079824462001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="4079824462001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --> April 2015 Seymour Duncan Videos Effects News Gear Magazine Wed, 04 Mar 2015 17:57:43 +0000 Chris Gill, Video by Paul Riario The Next Bend: ServoBender Hybrid Replicates Sound of Pedal Steel Guitar — Video <!--paging_filter--><p>Below, check out a recently posted demo video for the ServoBender guitar.</p> <p>What is it, you ask? It's the latest—and perhaps the most successful—attempt at replicating the sound of a 10-string pedal steel guitar using the six-string variety (You know, the thing most of us play). One <em>could</em> even call it a guitar/pedal steel hybrid.</p> <p>While there are guitars with B-benders and G-benders (and both benders at the same time), the ServoBender uses four <a href="">servos</a>, all of which are mounted to a metal plate below the bridge. Each one has a spring-and-cam system made from 3D-printed parts. </p> <p>The de-tuning is controlled by an <a href="">Arduino</a> and sustain pedals retrofitted with hall-effect sensors.</p> <p>If you want (a lot) more info about the project, plus photos documenting the building process, head <a href="">here</a>, <a href="">here</a> and <a href="">here.</a> Also, be sure to let us know what you think of this guitar in the comments or on Facebook!</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><em>Damian Fanelli is the online managing editor at </em>Guitar World<em>. He's a B-bending guitarist who collects B-bender-equipped guitars. He has four at the moment. Follow him on <a href="">Twitter</a> if you dare.</em></p> ServoBender The Next Bend Videos Electric Guitars Blogs News Gear Wed, 04 Mar 2015 17:39:27 +0000 Damian Fanelli Monster Energy Welcome to Rockville Festival Announces Tequila World with Metalachi and More — Video <!--paging_filter--><p>Various onsite sponsor activities and an interactive art installation with graffiti artist RISK have been announced for the fifth annual Monster Energy Welcome to Rockville, April 25 and 26 at Jacksonville, Florida's Metropolitan Park along the St. Johns River. </p> <p>More details have been confirmed for the new Monster Energy Welcome to Rockville Tequila World.</p> <p>Florida's biggest rock festival kicks off the World’s Loudest Month festival series and features music on multiple stages, autograph signings, interactive experiences, a Monster Energy viewing area with beverage sampling and a variety of food and beverage options, including gourmet food trucks and the new Monster Energy Welcome to Rockville Tequila World. </p> <p>The new Monster Energy Welcome to Rockville Tequila World, with a Mexican fiesta theme, will feature a wide range of tequilas, extreme margaritas, gourmet tacos, mixologists and more. Admission to this area is free and open to those 21 and up.</p> <p><a href="">Metalachi,</a> the world’s first and only heavy metal mariachi band, will keep the party rolling with three performances on the Tequila World stage each day. Check out our Metalachi video below!</p> <p>Also new in 2015 is the RISK interactive graffiti art installation. Kelly Graval, the multi-talented fine artist, illustrator and graffiti artist known as <a href="">RISK,</a> will be curating an interactive art exhibit to be displayed on site. The exhibit will showcase multiple live demonstrations by RISK and will allow festival attendees the chance to interact and add to the exhibit. </p> <p>RISK has been synonymous with the Los Angeles art community for decades. With a career spanning 30 years, RISK has solidified his place in the history books as a world-renowned graffiti legend. He has come a long way since he pioneered the painting of freeway overpasses, signs and billboards, dubbed “heavens.” Although RISK loves aerosol art, he sees it as merely just one genre in his life’s work.</p> <p><strong>Tickets for Monster Energy Welcome to Rockville are available now at <a href=""></a> Those looking for a VIP experience are encouraged to buy now and save. A limited number of VIP tickets are still available for purchase for the following prices: Weekend VIP: $244.50 + fees; Single Day VIP: $129.50 + fees. On March 9 at Midnight ET, VIP ticket prices will increase to: Weekend VIP: $264.50 + fees; Single Day VIP: $139.50 + fees.</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> Metalachi Monster Energy Welcome to Rockville Videos News Wed, 04 Mar 2015 17:34:05 +0000 Guitar World Staff Alpaca's Carbon Fiber Travel Guitar Is Built to Withstand the Elements — Video <!--paging_filter--><p>Vermont-based news channel WPTZ (where my late-Nineties girlfriend used to work!) <a href="">recently published a feature</a> on the Alpaca carbon fiber travel guitar, a "special guitar made to withstand the elements."</p> <p>As always, we thought we'd share!</p> <p>"It can actually be put in the water, and then taken out and played, and be done again the next day. It is impervious to water," Alpaca Guitar Co. founder and designer Chris Duncan <a href="">told WPTZ.</a></p> <p>Duncan says it can also stand up to extreme temperatures that would destroy a wooden guitar. The Alpaca can also take bumps, whacks and various impacts.</p> <p>"We don't really know to what extent. We don't drop them on purpose any more. So, we know they will take a blow," Duncan said.</p> <p>Company literature adds that the Alpaca is a go-anywhere "adventure guitar." It is made (in Vermont, of course) of carbon fiber, flax fabric and bio-derived resins. This combination produces a lightweight and strong instrument with a resonant sound.</p> <p>"The Alpaca will handle anything a good adventure brings; dirt, water, bumps and bruises. An embedded daisy chain on the back provides a strong universal attachment to any of your outdoor gear," the company says.</p> <p><strong>For more about Alpaca guitars, watch the video below and visit <a href=""></a> For the WPTZ story, which features WPTZ's own video, head <a href="">here.</a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src=";color=658450&amp;show_artwork=false"></iframe></p> Alpaca Guitar Co. News Gear Acoustic Guitars Videos Blogs News Gear Wed, 04 Mar 2015 15:33:25 +0000 Damian Fanelli The 1969 Album Jimmy Page, Robert Plant, John Paul Jones and John Bonham Recorded Before 'Led Zeppelin' <!--paging_filter--><p>Our semi-recent story about <a href="">Jimmy Page's five best guitar solos as a member of the Yardbirds</a> got us thinking about another legendary pre-Led Zeppelin recording featuring Page.</p> <p>This project, however, features all four members of Led Zeppelin—Page, Robert Plant, John Paul Jones and John Bonham—recording together before there even was a Led Zeppelin.</p> <p>While still in "New Yardbirds" mode, the four pre-Zeps took part in the August 1968 recording sessions for P.J. Proby’s 1969 album, <em>Three Week Hero.</em></p> <p>Page and Jones were successful session musicians at this point, and when Jones got the Proby gig, he invited his fellow New Yardbirds along. A recent <a href="">Dangerous Minds</a> story quotes Jones as saying, “I was committed to doing all the arrangements for the album. As we were talking about rehearsing at the time, I thought it would be a handy source of income. I had to book a band anyway, so I thought I’d book everybody I knew.”</p> <p>The sessions started August 25, 1968, and led to an album that didn't cause much of a stir when it was released the following April.</p> <p>“The boys told me they were going over to play in San Francisco and all that, and I said, ‘Look, from what I’ve heard and the way you boys played tonight, not only are you not going to be my backing band, I’m going to say goodbye right now, because I don’t think I’m ever going to see you again'," Proby says in the DM story. </p> <p>"'That’s how successful you’re going to be. You’re exactly what they want, you play all that psychedelic stuff and everything.' I said, ‘You’re going to go over there and go down so great I don’t think you’re ever going to come home.’ They didn’t ever come back until they changed their name to Led Zeppelin and stayed over there and came back huge huge stars. … I said goodbye that day when I cut that album, and I haven’t seen one of them since.”</p> <p>Check out some samples from the album (and a non-album B-side) below.</p> <p><strong>"Jim's Blues"</strong></p> <p>Is there any doubt this is Led Zeppelin? This is part of the eight-minute medley that closed the album. I admit, this track really "shook me" ... all night long.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“The Day That Lorraine Came Down”</strong></p> <p>Here's track two from the Proby album, which was released on CD in 1994. It's easy to picture Plant on vocals — not that there's anything wrong with Proby's voice.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Mery Hopkins Never Had Days Like These"</strong></p> <p>Here's a non-album B-side from the same sessions. This song is interesting because Proby calls out each member of the band, who then plays a little solo, starting with bassist John Paul Jones. By the way, for a little more info about about the album, check out good ol' <a href="">Wikipedia.</a> (PS: It seems the word "Mery" in the song title is supposed to be spelled like that; it's obviously a fun reference to then-popular Welsh singer Mary Hopkin.)</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><em>Damian Fanelli is the online managing editor at </em>Guitar World.<em> <a href="">Follow him on Twitter.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/led-zeppelin">Led Zeppelin</a> </div> <div class="field-item even"> <a href="/jimmy-page">Jimmy Page</a> </div> <div class="field-item odd"> <a href="/robert-plant">Robert Plant</a> </div> </div> </div> </fieldset> Jimmy Page Led Zeppelin PJ Proby Robert Plant Blogs News Wed, 04 Mar 2015 14:57:46 +0000 Damian Fanelli Boss Waza Craft DM-2W Delay Pedal: Analog Delay Is Back, with a Modern Edge <!--paging_filter--><p>Ever since being discontinued back in 1984, the Boss DM-2 Delay pedal has remained highly sought after by players everywhere for its warm, “bucket brigade” analog delay tone. </p> <p>Now the DM is back! With Boss's new <a href="">Waza Craft DM-2W,</a> the coveted stomp has been reborn with switchable sound modes and greater versatility for today’s music styles. </p> <p>Using 100-percent analog circuitry, the DM-2W’s Standard mode nails the lush sound and 20-300 ms delay range of the original DM-2. Flipping into Custom mode instantly changes the sound character to a cleaner analog tone with over twice the available delay time.</p> <p><strong>This special-edition Waza Craft pedal delivers the ultimate Boss tone experience, including:</strong></p> <p>• True reproduction of the vintage DM-2 Delay sound<br /> • Premium all-analog circuit with BBD (bucket brigade) delay line<br /> • Standard mode for authentic DM-2 tone with 20-300 ms delay time<br /> • Custom mode provides warm-yet-clear delay sound and over twice the delay time<br /> • Expression pedal input for foot control of delay time<br /> • Two output jacks allow separate output of delay and direct sounds<br /> • Boss five-year warranty.</p> <p><strong>For more information about the Waza Craft DM-2W, check out the demo video and specs below, and visit its dedicated page on <a href=""></a></strong></p> <p><iframe width="620" height="370" src="" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202015-03-03%20at%203.04.44%20PM.png" width="620" height="533" alt="Screen Shot 2015-03-03 at 3.04.44 PM.png" /></p> Boss March Madness Roland Videos Effects News Gear Wed, 04 Mar 2015 13:53:22 +0000 Guitar World Staff