News en Whitesnake Premiere Music Video for Their Cover of Deep Purple's "The Gypsy" <!--paging_filter--><p>Whitesnake has shared the official music video for "The Gypsy," a track from the band's latest album, <em>The Purple Album,</em> which was released in May. </p> <p>The video, which youi can check out below, includes footage from the band's "The Purple Tour," which kicked off in the U.S. several days after the album's release.</p> <p>Coverdale was a member of Deep Purple from 1973 to 1976 and recorded three albums with the band—<em>Burn, Stormbringer</em> (both 1974) and <em>Come Taste the Band</em> (1975).</p> <p><em>The Purple Album</em> was the result of Coverdale's failed attempt to reunite with former Deep Purple guitarist Ritchie Blackmore following the 2012 death of Deep Purple keyboardist Jon Lord. Coverdale said his wife suggested that he take the groundwork that was laid for the Deep Purple covers project and fashion it into a Whitesnake project.</p> <p>“I took a little time to think about it,” Coverdale said. “I spoke to my musicians, and everybody was incredibly positive, so it was all systems go.” He added that it's “a huge thank-you from me to Deep Purple for the opportunity I was given over 40 years ago.”</p> <p>Guitar-wise, <em>The Purple Album</em> features Joel Hoekstra (formerly of Night Ranger) and Reb Beach (Winger).</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> Deep Purple Whitesnake Videos News Wed, 25 Nov 2015 15:16:35 +0000 Damian Fanelli 25892 at Lynyrd Skynyrd Cancel Remaining 2015 Tour Dates Due to Gary Rossington's Health <!--paging_filter--><p>Lynyrd Skynyrd have announced they'll be canceling or rescheduling their two remaining 2015 dates so that founding member Gary Rossington can recuperate from his recent heart procedures. </p> <p>Rossington, 63, Skynyrd's only remaining original member, suffered a heart attack in October.</p> <p>The band had shows scheduled in Loveland, Colorado, December 4 and Mescalero, New Mexico, December 5. </p> <p>Lynyrd Skynyrd have plans to resume touring next year and are among the acts slated for the annual Tortuga Music Festival April 15 to 17 at Fort Lauderdale Beach Park, Florida. We'll keep you updated.</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="/lynyrd-skynyrd">Lynyrd Skynyrd</a> </div> </div> </div> </fieldset> Lynyrd Skynyrd News Wed, 25 Nov 2015 15:06:12 +0000 Guitar World Staff 25891 at Five Modern Throwback Artists Breathing New Life Into Revivalist American Music <!--paging_filter--><p><a href="" target="_blank">Brian Setzer</a> did something truly extraordinary in the early Eighties.</p> <p>Despite his 1950s-inspired pompadour-on-acid haircut, his uber-retro-at-the-time hollowbody Gretsch 6120 and his slap-back-delay-laden guitar sound, he and the Stray Cats morphed their retro-rockabilly roots into something new, fresh, exciting and—best of all—modern.</p> <p>And this was during the days of skinny ties, rampant synth-rock and <a href="" target="_blank">A Flock of Seagulls,</a> for chrissakes.</p> <p>Subsequent generations have enjoyed retro revivals of their own (remember the late-Nineties swing craze and the Squirrel Nut Zippers?)—and some of these acts, including the incredible <a href="" target="_blank">Big Sandy &amp; His Fly-Rite Boys</a> and <a href="" target="_blank">Wayne Hancock</a>—are still going strong in 2015.</p> <p>Whether you're aware of it or not, we're in the middle of a fairly serious retro revival of our own—and it's happening across several genres, including rock, country, jazz and beyond. Maybe the <a href="" target="_blank">"real country music vs. ridiculous, laughable Nashville country music"</a> phenomenon gets all the ink these days, but let us not forget a rising force in rock named JD McPherson.</p> <p>Below, meet five current artists who are turning their vintage influences into something new and unique. All of them have released new studio albums in 2015. And remember this is just the tip of the iceberg (Be sure to also check out Austin's <a href="" target="_blank">Dale Watson</a> and Australia's <a href="" target="_blank">Pat Capocci</a>).</p> <p>Some people have a name for this music: <a href="" target="_blank">Ameripolitan.</a> They also insist we're smack-dab in the middle of an Ameripolitan revolution. And I agree. Read on!</p> <p><br /><br /> <span style="font-size:18px;font-weight:bold;">JD McPherson</span><br /> <strong>2015 ALBUM:</strong> <em>Let the Good Times Roll</em><br /> <strong>INFO:</strong> <a href="" target="_blank"></a></p> <p><img src="/files/imce-images/1026562.jpg" width="300" height="300" align="left" style="padding:10px 20px 10px 0;" alt="1026562.jpg" /></p> <p><em>Let the Good Times Roll</em> is McPherson's second album, the followup to 2010's <em>Signs &amp; Signifiers</em> (re-released on Rounder in 2012), which put the Oklahoma singer-songwriter-guitarist on the "rock ’n’ roll revivalist" map. </p> <p>In 2015, that map has led him to several high-profile gigs, including <em>Letterman</em> and <em>Conan.</em> </p> <p>At the core of this sudden McPhenomenon is an incredibly tight and gifted band that's anchored by former <a href="" target="_blank">Four Charms</a> bassist (and <a href="Hi-Style Records">Hi-Style Records</a> owner) Jimmy Sutton and drummer Jason Smay, who all you teenie-boppers might remember from his days with <a href="" target="_blank">Los Straitjackets.</a></p> <p><em>Let the Good Times Roll</em> definitely lets the good times—and the hooks, thumping bass lines and greasy guitar riffs—roll into the deepest, darkest corners of your grey matter, from which they are unlikely to be dislodged. So, um, don't bother trying. </p> <p><a href="" target="_blank">As the LA Times put it,</a> the album delivers 11 songs that "split the difference among Buddy Holly, early Stones, the Black Keys and Bo Diddley." The Black Keys reference is no surprise, since Keys frontman Dan Auerbach co-wrote one of the album's standout tracks, "Bridgebuilder," with McPherson.</p> <p>"I found 1950s rock at just the right time in my life," McPherson recently told <a href="" target="_blank">Adam Perlmutter.</a> "It was energetic and fun music for teenagers, but it also had great finesse and musicality. At the same time, it was raw and primal, with the immediacy of the punk rock that I was really into."</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">Charlie Thompson</span><br /> <strong>2015 ALBUM:</strong> <em>The Foothill Sessions</em><br /> <strong>INFO:</strong> <a href="" target="_blank"></a></p> <p><img src="/files/imce-images/charlie.jpg" width="300" height="407" align="left" style="padding:10px 20px 10px 0;" alt="charlie.jpg" /></p> <p>In the intro to this story, I wrote that these five artists are turning their vintage influences into something new. Well, in the case of U.K.-based singer-guitarist Charlie Thompson, that does not apply—at all. </p> <p>In fact, Thompson's whole approach involves a charming focus on "old," as you'll hear when you press the "Play" button below and <a href="" target="_blank">check out his look, graphics and album covers.</a> </p> <p>Thompson's fairly hard-to-find new album is meant to look and sound as authentically vintage as possible, and he nails it—just as Scotland's <a href="" target="_blank">the Kaisers nailed the whole fake-British-Invasion-band thing</a> in the Nineties. </p> <p>The album, a mix of rockabilly and rollicking country tunes, features the guitar work of the extra-talented <a href="" target="_blank">TK Smith,</a> who was a member of <a href="" target="_blank">Big Sandy and the Fly Rite Trio</a> in the Nineties. Other players include Jeremy Wakefield on pedal steel guitar, Wally Hersom on bass, Bobby Furgo on fiddle, Dave Stuckey on drums and Carl Sonny Leyland on piano.</p> <p><em>The Foothill Sessions</em> is not available digitally (not yet, anyway), <a href="" target="_blank">but it's totally worth tracking down.</a> It also will be available on vinyl soon, of course!</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <p><br /><br /> <span style="font-size:18px;font-weight:bold;">The Bellfuries</span><br /> <strong>2015 ALBUM:</strong> <em>Workingman's Bellfuries</em><br /> <strong>INFO:</strong> <a href="" target="_blank"></a></p> <p><img src="/files/imce-images/bellfuries2.jpg" width="300" height="154" align="left" style="padding:10px 20px 10px 0;" alt="bellfuries2.jpg" /></p> <p>"Loving Arms," the opening track from <em>Workingman's Bellfuries</em> (check it out below), starts off like a super-catchy slice of modern, melodic pop—until the glorious 16-second mark. That's when the guitars, standup bass and drums enter the sonic picture, and the song gets even catchier.</p> <p>That's also the moment when everything falls into place, and you realize you're hearing a truly modern, original take on rockabilly. Let's call it rockabilly pop.</p> <p>The Bellfuries released an undisputed modern-rockabilly masterpiece, <em>Just Plain Lonesome,</em> in 2001. A few years later, they followed it up with <em>Palmyra,</em> a full-on folk-ish rock/pop album that had rockabilly fans scratching their <a href="" target="_blank">Layrite</a>-coated heads. </p> <p>This time around, the Bellfuries have steered the ship at least partially back toward roots-rock territory, turning in another winner. Perhaps <a href="" target="_blank">Static put it best,</a> calling it "contemporary rock-n-roll that’s the cat’s pajamas."</p> <p>"We’re a rock and roll band," says Joey Simeone, the Texas-based band's vocalist and chief songwriter. "People are obsessed with categories, sub-genres. We check into a hotel, and the guy or girl behind the desk asks what kind of music we play. ‘Rock and roll.’ Then they ask what I mean by that. Well…</p> <p>"Let’s see. There’s elements of country music, rhythm and blues. There’s some improvisation on stage that I guess you could say is jazz-inspired. Throw in some gospel…plenty of melodies coming out of older pop tunes. That adds up to rock and roll, last time I checked. If we’re not re-inventing the wheel, I’d rather get to work than worry about renaming it.” </p> <p>There's an undeniable Beatles influence on <em>Workingman's Bellfuries,</em> which is underscored by a rocking new cover of Lennon/McCartney's "She's a Woman." In fact, "Loving Arms" seems—lyrically, at least—to be based on Arthur Alexander's "Soldier of Love," which the Beatles recorded for the BBC in the early Sixties.</p> <p>Note that <em>Workingman's Bellfuries</em> is another <a href="" target="_blank">Jimmy Sutton/Hi-Style Records</a> production.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">Whitey Morgan and the 78's</span><br /> <strong>2015 ALBUM:</strong> <em>Sonic Ranch</em><br /> <strong>INFO:</strong> <a href="" target="_blank"></a></p> <p><img src="/files/imce-images/WM.PressLive300.jpg" width="300" height="199" align="left" style="padding:10px 20px 10px 0;" alt="WM.PressLive300.jpg" /></p> <p>Chances are, if you're not a fan of modern country music—which Tom Petty recently called “bad rock with a fiddle”—you'd absolutely love Whitey Morgan and the 78's. </p> <p>Morgan, a big, bearded native of Flint, Michigan, has about as much to do with the mainstream Nashville country music scene as Kim Jong-un.</p> <p>His brand of country music full of gnarly Telecasters, dark-and-eerie pedal steel guitars and songs about drinkin', lyin', cheating—you know, broken lives and broken hearts. </p> <p>On <em>Sonic Ranch,</em> Morgan practically bleeds into each song, resulting in a rough-and-tumble honky-tonk noir song collection. Recorded at Sonic Ranch in Texas with producer Ryan Hewitt, the album's fighting spirit reflects Morgan's childhood. </p> <p>"I got my ass kicked on a daily basis and fought like hell each and every time. A growth spurt eventually put a stop to all of that." Morgan witnessed the toll the city's troubled economy had on the people closest to him and informs his musical stylings. "Growing up in Flint ignited the 'never give up' attitude I apply to every part of my life. That's what you learn when you grow up in that town. You also learn that you don't take shit from anyone, ever."</p> <p>Perhaps it's what made Morgan partial to the outlaw arm of country music.</p> <p>I saw these guys live when they passed through New York City in the spring. Although the guitar is very much alive and well on <em>Sonic Ranch,</em> every six-string player in the band, including Morgan, truly unleashes the fireworks when things get cooking onstage. And pedal steel guitarist Brett Robinson simply ... kicks ... ass.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">Pokey LaFarge</span><br /> <strong>2015 ALBUM:</strong> <em>Something in the Water</em><br /> <strong>INFO:</strong> <a href="" target="_blank"></a></p> <p><img src="/files/imce-images/0708_pokey-lafarge.jpg" width="300" height="198" align="left" style="padding:10px 20px 10px 0;" alt="0708_pokey-lafarge.jpg" /></p> <p>If I were a guest on some bizarre game show and was forced to describe Pokey LaFarge's music in five seconds or less, I'd call him a "21st century Squirrel Nut Zippers." </p> <p>Thankfully, no such demented game show exists—because that description does absolutely no justice to LaFarge, a St. Louis-based singer, songwriter and multi-instrumentalist who is <a href="" target="_blank">happily unaffected by the music of the past seven or eight decades.</a> </p> <p><em>Something in the Water</em> is a mesmerizing trip through American roots music, with an emphasis on ragtime, jazz, swing and country blues. Produced by Jimmy Sutton (yep, the same Jimmy Sutton who plays bass with JD McPherson and produces the Bellfuries), the album features a diverse cast of players, including members of NRBQ, the Fat Babies, the Modern Sounds and the Western Elstons. </p> <p>Standout tunes include the title track (be sure to check out the music video below), “Wanna Be Your Man,” “Underground,” “Cairo, Illinois” and “Barcelona.” </p> <p>“The Midwest is at the heart of this record," LaFarge says. "The people playing on these songs are from Wisconsin and Illinois and Chicago and St. Louis, and there’s a certain attitude that comes across in the songs and the way that they’re performed. I’m born and raised in the Midwest, and my family’s been here for generations. This is where I’m from and how I think, and that’s reflected in the music I make.” </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><em><a href="" target="_blank">Damian Fanelli</a> is the online managing editor at </em>Guitar World<em> and </em><a href="" target="_blank">Guitar Aficionado</a><em>. His New York-based band, <a href="">the Blue Meanies,</a> has toured the world and elsewhere. Fanelli, a former member of Brooklyn jump-blues/swing/rockabilly band <a href="" target="_blank">the Gas House Gorillas</a> and New York City instrumental surf-rock band <a href="" target="_blank">Mister Neutron,</a> also <a href="">composes</a> and <a href="" target="_blank">records film soundtracks.</a> He writes's <a href="">The Next Bend</a> column, which is dedicated to <a href="" target="_blank">B-bender guitars and guitarists.</a> His latest liner notes can be found in Sony/Legacy's </em><a href="" target="_blank">Stevie Ray Vaughan: The Complete Epic Recordings Collection.</a><em> Follow him on <a href="" target="_blank">Facebook,</a> <a href="" target="_blank">Twitter</a> and/or <a href="" target="_blank">Instagram.</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="/brian-setzer">Brian Setzer</a> </div> </div> </div> </fieldset> Ameripolitan Charlie Thompson Damian Fanelli JD McPherson Jimmy Sutton Pokey LaFarge retro rockabilly The Bellfuries throwback Whitey Morgan Videos Blogs News Features Wed, 25 Nov 2015 14:19:03 +0000 Damian Fanelli 24844 at Save 35 Percent at Guitar World's Online Store This Thanksgiving Weekend <!--paging_filter--><p>Why wait to save big? Start saving now! </p> <p>All your favorite products are on sale right now. <a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=35THANKS15" target="_blank">You save 35 percent when you shop at our online store this holiday weekend.</a></p> <p>Just be sure to use code <strong>35THANKS15</strong> at checkout.</p> <p>Once again, that's <strong>35THANKS15.</strong></p> <p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=35THANKS15" target="_blank">Head to the Guitar World Online Store now.</a></strong></p> News Features Wed, 25 Nov 2015 14:17:03 +0000 Guitar World Staff 25890 at Big Boss Giveaway: Win Autographed Boss Pedals Every Week Through December — Video <!--paging_filter--><p>It’s time for the annual Big BOSS Giveaway! Each week, one lucky winner will be drawn at random to receive a BOSS pedal autographed by a famous musical artist. But that’s not all—every submission received is also entered for a chance at the Grand Prize of $1,000 in BOSS gear.</p> <p>The entry period runs from November 16, 2015, through December 20, 2015. Follow BOSS U.S. on <a href="" target="_blank">Twitter</a> and visit the contest page at <a href="" target="_blank"></a> to enter for your chance to win.</p> <p><strong>Weekly BOSS Pedal Giveaways</strong></p> <p>One entry is accepted per person during the entire contest period, and prizes are divided up as follows:</p> <p>• Entries received from November 16, 2015 through November 22, 2015: one DS-1 Distortion pedal autographed by the members of Bring Me The Horizon.<br /> • Entries received from November 23, 2015 through November 29, 2015: one DM-2W Delay pedal autographed by John 5.<br /> • Entries received from November 30, 2015 through December 6, 2015: one DD-3 Digital Delay pedal autographed by Gus G.<br /> • Entries received from December 7, 2015 through December 13, 2015: one DD-7 Digital Delay pedal autographed by Steve Vai.<br /> • Entries received from December 14, 2015 through December 20, 2015: one OD-1X Overdrive pedal autographed by Vic Fuentes and Tony Perry of Pierce the Veil.</p> <p><strong>Big BOSS Giveaway: Grand Prize</strong></p> <p> Every entry received from November 16, 2015, through December 20, 2015 will be entered into a random drawing for one Grand Prize of $1,000 (suggested retail price) in BOSS gear.</p> <p><strong><a href="" target="_blank">Visit the 2015 Big BOSS Giveaway contest page for entry info and official rules. Good luck!</a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Boss Videos Effects News Gear Wed, 25 Nov 2015 14:02:21 +0000 Guitar World Staff 25889 at Best Holiday Rock Song Poll: "Thank God It's Christmas" (Queen) Vs. "Christmas with the Devil" (Spinal Tap) <!--paging_filter--><p>It's that special, joyful time of year once again: readers' poll season!</p> <p>This year, we've decided to spread some musical holiday cheer in the form of our first-ever "Best Holiday Rock Song" readers' poll.</p> <p>It's a chance for all those classic-rock holiday favorites (think of the Kinks' "Father Christmas" and/or Greg Lake's "I Believe in Father Christmas") to go head to head against each other, not to mention several much more recent—and possibly harder-rocking entries—in a festive, friendly showdown.</p> <p>With the help of several members of the <em>Guitar World</em> staff, we've selected 32 of our favorite holiday rock songs—and we're asking you to vote for your favorites. You can see the complete 32-song bracket near the bottom of this story. </p> <p>Songs include <strong>Keith Richards'</strong> version of "Run Rudolph Run," <strong>John Lennon's</strong> "Happy Xmas (War Is Over)," <strong>Billy Squier's</strong> "Christmas Is the Time to Say I Love You," <strong>AC/DC's</strong> "Mistress for Christmas," <strong>Adam Sandler's</strong> "The Chanukah Song," <strong>Queen's</strong> "Thank God It’s Christmas," <strong>Spinal Tap's</strong> "Christmas with the Devil," <strong>Bruce Springsteen's</strong> "Santa Claus Is Coming to Town," <strong>Pretenders'</strong> "2000 Miles," <strong>the Waitresses'</strong> "Christmas Wrapping," <strong>Tom Petty and the Heartbreakers'</strong> "Christmas All Over Again," <strong>Korn's</strong> "Kidnap the Sandy Claws" and many more.</p> <p>We'll be a sharing a new matchup every day, right into late December, including weekends. so get your voting fingers ready!</p> <p><em>Enjoy our first Best Holiday Rock Song readers' poll, which is sponsored by <a href="" target="_blank">Boss</a>!</em></p> <h1>Today's Matchup</h1> <p><span style="font-size:18px;font-weight:bold;">“Thank God It’s Christmas," Queen</span></p> <p>Queen’s lone Christmas song features the trademark harmonies you’d expect, with Freddie Mercury belting out a crisp lead vocal. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">“Christmas with the Devil," Spinal Tap</span></p> <p>This one comes from Spinal Tap, everyone's favorite fictional heavy metal band. This song is reminiscent of their tune “Stonehenge." All that’s missing is the Stonehenge model!</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <h1>Vote Now!</h1> <script type="text/javascript" charset="utf-8" src=""></script><p><noscript><a href="">Best Holiday Rock Song: "Christmas with the Devil" (Spinal Tap) Vs. "Thank God It’s Christmas" (Queen)</a></noscript></p> <h1>Behold the Latest Bracket!</h1> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View Wrapping on Scribd" href="" style="text-decoration: underline;" >Wrapping</a></p> <p><iframe class="scribd_iframe_embed" src=";view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_92756" width="100%" height="400" frameborder="0"></iframe></p> <h1>How the Bracket Was Compiled</h1> <p><img src="/files/imce-images/hat.jpg" width="225" height="186" align="left" style="padding:10px 20px 10px 0;" alt="hat.jpg" /></p> <p>Here's how the bracket was—very unscientifically—compiled.</p> <p>We drew the songs' names out of a hat (It was, in fact, a Quebec Nordiques baseball cap, which is called a <em>casquette</em> in Quebec) to help us create our bracket, which is available for your viewing pleasure below. Obviously, none of these songs are ranked or come from a previously compiled list, so we chose purely random matchups to have as little impact as possible on the final outcome.</p> <p>Remember that, as with any poll, genre might occasionally clash against genre, so you'll just need to decide which song has (or has had) the most to offer within its genre.</p> <p>As always, you can vote only once per matchup (once per device, that is), and we'll be posting matchups pretty much every day of the month, sometimes more than once per day, just to give you an early warning. <em>Merci!</em></p> Best Holiday Rock Song Poll News Features Wed, 25 Nov 2015 13:31:47 +0000 Guitar World Staff 25860 at Win a Free Year of Online Guitar Lessons from ArtistWorks <!--paging_filter--><p>Win a YEAR of Free Online Guitar Lessons!</p> <p>ArtistWorks is excited to offer the chance to win a <a href="" target="_blank">FREE ONE-YEAR MEMBERSHIP</a> to any one of our amazing online Video Exchange® guitar schools—a $240 value! </p> <p><strong>Chose from:</strong><br /> • Rock Guitar with Paul Gilbert<br /> • Bluegrass Flatpick Guitar with Bryan Sutton<br /> • Gypsy Jazz Guitar with Andreas Oberg<br /> • Dobro Guitar with Andy Hall<br /> • Fingerstyle Guitar with Martin Taylor<br /> • Classical Guitar with Jason Vieaux<br /> • Jazz Guitar with Chuck Loeb<br /> • Blues Guitar with Keith Wyatt<br /> • Electric Country Guitar with Guthrie Trapp</p> <p><a href="" target="_blank">ArtistWorks</a> is the ONLY online destination where aspiring musicians can get expert advice and personalized feedback for under a dollar a day. ArtistWorks features a patented Video Exchange® interaction between students and award-winning teachers. Whether you're just getting started or have reached a plateau, you will get valuable help when you need it most. Once you're a member, you'll have 24/7 access to a core library of hundreds of lessons – a step-by-step approach from beginner to advanced!</p> <p><strong><a href="" target="_blank">ENTER HERE!</a></strong></p> News Tue, 24 Nov 2015 21:41:43 +0000 Guitar World Staff 25884 at Authors Willie Perkins and Jack Weston Discuss 'The Allman Brothers Band Classic Memorabilia, 1969-1976' <!--paging_filter--><p>I’ve been really enjoying a new book, <em>The Allman Brothers Band Classic Memorabilia, 1969-76.</em> The topic is pretty much right in the title.</p> <p>The book highlights individual collectibles, including band instruments and equipment, T-shirts, apparel and merchandise, autographs, bookkeeping documents, passes, posters, tickets, programs, promotional items, vintage photographs and more. Duane’s daughter, Galadrielle Allman, wrote the introduction.</p> <p>The authors are Willie Perkins—the Allman Brothers' road manager from 1970 to 76—and Jack Weston, an avid ABB collector who hipped me to the awesome W. David Powell coloration of David and Flournoy Holmes that graces the front and back inside covers of <em>One Way Out: The Inside History of the Allman Brothers Band.</em> Willie also is the author of <em>No Saints, No Saviors: My Years with the Allman Brothers Band.</em></p> <p>I caught up with Willie and Jack for the following interview.</p> <p><strong>Willie, you were in the middle of a hurricane and at the center of what many consider the best rock band ever. How aware were you of all that at the time, and how much were you just hanging in on for dear life every day?</strong></p> <p><strong>PERKINS:</strong> A lot of hanging on! Linda Oakley told me recently that the band guys had me so flipped out my eyes were spinning around in their sockets like a cartoon character. We were so busy getting it done that there was little time for reflection as I note in the book. I remember early on saying, “This is the best band in America, only America doesn’t know it yet.” That was somewhat prophetic.</p> <p><strong>You kept a lot of documents and files, so you must have had some sense that this stuff would have historical significance. Do you remember when it started to occur to you that things like tour ledgers and guitar cases would be of interest to people?</strong></p> <p><strong>PERKINS:</strong> Probably around the time of Duane’s passing. We certainly knew those guitars had to be secured that weekend before they “wandered” off. I don’t think anyone began collecting for monetary gain. I know I wanted to preserve from a historical perspective any important documents I had possession of. By the late 1990s I realized business checks signed by Duane definitely had collector appeal and monetary value. I receive almost weekly social media inquiries regarding dates and sequences of shows performed and am so glad I held onto copies of the monthly personal appearance financial reports. That info is priceless to me and I have the most comprehensive records for 1971 to 1976.</p> <p><strong>Jack, when did you start collecting ABB memorabilia?</strong></p> <p><strong>WESTON:</strong> I first started to collect Allman Brothers Band memorabilia in the late 1980s. It was driven by my love of the band’s music, which first began in 1971 soon after I heard the band’s <em>At Fillmore East.</em> I began to trade tapes with other tape traders that placed ads in the back section of <em>Relix</em> magazine. Most of the traders at this time were trading Grateful Dead cassette concert tapes, but some were also trading Allman Brothers Band shows. In addition to concert tapes some of the Allman Brothers Band traders were trading posters, handbills, tickets, photos and other ephemera from the band’s early days. When the Allman Brothers Band’s magazine <em>Hittin’ the Note</em> was first published in the early 1990s, I became a subscriber and it had a traders section in it as well which of course fueled the fire.</p> <p><strong>Is there one section or even item in the book that you would like to call special attention to? What are you most proud about?</strong></p> <p><strong>PERKINS:</strong> I am so glad we led off the book with “instruments and musical equipment” because the band was certainly all about the music. I am pleased with the high definition and clarity of the images. Also, Jack and I gave the book design concept to the team Burt &amp; Burt and they delivered exactly what I had in mind. Our publishers Mercer University Press gave us virtually everything we asked for and didn’t edit a single word or image. The colors and concept just pops right off the page.</p> <p><strong>WESTON:</strong> It would have to be Dickey Betts’ 1968 Fender Bassman amplifier, one of the first two purchased by the band in early 1969. It was at first used by Duane Allman, Dickey Betts and Berry Oakley. Then it became Dickey Betts’ stage amp. The band’s first road manager, Twiggs Lyndon, wrote “Allman Bros” and “Dick” on the back panel of the amp in white marker pen. The Lipham Music Co. invoice for this amp’s purchase is also pictured in this chapter showing the amp’s serial number. I learned a great deal after having this amplifier restored to working condition. When I first acquired the amp the two output tubes in it were modern Groove Tubes. These were replaced with a set of original matched 1960’s Fender brand 6L6’s. My friend Skip Simmons of Sacramento, California, did a historical restoration of the amp’s electronics. Only the power supply capacitors needed replacement. All the other active electronics in the amp are vintage original.</p> <p><strong>There are a lot of great and beloved bands but none have their own museum like the Big House. What do you attribute this to?</strong></p> <p><strong>PERKINS:</strong> I give 100 percent credit to the idea of restoring and conserving the Big House to Kirk and Kirsten West. There have been many financial and creative contributions made by countless others, but they had the foresight and love to get the ball rolling. The band inspired a lot of love from a lot of people with the soul, passion and originality of their music. The museum is manned by a great staff and volunteers as well. Nothing like it for any band before or since!</p> <p><strong>WESTON:</strong> The history of the Allman Brothers Band spans over 50 years. As a result, the Allman Brothers Band has a very large and loyal fan base, which encompasses virtually all age groups. From the time the band played free concerts at Piedmont Park in Atlanta until its final concert at the Beacon Theater in 2014, it has always been regarded as “the People’s Band." I can’t recall many other bands having this unique type of fan base other than the Grateful Dead. As you know, the Big House Museum was once the home of the band in the early years. It is not just a museum. It is a home. This unique combination is why the Big House has so many fans coming back year after year to share in the music, culture and legacy of their favorite band.</p> <p><strong>What about the Allman Brothers Band inspires so much passion? </strong></p> <p><strong>WESTON:</strong> To me the passion stems from “The Brotherhood,” which was established early on between the founding band members, their families and the band’s original road crew. In the beginning it was a strong cohesive brotherhood that still exists today amongst the band’s contingent of loyal fans. This passion was inspired early on by founding member Duane Allman, making the musical journey revolutionary as well as evolutionary.</p> <p><strong>Willie, a lot of your tour documents are now in the Big House Archives and were incredibly helpful for me in researching <em>One Way Out.</em> So thanks for that.</strong></p> <p><strong>PERKINS:</strong> I am glad so many of my financial records and other items of interest made it to the Big House Museum, and they will be preserved for current and future fans and historians. I am glad Jack’s and my book will do the same in the printed word and image medium as well.</p> <p><em>Alan Paul is the author of </em><a href=";camp=1789&amp;creative=9325&amp;creativeASIN=1250040507&amp;linkCode=as2&amp;tag=alanpaulinchi-20&amp;linkId=YJUWFDQEO6MX5POE" target="_blank">One Way Out: The Inside History of the Allman Brothers Band.</a></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="/allman-brothers-band">Allman Brothers Band</a> </div> </div> </div> </fieldset> Allman Brothers Band Blogs Interviews News Features Tue, 24 Nov 2015 20:46:33 +0000 Alan Paul 25883 at Grateful Dead Release Historic 'Fare Thee Well' Concerts on DVD/CD <!--paging_filter--><p>To celebrate the 50th anniversary of Grateful Dead, the "core four" original members—Mickey Hart, Bill Kreutzmann, Phil Lesh and Bob Weir—reunited at Chicago's Soldier over three nights in July, marking the original members' last-ever performance together. </p> <p>The band was joined by Trey Anastasio (guitar), Jeff Chimenti (keyboards) and Bruce Hornsby (piano). They performed two sets of music each night, nearly 20 years to the day of the last-ever Grateful Dead concert with Jerry Garcia, which took place at the same venue.</p> <p>On November 20, the band released <em>Fare Thee Well: Celebrating 50 Years of Grateful Dead</em> via Rhino/Grateful Dead in a variety of audio and video formats, all of which are outlined below. <a href="" target="_blank">,</a> the official Grateful Dead website, is the only place fans can get complete audio and video for all three shows. </p> <p>The two exclusive versions, one 12-CD/7-Blu-ray and the other 12-CD/7-DVD, will each be limited to 20,000 individually numbered copies on their first run. The versions will also feature an exclusive bonus disc featuring a behind-the-scenes look captured by Justin Kreutzmann. Included on the disc will be footage from the Grateful Dead ticketing office documenting the 350,000-plus ticket requests received for the shows, vignettes from the parking lot scene at Soldier Field and backstage material from the shows themselves.</p> <p><strong>FARE THEE WELL - Exclusive Complete Versions</strong></p> <p>• 12-CD/7-Blu-ray Complete Version - Full audio and high-definition video from all three<br /> shows on CD and Blu-ray plus exclusive bonus disc of behind-the-scenes footage. Individually<br /> numbered, limited edition of 20,000.<br /> • 12-CD/7-DVD Complete Version - Full audio and video from all three shows on CD and<br /> DVD plus exclusive bonus disc of behind-the-scenes footage. Individually numbered, limited<br /> edition of 20,000.</p> <p><strong>FARE THEE WELL - Retail Versions</strong></p> <p>• 4-CD/2-Blu-ray Version - Full audio and high-definition video from final show (July 5) on CD<br /> and Blu-ray.<br /> • 4-CD/2-DVD Version - Full audio and video from final show (July 5) on CD and DVD.<br /> • 2-Blu-ray Version - Full high-definition video from final show (July 5) on Blu-ray.<br /> • 2-DVD Version - Full video from final show (July 5) on DVD.<br /> • 2-CD "Best Of" Version - Audio highlights from all three shows.<br /> • Digital Download - Audio and video from the final show (July 5) will be available as well as<br /> audio from the "Best Of" version.</p> <p><strong>FARE THEE WELL - DEAD.NET EXCLUSIVE COMPLETE VERSIONS</strong></p> <p>Track Listing</p> <p>7/3/15</p> <p>Disc One<br /> 1. "Box Of Rain"<br /> 2. "Jack Straw"<br /> 3. "Bertha"<br /> 4. "Passenger"<br /> 5. "The Wheel>"<br /> 6. "Crazy Fingers"<br /> 7. "The Music Never Stopped"</p> <p>Disc Two<br /> 1. "Mason's Children"<br /> 2. "Scarlet Begonias>"<br /> 3. "Fire On The Mountain>"<br /> 4. "Drums>"<br /> 5. "Space>"</p> <p>Disc Three<br /> 1. "New Potato Caboose>"<br /> 2. "Playing In The Band>"<br /> 3. "Jam>"<br /> 4. "Let It Grow>"<br /> 5. "Help On The Way>"<br /> 6. "Slipknot!>"<br /> 7. "Franklin's Tower"<br /> 8. "Ripple"</p> <p>Disc Four<br /> Intermission Music by Circles Around The Sun<br /> 1. "Space Wheel"<br /> 2. "Mountains Of The Moon"<br /> 3. "Praying For The Band"<br /> 4. "Tripple"<br /> 5. "Deal Breaker"<br /> 6. "Deadometer"<br /> 7. "Borrow From A Friend"<br /> 8. "Grimes Surf Story"</p> <p>7/4/15</p> <p>Disc Five<br /> 1. "Shakedown Street"<br /> 2. "Liberty"<br /> 3. "Standing On The Moon"<br /> 4. "Me And My Uncle"<br /> 5. "Tennessee Jed"<br /> 6. "Cumberland Blues"<br /> 7. "Little Red Rooster"<br /> 8. "Friend Of The Devil"<br /> 9. "Deal"</p> <p>Disc Six<br /> 1. "Bird Song"<br /> 2. "The Golden Road (To Unlimited Devotion"<br /> 3. "Lost Sailor>"<br /> 4. "Saint Of Circumstance>"<br /> 5. "West L.A. Fadeaway"</p> <p>Disc Seven<br /> 1. "Foolish Heart>"<br /> 2. "Drums>"<br /> 3. "Space>"<br /> 4. "Stella Blue>"<br /> 5. "One More Saturday Night"<br /> 6. "U.S. Blues"</p> <p>Disc Eight<br /> Intermission Music by Circles Around The Sun<br /> 1. "Hallucinate A Solution"<br /> 2. "Ginger Says"<br /> 3. "Saturday's Children"<br /> 4. "Eartha"<br /> 5. "Split Pea Shell"</p> <p>7/5/15</p> <p>Disc Nine<br /> 1. "China Cat Sunflower>"<br /> 2. "I Know You Rider"<br /> 3. "Estimated Prophet"<br /> 4. "Built To Last"<br /> 5. "Samson And Delilah"<br /> 6. "Mountains Of The Moon>"<br /> 7. "Throwing Stones"</p> <p>Disc Ten<br /> 1. "Truckin'"<br /> 2. "Cassidy"<br /> 3. "Althea"<br /> 4. "Terrapin Station>"<br /> 5. "Drums>"</p> <p>Disc Eleven<br /> 1. "Space>"<br /> 2. "Unbroken Chain>"<br /> 3. "Days Between>"<br /> 4. "Not Fade Away"<br /> 5. "Touch Of Grey"<br /> 6. "Attics Of My Life"</p> <p>Disc Twelve<br /> Intermission Music by Circles Around The Sun<br /> 1. "Gilbert's Groove"<br /> 2. "Farewell Franklins"<br /> 3. "Hat And Cane"<br /> 4. "Never Too Late"<br /> 5. "Scarlotta's Magnolias"</p> <p> Complete Versions Will Also Feature Full Video On Blu-ray Or DVD Along With Exclusive Bonus Disc Of Backstage Footage From Justin Kreutzmann</p> <p><strong>THE BEST OF FARE THEE WELL - SOLDIER FIELD, CHICAGO, IL 7/3-4-5/15</strong></p> <p>Track Listing</p> <p>Disc One<br /> 1. "Box Of Rain"<br /> 2. "Shakedown Street"<br /> 3. "China Cat Sunflower"<br /> 4. "I Know You Rider"<br /> 5. "Bertha"<br /> 6. "West L.A. Fadeaway"<br /> 7. "Cumberland Blues"<br /> 8. "Althea"<br /> 9. "The Music Never Stopped"</p> <p>Disc Three<br /> 1. "Truckin'"<br /> 2. "Scarlet Begonias>"<br /> 3. "Fire On The Mountain"<br /> 4. "Drums"<br /> 5. "Not Fade Away"<br /> 6. "Touch Of Grey"<br /> 7. "Attics Of My Life"</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 News Tue, 24 Nov 2015 20:09:22 +0000 Guitar World Staff 25882 at Jimmie Vaughan to Perform with U of T Longhorn Band at Halftime Thanksgiving Day <!--paging_filter--><p>Jimmie Vaughan will perform with the University of Texas at Austin Longhorn Band during halftime at the Texas vs. Texas Tech football game this Thanksgiving Day. </p> <p>“We are excited beyond words about this opportunity to perform with Jimmie Vaughan,” said Band Director Scott Hanna. “For our students, this is an incredible opportunity to connect with their Texas musical heritage through a living legend."</p> <p>The performance marks the first time a popular musician has played with the band during a halftime performance. The Longhorn Band will perform a medley of Vaughan’s songs before Jimmie and his Fender Stratocaster join them on the field.</p> <p>“I’ve been asked to perform with a lot of great bands in my life, but this is definitely the biggest, and probably one of the most exciting,” Vaughan said. “It doesn’t get any more Texas than this.” </p> <p>The recognition of one of Austin’s hometown musical heroes caps an extraordinary year for Vaughan, who was honored by the Texas House and Senate when he was named the Texas State Musician for 2015. </p> <p>Vaughan also accepted the honor of induction into the Rock and Roll Hall of Fame on behalf of his late brother, Stevie Ray Vaughan. During the musical portion of the induction ceremony, Vaughan lead a blistering guitar-slinger’s set and was joined onstage by John Mayer, Doyle Bramhall II, Gary Clark Jr. and Stevie’s Double Trouble bandmates.</p> <p><img src="/files/imce-images/JLV.jpg" width="620" height="464" alt="JLV.jpg" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/jimmie-vaughan">Jimmie Vaughan</a> </div> </div> </div> </fieldset> Jimmie Vaughan News Tue, 24 Nov 2015 19:52:46 +0000 Alan Paul 25881 at Mike Dawes Demos and Discusses DiMarzio's The Black Angel Acoustic Guitar Pickup — Video <!--paging_filter--><p>In this new video, guitarist Mike Dawes demos and discusses DiMarzio's The Black Angel acoustic soundhole pickup.</p> <p>"The Black Angel comes elegantly packaged with everything you’ll need to mount the pickup quickly or permanently install it," writes Paul Riario in the November 2015 issue of <em>Guitar World.</em></p> <p>"The quick mount 1/8-inch to 1/4-inch ten-foot cable plugs directly into the Black Angel pickup and from there into your amp or a direct box. Installation couldn’t be easier, with a small Phillips-head screwdriver and a few minutes of your time, the pickup easily slides into your acoustic’s soundhole, and the two outer screws with padded mounts underneath secure it into place. The included install version comes with a 1/8-inch to 1/4-inch Switchcraft endpin jack.</p> <p>"The Black Angel is a passive magnetic humbucking pickup, but don’t be afraid that it’ll behave like a DiMarzio Super Distortion humbucker. Its Rare Earth humbucking magnet responds quietly, and is remarkably touch sensitive. I found that I actually had to turn up my acoustic amp and goose the gain in order to hear the full range of the pickup’s abundant capability."</p> <p><strong>For more about The Black Angel, visit <a href="" target="_blank"></a> For more about Dawes, visit <a href="" target="_blank"></a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Acoustic Nation DiMarzio Mike Dawes News Acoustic Guitars Videos Blogs Videos News Gear Tue, 24 Nov 2015 19:38:03 +0000 Guitar World Staff 25880 at Justin King Performs "Phunkdified" at Guitar World — Video <!--paging_filter--><p>Acoustic guitarist Justin King—who is recognized as a six-string pioneer for his percussive "tapping" playing style—dropped by the increasingly popular <em>Guitar World</em> studio in Manhattan to perform "Phunkdified."</p> <p>The song originally appeared on his 2009 album, <em>Le Bleu.</em></p> <p>Justin King also fronts King Radio, whose self-titled debut was released on October 16. <em>King Radio</em>, which was co-produced by Grammy winner Jim Scott (Tom Petty, Red Hot Chili Peppers, Rolling Stones), contains 12 songs that showcase King and his band's unique blend of southern soul, country and rock and roll. For more about King, visit <a href="" target="_blank"></a></p> <p><strong>For more Guitar World videos like this (and not like this at all), <a href="" target="_blank">subscribe to our lovely and talented YouTube channel!</a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p>MORE ABOUT JUSTIN KING<br /> Brooklyn-based band King Radio has confirmed the October 16 release for their self-titled debut album King Radio. Co-produced by Grammy winner Jim Scott (Tom Petty, Red Hot Chili Peppers, Rolling Stones), King Radio’s dozen songs are a stunning blend of southern soul with gritty elements of country, soul and rock ‘n’ roll — compressing bristling energy, smoldering emotionalism and clear-eyed lyrics into an original distillation of timeless American music. </p> <p>Built around the band’s core trio of singer, songwriter and guitar virtuoso Justin King, drummer and percussionist AJ Jump and bassist Mark Kiesinger (who is also a professional mortician), King Radio released their first single “Lonesome Nights” in 2012 and King began writing songs for a debut album. A successful Kickstarter campaign raised the funds for the band to co-produce King Radio with Jim Scott, along with the sprawling cast of 18 other musicians who appear on the album, bringing its panoramic arrangements to life. </p> <p>Prior to the formation of King Radio, Justin King traveled the world as a solo guitarist and later as a war photographer. He was twice embedded with the U.S. Military in Iraq, and went on to cover a combative election, subsequent rioting and a cholera epidemic in Haiti. “Those experiences altered my perspective in ways that I hadn’t anticipated,” he says. “They allowed me to see some of the best and the worst of humanity, and to really get a better appreciation for the breadth of the human experience. It probably hardened me to some degree but I think it also made me more empathetic to the struggles we all go through.”</p> <p>Those experiences fueled some of the most compelling songs on King Radio, like “The Valley,” a piano driven ballad that details the strains across the gulf between home and the battlefield. The tune also spotlights one of King’s most emotion-drenched vocal performances. “The struggles I saw troops have with being in a war zone and having to do missions every day while having a family back home that is struggling to keep their house, or a spouse who is leaving them because this is their fifth tour, was heartbreaking,” says King.</p> <p>“What I’ve found in this band is the sound I’ve been searching for,” says King. “With the pedal steel guitar, mandolin, keyboards and fiddle, it’s got aspects of, for example, the Band, but with our horn section, there’s also a Motown element. It’s the right match for the stories I want to tell with my songs — about what it’s like to struggle, to love, to lose and to hang on.” </p> Acoustic Nation Justin King News Videos Blogs Videos News Tue, 24 Nov 2015 16:44:48 +0000 Guitar World Staff 25879 at Guitar Legends Celebrates 50 Greatest Classic Rock Guitar Songs — with Bonus Instructional DVD <!--paging_filter--><p><em>Guitar Legends: 50 Greatest Classic Rock Guitar Songs</em>—including an instructional DVD with tabs—is <a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=Legends50ClassicRock">available now at the Guitar World Online Store for only $9.99.</a></p> <p>It's a collection of the best classic rock songs of all-time, from Jimi Hendrix, Led Zeppelin and Lynyrd Skynyrd, to Nirvana, the Allman Brothers Band and the Eagles!</p> <p>The editors of <em>Guitar World</em>, the world's best-selling guitar magazine, have compiled an entire issue dedicated to the 50 all-time greatest classic rock songs. The issue celebrates the finest of the classic rock anthems. </p> <p>This diverse list not only details every song and artist, but also provides perspective on how each song has influenced musicians. In <em>Guitar Legends: 50 Greatest Classic Rock Guitar Songs</em>, you'll learn everything there is to know about how classic rock impacted the music world.</p> <p>Also included inside the issue: a 60-minute instructional DVD featuring guitar tabs!</p> <p>DVD video lessons on how to play songs from classic rock greats:</p> <p> The Beatles - "I Saw Her Standing There"<br /> The Rolling Stones - "Honky Tonk Women"<br /> Grateful Dead - "Casey Jones" &amp; "Friend of the Devil"</p> <p><strong><a href="<a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=Legends50ClassicRock">">It's available now at the Guitar World Online Store!</a></strong></p> News Features Tue, 24 Nov 2015 16:21:24 +0000 Guitar World Staff 21014 at Jimmy Page Plans to Record Solo Album in 2016 <!--paging_filter--><p>According to The Pulse Of Radio, Jimmy Page wants to start recording his next solo album in 2016.</p> <p>If this is true, it will be Page's first solo album since 1988's <em>Outrider,</em> which featured vocals and writing by Page's old Led Zeppelin band mate, Robert Plant.</p> <p>"Next year I'm just going to working on the guitar," Page told Bang Showbiz. "It's time for me to go out there and do a solo album. My last solo album was 1988. I haven't really milked the situation; it's time to do another one. I'm known for playing many styles of guitar, and I need to re-visit all the different styles I can play.</p> <p>"I'm not thinking about singers, I'm thinking of an instrumental thing. I want to work with my strengths rather than my weaknesses. I want to work with myself, I want to get myself up and running and once I'm ready, I'll think about whether I need someone to sing on the music… I want to be playing live again, but that won't be until next year, I've planned all this a while ago. I want to start in the U.K. I've got ideas, but I want to wait to see what happens. I'd like to do Glastonbury. I could do a sort of karaoke night with Led Zeppelin songs."</p> <p>We promise to keep you up to date on this topic.</p> <p>In the meantime, check out Page's "The Only One" from 1988, featuring Robert Plant on vocals. Is this what Led Zeppelin would've sounded like if they'd stayed together throughout the Eighties? Something to think about ...</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="/jimmy-page">Jimmy Page</a> </div> </div> </div> </fieldset> Jimmy Page News Tue, 24 Nov 2015 15:28:44 +0000 Guitar World Staff 25878 at 22 Guitarists, Producers and Gear Makers Reveal Their Tone Secrets <!--paging_filter--><p>Tone is the Holy Grail for all guitarists. </p> <p>But while Sir Galahad undertook the quest in solitude, it’s rather foolish for today’s guitarists to venture off alone. After all, there are myriad tone junkies who have already made the quest, slain the dragon, grabbed the chalice, and discovered the secrets of great sound. All you have to do is follow in their footsteps. </p> <p>So to help you with your quest for transcendent tone, we assembled a “Round Table” of 50 sonic knights—from famous guitarists and renowned repairmen to manufacturers and engineers—and asked them to share their tips, treatments, and methods. Happy hunting.</p> <p><strong>Visualize</strong><br /> <em>Elliot Easton</em><br /> When you’re attempting to come up with parts and cool sounds, envision the sound you want before you try to create it. I never pick up a guitar until I know exactly what I want to do.</p> <p><strong>Use the Room</strong><br /> <em>George Martin, Producer</em><br /> I’m a great believer in getting the sound right in the studio. If that works, then the rest of it is easy. A room is an instrument, and it affects the other instruments. If you understand what your guitar sound is like “in the raw,” you’ll have a much better idea of how it should be “cooked.”</p> <p><strong>Strip Down</strong><br /> <em>Dave Cell Block, Cell Block 5</em><br /> The old-school punk tone is raw and stripped down—there’s no candy-coated stuff—so stay away from pedals and gadgets. Get a Marshall head, crank it to 10, and plug in a Les Paul. I record with two Marshall half-stacks. One is in a small isolation booth for a compressed sound, and the other is set up in a hallway for natural reverb. The hall sound is brighter and cuts through the mix, while the room sound produces a fat bottom.</p> <p>In the hall, we put a mic behind the cabinet to capture the rumble. When you stand onstage, you hear the cabinet rumbling and that sound should be on tape. Then, a mic is positioned right on the speaker for snap, and another mic is placed 5’ from the front of the cabinet to get the ambience. In the room, we just put one mic right on the speaker.”</p> <p><strong>Optimize Your Guitar</strong><br /> <em>Terry McInturff, Terry C. McInturff Guitars</em><br /> Experienced audio engineers know that it’s essential to have a good source sound to obtain great tones. So guitarists can ensure the best tone for any situation if their sound source—the guitar—is performing to its maximum potential. Locate an experienced luthier who can help you keep your guitar in great shape. Seek recommendations from fellow guitarists in your area, and pay a visit to the luthier’s shop to get a feel for the craftsperson. A luthier who understands your musical requirements and whose shop has a professional vibe and reputation is a good bet. Remember—you are seeking the ideal doctor for your precious guitar. Check references and trust your instincts.</p> <p><strong>Use Your Hands</strong><br /> <em>Fareed Haque, session pro</em><br /> You often can’t depend on amps or rigs for optimum tone production, so learn how to rely on your hands. But first, keep in mind that there is no such thing as “good” tone—the guitar is one of very few instruments that can produce many different tones. An expressive player can use these tones to make the guitar sing. Pick notes all over the neck and listen to how unique each note sounds. Then play one note and vary the tone by plucking closer to, and further away from, the bridge. To vary attack, try picking harder with your pick flat on the string, and softer with the side of the pick.</p> <p>Also, pay attention to how your notes end. Play one note, cut it off suddenly, and then compare that tone with the sound produced when you gently mute the note. Cut notes off with your left hand, your right-hand palm, and your pick, and compare the different effects. You can make notes last longer by messing with the note as it dies away. A real intense, fast vibrato will make a note last longer. Try a classical up-and-down vibrato and a blues-approved side-to-side vibrato at different speeds to see which technique best produces the effect you want.</p> <p><strong>Feed Your Head</strong><br /> <em>Steve Vai</em><br /> Sounding better is mostly in your head. The next time you sit down to play, sit in silence for a few moments and try to imagine how you want to sound. I’m not referring so much to the amp settings or anything technical—I’m referring to the way your fingers hit the strings. Keep that audible image in your mind when you’re playing, and focus to achieve it. It’s also very important to record yourself and listen back with a critical ear. This way, you’ll be able to mold yourself around your own tastes, rather than someone else’s.</p> <p><strong>Use Tube Mics</strong><br /> <em>Sharon Isbin</em><br /> One of the wonderful features of tube microphones is warmth. Tube mics can be used to close-mic acoustic guitars to capture the instrument’s presence, but will not compromise the tone with the brittle high-end often produced by solid-state mics. On my latest release, Dreams of a World—Folk-Inspired Music for Guitar [Teldec Classics International], I used Neumann M149s to capture the lush ambience of the Teldec studio in Berlin. In addition to the close mic, we mounted two other M149s on 10’ poles placed 12’ apart. I was delighted with the clarity, warmth, and resonance that resulted—all of which complimented the sensuous beauty of the music.</p> <p><strong>Fab Feedback I</strong><br /> <em>John Jorgenson, Hellecasters</em><br /> One of the tones I often get asked about is the overdriven, controlled feedback sound on two Hellecaster’s cuts, “Passion” [from <em>The Return of the Hellecasters</em>] and “Son Becomes Father” [from <em>Escape from Hollywood</em>]. On both songs, I used a prototype G&amp;L Comanche that Leo Fender had given me to test in 1989. The combination of the guitar’s Z-shaped pickups, maple body, and two-pivot tremolo made it extremely good for overdriven, saturated tones that would easily move into feedback an octave above the note being played. (This guitar would later be the inspiration for my Fender signature guitar.)</p> <p>I selected the middle/bridge pickup combo, plugged into an old Ibanez Tube Screamer, and ran through the second channel of a Matchless SC30 combo. I cranked the channel volume to two o’clock and turned the master volume to 11 o’clock. This produced a tremendous amount of volume—which is an essential part of the tone. I positioned an AKG C414 about 2” from the speaker—padded down 10dB—and tilted the mic slightly off center from the cone. The signal was then routed to a Neve 1066 preamp (with the EQ flat) and a Manley tube compressor. I sat very near the amp, and actually pushed the headstock into the cabinet to get sympathetic vibrations going through the neck for certain notes. This type of tone and feedback interaction would not be possible with the amp and player in different rooms, as the liveliness of the tone comes from the guitar reacting to the volume of the amp.</p> <p><strong>Mess Up Your Picks</strong><br /> <em>Dan Erlewine, <em>Guitar Player</em> repairs columnist</em><br /> Some of my favorite tones are produced with worn flatpicks. When a flatpick’s edge gets rough, it produces a wonderfully aggressive biting effect similar to a bow being drawn across violin strings. When I really want to make my strings sing, I reach for an old pick. You can reproduce this effect by sanding the pick edges with 220-grit sandpaper, but nothing beats natural pick wear. I’ll also use a common hole punch to create a hole in the center of the pick. This keeps the pick from slipping, turning, or losing position as I’m playing—and I love the feel of my index finger touching the flesh of my thumb.</p> <p><strong>Don’t Read About It!</strong><br /> <em>Dave Navarro </em><br /> Reading a magazine article never helped me play or sound better—playing helped me sound better. An hour or two of practicing in my room has always been more effective and productive than learning what kind of amp Carlos Santana uses.</p> <p><strong>Fab Feedback II</strong><br /> <em>Steve Morse</em><br /> One way to add interest to a ringing chord or long note is to have it feed back along with the note you’re playing—or even an upper harmonic of the note. To do this, you’ll need enough volume from the amp to resonate through the guitar body and its pickups. But the level doesn’t need to be deafening—the secret is not lots of volume, but determining the right distance between the speakers and the guitar. Stand several steps away from the speaker with the input gain cranked—the volume doesn’t need to be any louder than usual—and select the bridge pickup on your guitar. Play each note on your sixth string for several seconds, being sure to cover the other strings with one of your hands so they don’t ring. Do the same thing on the fifth and fourth strings until you find notes that keep feeding back in a useable way—preferably feedback that sustains the note and changes to an upper octave or a fifth above. (Squealing, microphonic feedback means you’ve got way too much volume.)</p> <p>Once you’ve identified a ringing note, move further away from the speaker to get a lower-pitch note to sound, and closer to get a higher note. Remember the spot, or mark it with a small piece of tape. I use this technique every time I play “Perfect Strangers” with Deep Purple so that I can get the D chords to sustain with feedback, and I also use it for the G chords in “Highway Star.”</p> <p><strong>Blend Amp Tones</strong><br /> <em>John Connolly, Sevendust</em><br /> Tone comes from three things that you can’t buy in a music store: your right hand, your left hand, and volume. If your tone is lacking, turn up your volume! (Your neighbors will love it.) In the studio, I run through two amps: a Marshall JCM 2000 TSL and a Marshall Valvestate 100-watt stereo chorus (with the chorus off). The tube amp gives me warmth—which works great for taming the sharp mids of some digital effects—and the solid-state amp provides a very clippy, chunky, and tight low end. For a massively heavy low end, I’ll run my Rocktron Replifex one octave down and use a DigiTech Whammy to go two octaves down. When you hit the bottom with stacked octaves like that you really start moving some air—you have to be very careful how hard you pick when using this many octaves because a heavy hand will produce a muddy mess. I used this technique on Home to get the low G# one octave lower than the bass.</p> <p><strong>Follow the Song</strong><br /> <em>Mike Turner, Our Lady Peace</em><br /> The first concern of any guitarist should always be the song. The song will dictate the part, and the part will dictate the tone, so pay attention! After that, the most important things are to play in time, play in tune, and play musically. People tend to overlook these three simple things in the search for the ultimate tone. At some point in a tonal obsession, you become more of an engineer than a guitar player. You’re there to play guitar, so just use your ears and do it.</p> <p><strong>Compile Licks</strong><br /> <em>Reeves Gabrels, David Bowie</em><br /> At the start of a project, I like to make a DAT compilation of tones, sounds, riffs, and stuff that others might consider throwaway guitar junk. Then, if I feel a track needs a curveball, I’ll sample some stuff off the DAT, play it on a keyboard, and see if I can get that dog to hunt. The opening riff for “Little Wonder” [from David Bowie’s Earthling] was exactly that: three E notes with different vibratos, played on a Parker guitar through a Mesa/Boogie V-Twin. The notes were sampled and played on a keyboard—but not in their original octaves. This made for a distinctive sound that hung more with the drum ’n’ bass vibe we were into back in ’96. Learning how to play that riff live was a real bitch—a helpful, rut-busting lesson. Sampling yourself is a great way to learn about your playing.</p> <p><strong>Punch In</strong><br /> <em>Marty Friedman</em><br /> On “Time, the Beginning” [from Risk], I struck a note before the machine was recording, and punched in and out of Record before I let go of the note. Then I rewound the tape past the note that was just recorded, held the next note, and punched it in so that it overlapped the previously recorded note. I continued until I had a long string of notes with no attack that seemed to connect seamlessly and beautifully. This technique is great for creating backing guitar parts that add a spooky, lyrical guitar vibe to a song.</p> <p><strong>Don’t Over-Refine</strong><br /> <em>David Torn</em><br /> While it’s valuable and necessary to go through phases where you attempt to emulate your favorite player’s tone, if you spend an inordinate amount of time over-refining your sound in order to precisely emulate someone else’s, it’s likely that you’ll wind up scraping away your most personalized sonic scars, blemishes, bumps, and warts. In the long run, those deleted bits might have been your defining musical personality traits. In other words: If it’s broke—but you think it could be good—don’t fix it! Your guitar tone plays a relational role with your music, so don’t be afraid to use thin, weedy, grotty, bulbous, degraded, viscous, harsh, sickly sweet tones if they suit the overall gestalt of the music. Play (and process) from your heart, and use any available brain waves as support.</p> <p><strong>Find the Right Partner </strong><br /> <em>Leni Stern</em><br /> First, find a guitar that you love. One that sounds great with and without an amp, and that makes you feel like playing forever. Second, learn one of J.S. Bach’s violin sonatas and play it really legato—let the notes overlap and find fingerings that make it possible to produce a continuous flow of sound. Finally, start your day by playing one note and making it sustain as long as possible. Use vibrato—like sax players and singers—until you start hearing a sound that is yours alone.</p> <p><strong>Swap Preamp Tubes</strong><br /> <em>Mark Baier, Victoria Amplifier Co.</em><br /> While most guitarists are aware of the influence that power tubes have on amplifier performance, many overlook the importance of preamp tubes. Proper preamp tube selection is critical to bringing out the best in your amp. Take some time and acquaint yourself with the sonic nuances of different brands of tubes in the same tube family. For instance, there are dozens of different brands and vintages of 12AX7s available. By learning the sonic characteristics of these variants, you will be able to better calibrate your amplifier for your specific needs.</p> <p>Often, swapping the modern Russian or Chinese 12AX7s found in most new amps with quality NOS (new, old stock) varieties can turn a bland-sounding amp into something much more musical and intuitive. Start by swapping tubes in one socket only—preferably the first input tube—and listen carefully to a familiar lick or chord progression. You’ll be surprised at the contribution this one tube can make. And don’t overlook the tubes in your rack gear or tube-driven footpedals. The next time you get a jones to spend $300 for a pair of RCA Blackplates or Mullard EL34s, remember the same money can buy a dozen or more quality NOS “peanut” tubes.</p> <p><strong>Kill the Reverb</strong><br /> <em>Brent Mason, session pro</em><br /> One thing live players have a tough time doing when they get into the studio is turning off the reverb. (I had to go to reverbaholics anonymous!) Reverb can mask your sound so that it doesn’t cut through the track enough to really pop—and once you track with reverb, it can’t be removed. Your parts will jump out a lot better if you cut them dry.</p> <p><strong>Flip the Pick</strong><br /> <em>Craig Chaquico </em><br /> Use the round edge, instead of the pointy part of your pick, to get a fatter tone for solos. This is the opposite of getting high, harmonic squeals from the pick and finger, and the technique works best with heavy-gauge picks and strings. (I prefer the sound of Jim Dunlop Polycarbonate Gel picks and Dean Markley medium-gauge Blue Steel Cryogenic strings.) You can experiment with finding different sweet spots on the pick, and for a little more attack, you can score little grooves in the rounded part of the pick with a file or razor blade. I’ve used this pick trick on both electric and acoustic solos, but the technique can really be heard on the solo for “Jane” [from Jefferson Starship’s <em>Freedom at Point Zero</em>].</p> <p><strong>Get Your Own Power</strong><br /> <em>Eric Johnson</em><br /> For optimum amp tone onstage, plug your amp into your own AC outlet. Plugging into common power strips with other band members will be destructive to the even harmonics of your amp sound—especially if synths and computer gear are sharing the strip. For safety reasons, however, it’s still best to stay on the same circuit as the other players.</p> <p><strong>Get Weird</strong><br /> <em>Buckethead</em><br /> In the track “Jowls” [from <em>Monsters and Robots</em>], the “chandelier” scrape at the beginning of the song is achieved with the trusty Roland SE-50 set to produce two pitches descending and two pitches ascending, thus creating the sound of four minor seconds. No delay was used, the level of harmony was 100 percent on each note, and the volume levels of the actual note and the processed harmonies were equal. Save me the slunk!</p> News Features Tue, 24 Nov 2015 15:13:09 +0000 Guitar World Staff 25877 at