News http://www.guitarworld.com/taxonomy/term/4/%3Ehttp%253.../www.sunflowerdead.com/shop en The Enigmatic St. Vincent Talks Technique, Out-of-the-Ordinary Gear Choices and Dimebag Darrell http://www.guitarworld.com/enigmatic-st-vincent-talks-technique-gear-choices-and-dimebag-darrell <!--paging_filter--><p><em>This is an excerpt from the all-new Holiday 2014 issue of </em>Guitar World<em>. For the rest of this interview with St. Vincent, plus our Jimmy Page/Led Zeppelin cover story, features on the Kinks' Dave Davies, Mike Stern and Eric Johnson, Primus, Alex Skolnick, Maroon 5 and Machine Head; reviews of new gear from PRS Guitars, Ernie Ball/Music Man, ESP USA, Mesa/Boogie and Vibramate, not to mention columns by Steel Panther's Satchel, Revocation's Dave Davidson, our own Andy Aledort and more, <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-holiday-14-led-zeppelin?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=StVincentExcerpt">pick up the Holiday 2014 issue of GW at the Guitar World Online Store.</a></em></p> <p><Strong>Alternate Reality:<em> From her gear to her tunings to her diverse musical influences, there is nothing ordinary about Annie Clark or the startlingly complex pop music she makes under the <em>nom de plume</em> St. Vincent.</em></strong></p> <p>The first truly 21st century guitar hero? A post-modern chops monster? Annie Clark, a.k.a. St. Vincent, is an enigmatic artist on many levels. As a player, her influences are all over the map. The niece of new agey jazz guitarist Tuck Andress, Clark had some of her earliest professional experiences as a roadie and, later, opening act for his duet Tuck and Patti. </p> <p>But Clark, born in 1982, is also a fully fledged child of the alt Nineties. One of the biggest honors of her career to date was being chosen to perform the Nirvana song “Lithium” at the 2014 Rock and Roll Hall of Fame Induction Ceremony. </p> <p>Sporting a funky, thrift-shop Harmony solidbody, she joined surviving Nirvana members Dave Grohl, Krist Novoselic and Pat Smear for a gig that implicitly positioned her as some kind of new, female incarnation of Kurt Cobain. </p> <p>“I can’t possibly put into words how much that meant to me,” she says, “and how grateful I feel to even be part of that history in the smallest of ways. Nirvana changed the world. You can’t say that about many bands. They changed my life. They changed millions and millions of people’s lives.” </p> <p>But Clark also has a serious metal side. Growing up in Texas, she delved deeply into the music of bands like Slayer, Metallica and Pantera. Dimebag Darrell is one of her all-time guitar heroes. Then again, she also spent three years at the Berklee School of Music mastering harmonic theory and other learned topics. Despite these antecedents, however, her music is devoid of wanky jazz chords or lengthy bouts of virtuoso shredding. She can do all that in her sleep but prefers to employ her considerable talent to create arty, minimalist pop music, as heard on her fourth and most recent album, St. Vincent.</p> <p>“It’s funny that you would categorize it as minimalist,” she says. “In the context of guitar rock, I could see what I do as being minimal. But in the context of pop music, it’s pushing the level of muso—pushing the limits of what people are hearing in pop music.”</p> <p>Fair enough. St. Vincent’s robotic, yet oddly vulnerable, post-modern pop songs are packed with subtle complexities, spiky discordant horn charts, polyrhythmic dance grooves and moments of Bowie-esque alien grandeur. In an overtly electronic landscape, she deploys her guitar as a stealth device, a heat-seeking missile. It sneaks up on you, and startles you at times. What seems like a synth line might turn out to be a guitar. What seems like a guitar might just be the sound of your own imagination. Like a ghost in some Orwellian machine, her guitar is very much an extension of her disarmingly dispassionate, yet somehow highly expressive vocal style. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/NsUKQWCzGEc" frameborder="0" allowfullscreen></iframe></p> <p> With impeccable underground and alternative cred, Clark is eminently qualified to do this kind of stuff. Before debuting as a solo artist with her 2007 album, <em>Marry Me</em>, she was a member of the Polyphonic Spree and toured with hipster icon singer/songwriter Sufjan Stevens. She’s also performed with one of New York avant-garde composer Glenn Branca’s guitar armies. </p> <p>One of her most visible projects to date has been her 2012 album, <em>Love This Giant</em>, with former Talking Head David Byrne. And there’s a clear connection between that band’s subversive Eighties pop and St. Vincent tracks like “Digital Witness,” although Annie insists she was thinking more of Tupac on that one. </p> <p> She is, as stated initially, an enigmatic artist. Even her chosen stage name introduces an element of gender confusion—a young woman with the name of a male saint. Officially, the pseudonym St. Vincent is an oblique reference to a song by post-punk songwriter and novelist Nick Cave, not to mention the middle name of Clark’s great-grandmother. But while her nom d’artiste may not arise from any sense of Catholic piety on Clark’s part, St. Vincent’s lyrics are indeed laced with Christian imagery, which coexists uneasily alongside images of brute violence, quiet tenderness and digitized dystopian ambivalence. </p> <p> You’ll never figure out St. Vincent on a first listen, or over the space of one interview. But it sure is fun to try. </p> <p><strong>GUITAR WORLD (EXCERPT): To my knowledge, you’re one of the few guitarists employing techniques like two-handed tapping in a context other than shred, metal or any of the other genres where you’d expect to hear that kind of thing. </strong></p> <p>[laughs] Yeah, that’s just a little bit of a party trick. </p> <p><strong>Isn’t that all it ever is? </strong></p> <p>It’s a little more like showmanship for me than pure sound. I mean, I like it; I’m into it. It’s not like I’m doing it for laughs. But it does make me smile, because it reminds me of being 13, being in the guitar store and picking up the Dimebag signature guitar and trying to figure out how he gets that crazy sound from “Cowboys from Hell.” </p> <p>What is that? I’d watch tutorials on YouTube. So tapping makes me smile a bit because it is that super-athletic zone of guitar playing that I totally love. But sometimes you have to do a delicate dance to put everything together in a way that doesn’t just feel like too many notes just for notes’ sake. That’s a big thing that I’ve learned in life. In order to serve the song, maybe it’s best to strip it back as opposed to adding more. </p> <p><strong>Do you always play fingerstyle? Do you never use a pick? </strong></p> <p>No, I’m using a pick more and more. In certain songs like “Cruel” [from 2011’s <em>Strange Mercy</em>], there’s a riff that’s kind of “Ali Farka Toure lite” and it needs that sort of African-style double picking. And there are a lot of other songs, like “Bring Me Your Loves” and “Huey Newton” on my new album, that I definitely use a pick for. I mean, I could play these things with fingers, but sonically it doesn’t read as well. </p> <p><strong>How concerned are you with getting away from any kind of obvious or clichéd guitar tones?</strong></p> <p>Well, I’m not precious about what I write on. I’ve written some of my favorite guitar passages on a computer. Or sung them first as a vocal line and then decided, “Oh, maybe that would be better as a guitar part.” The more you can get out of lizard-brain muscle memory—like the fast-blues idiom we all know as guitar players—the better it is. Because we all learned the same pantheon of rock music, so we all know the same pentatonic scales and riffs. And that’s amazing stuff, but it’s important to get away from it as much as you can. Get away from muscle memory and just let your ear be your guide. </p> <p><strong>What were some of your main guitars for your most recent album, <em>St. Vincent</em>?</strong></p> <p>I was playing this guitar that [producer] John Congleton had, the Thurston Moore edition of the Fender Jazzmaster. It’s super chopped—just a volume knob. You either like the way it sounds when you play it, or you don’t. I really like that on/off kind of thing. You don’t mess around with a million permutations. So I was using that a lot on the record, but I don’t play it live. For live work, I play the Music Man Albert Lee model a lot. I’m not a very large person, so even though I love the sound of a Seventies Les Paul, there’s no way in hell I could ever play one live unless I wanted to have a chiropractor on tour.</p> <p>There’s a lot of functionality in my choice of instruments, especially for playing live. I’m using a Kemper modeling amplifier for live work. Originally I was bringing out vintage ’66 Kalamazoo kind of small amps—the kind of little guy that you could ram a lot of signal through and get a nice breakup and saturation and all of that. But I just stopped. </p> <p>Those weirdo custom and vintage amps need a lot of attention on the road, and I didn’t want to make my guitar tech’s life a living hell. So I decided to go with straight-up Kemper. Which really works well, because my entire show is programmed, in terms of effects. I program my pedal board, and my keyboard player uses Ableton to send cues to switch programs, so I don’t have to look down at my pedal board. So both [co-guitarist/keyboardist] Toko [Yasuda] and I use Kemper modeling amplifiers, because they’re consistent. </p> <p><strong>How did you discover the Kempers? </strong></p> <p>I got turned on to them by my guitar tech, who was on the Nine Inch Nails tour, and that’s what they were using. So I gave them a shot and really liked them. I don’t know if they’d be my go-to amp in the studio, but they’re definitely my go-to live. Hey, if they’re good enough for Trent…</p> <p><strong>Okay, so what are some of the army of small vintage amps you use in the studio but could never bring on the road?</strong></p> <p>Oh, things like a little Sixties Dan Electro. I use a lot of effects, but there are some amps where I just really love the sound of their distortion. I have a couple of little Kalamazoo amps with the built-in tremolo. I never use the tremolo, but the amp is nice. I have a few custom TRVR amps as well. It’s sort of like a boutique silverface Champ, and another one is kind of like a Sixties Deluxe. </p> <p><strong>A lot of effects, you said. Any must-haves? </strong></p> <p>The people at Eventide have been really rad to me over the years, and I’ve been using their H9. I have a couple of those going. I have all the Eventide effects at my disposal with those. So I just program those for synth sounds, tremolos, delays, reverbs…</p> <p><em>Photo: Chris Casella</em></p> <p><em>This is an excerpt from the all-new Holiday 2014 issue of </em>Guitar World<em>. For the rest of this interview with St. Vincent, plus our Jimmy Page/Led Zeppelin cover story, features on the Kinks' Dave Davies, Mike Stern and Eric Johnson, Primus, Alex Skolnick, Maroon 5 and Machine Head; reviews of new gear from PRS Guitars, Ernie Ball/Music Man, ESP USA, Mesa/Boogie and Vibramate, not to mention columns by Steel Panther's Satchel, Revocation's Dave Davidson, our own Andy Aledort and more, <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-holiday-14-led-zeppelin?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=StVincentExcerpt">pick up the Holiday 2014 issue of GW at the Guitar World Online Store.</a></em></p> <p><img src="/files/imce-images/Screen%20Shot%202014-11-04%20at%2010.06.09%20AM.png" width="620" height="807" alt="Screen Shot 2014-11-04 at 10.06.09 AM.png" /></p> http://www.guitarworld.com/enigmatic-st-vincent-talks-technique-gear-choices-and-dimebag-darrell#comments Annie Clark Holiday 2014 St. Vincent Interviews News Features Magazine Mon, 24 Nov 2014 22:24:58 +0000 Alan di Perna http://www.guitarworld.com/article/22956 Guitar World's Paul Riario Demos Guitar Lick Master App from Ninebuzz — Video http://www.guitarworld.com/guitar-worlds-paul-riario-demos-guitar-lick-master-app-ninebuzz-video <!--paging_filter--><p>In this new video, <em>Guitar World</em>'s Paul Riario tries out the new Guitar Lick Master app from Ninebuzz. </p> <p>It's a fun and fast way to learn guitar licks on your mobile device.</p> <p>From the company: </p> <p>Guitar Lick Master is the ultimate way to learn and practice guitar licks on iPhone and iPod Touch. Enjoy 50-plus hand-picked licks and a revolutionary "Smart Tab" engine that deconstructs licks into easy-to-play parts. </p> <p>For more information, check out the video below and <a href="https://itunes.apple.com/app/guitar-lick-master-50+-licks/id892538655?mt=8&amp;ign-mpt=uo%3D4">head here.</a></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/8FLByoxdj7I?list=UUqHkFMEmOPFO3ahcrrBAj4w" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/guitar-worlds-paul-riario-demos-guitar-lick-master-app-ninebuzz-video#comments Ninebuzz Videos News Mon, 24 Nov 2014 21:17:36 +0000 Guitar World Staff http://www.guitarworld.com/article/22955 Good Times: Led Zeppelin Guitar Solo Video Challenge Entries — Send More Videos! http://www.guitarworld.com/good-times-led-zeppelin-guitar-solo-video-challenge-entries-so-far <!--paging_filter--><p>Earlier this month, <em>Guitar World</em> and Supro Amps got together to launch the Led Zeppelin Guitar Solo Video Challenge. </p> <p>Below, you can check out the entries we've received so far! In fact, if you DON'T see your video here, please send it again!</p> <p>This also should serve as a reminder to the rest of you: Enter this contest now! The winner will get a new <a href="http://suprousa.com/amplifiers/dual-tone/">Supro 1624T Dual-Tone guitar amp</a> (MSRP $1,459)!</p> <p>The winner also will receive a <a href="http://www.fender.com/guitars/telecaster/classic-series-60s-telecaster-rosewood-fingerboard-black/">Fender Classic Series '60s Telecaster</a>, a copy of <em>Guitar World</em> Editor-in-Chief Brad Tolinski's latest book, <em><a href="http://guitarworld.myshopify.com/collections/guitar-world/products/light-shade?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=LightShade">Light &amp; Shade: Conversations with Jimmy Page</a></em> (signed by Tolinski), and the <em>Guitar World</em> instructional DVD, <em><a href="http://guitarworld.myshopify.com/collections/dvds/products/how-to-play-the-best-of-led-zeppelin-dvd">How to Play the Best of Led Zeppelin!</a></em></p> <p><strong>NOTE: This contest is open only to residents of the United States. You must submit your video to <em>Guitar World</em> by December 10, 2014.</strong></p> <p><span style="font-size:18px;font-weight:bold;">Here's what's involved:</span></p> <p>Film yourself playing your own version of Jimmy Page's iconic "Good Times Bad Times" guitar solo! Use the studio version of the solo as your guide (You can hear it below), but feel free to put your own spin on the solo. You might get special consideration for originality! You can hear both original solos via the YouTube players below. </p> <p>Next, upload your video to YouTube and send the link — <strong>along with your FULL NAME and COMPLETE U.S. ADDRESS</strong> — to <em>Guitar World</em> at <strong>guitarchallenge@guitarworld.com</strong>. Note that you will not be considered an entrant unless you include your name and U.S. address with your video.</p> <p>The videos will be viewed by members of the <em>Guitar World</em> staff, plus celebrity judges who will be named later. We'll pick a winner by December 25, 2014!</p> <p>Good luck!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/UBx3Z716EqE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <iframe width="620" height="365" src="//www.youtube.com/embed/uC12xKjaP4M" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <iframe width="620" height="365" src="//www.youtube.com/embed/-kIwpVGtfa4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <iframe width="620" height="365" src="//www.youtube.com/embed/d-a_5CeMNpA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <iframe width="620" height="365" src="//www.youtube.com/embed/27rHqbQHdTM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <iframe width="620" height="365" src="//www.youtube.com/embed/8iPNyv-yGxI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <iframe width="620" height="365" src="//www.youtube.com/embed/IJgJIiWwZlc" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <iframe width="620" height="365" src="//www.youtube.com/embed/T-_Q4GrHOMU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <iframe width="620" height="365" src="//www.youtube.com/embed/zTNcF5LFzr4" 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="/led-zeppelin">Led Zeppelin</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/good-times-led-zeppelin-guitar-solo-video-challenge-entries-so-far#comments Led Zeppelin Supro Videos News Mon, 24 Nov 2014 21:10:38 +0000 Guitar World Staff http://www.guitarworld.com/article/22911 New Guitar World DVD: Dave Reffett Teaches You 'Metal and Thrash Rhythm Guitar' http://www.guitarworld.com/new-guitar-world-dvd-dave-reffett-teaches-you-metal-and-thrash-rhythm-guitar <!--paging_filter--><p>A new DVD, <em>Metal and Thrash Rhythm Guitar</em>, is <a href="http://guitarworld.myshopify.com/collections/dvds/products/metal-and-thrash-rhythm-guitar/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=MetalThrashDVD">available now at the Guitar World Online Store for $14.95.</a></p> <p>With <em>Metal and Thrash Rhythm Guitar</em>, you'll learn the secret techniques of metal’s greatest riffmasters, plus: </p> <p> • Gallop and reverse-gallop rhythms in the styles of bands like Metallica, Megadeth, Anthrax and Slayer<br /> • Palm muting and chugging<br /> • Double and quadruple picking<br /> • Machine-gun-like bursts punctuated by “holes of silence”<br /> • Chromatic alternate-picking exercises<br /> • Chord stabs and jabs<br /> • Power chord riffs with pedal tones<br /> • String skipping, raking and fret-hand muting<br /> • Natural-and pinch-harmonic “squeals”<br /> • Integrating riffing up and down one string with fret-hand muting<br /> • Stacked power chords, and much more!</p> <p>The DVD features 100 minutes of Instruction!</p> <p><strong>Your instructor</strong></p> <p>Hailed for his incendiary picking technique, Dave Reffett is a fast-rising star in the world of metal guitar and has worked with such renowned artists as Guthrie Govan, Jeff Loomis, Michael Romeo, Mike Mangini, George Lynch, Michael Angelo Batio, Chris Poland, Glen Drover, Glen Sobel, Derek St. Holmes, Michael Devin, Rusty Cooley, Craig Goldy and Annie Grunwald. He produced the critically acclaimed album The Call of the Flames and also played a big role on Batio's album Intermezzo.</p> <p>A graduate of Berklee College of Music, Dave teaches countless students across the globe via live guitar clinics, private lessons and videos and was a recipient of the Berklee World Scholarship Tour award and the Berklee Best award. Dave is an Official artist endorsee for the Dean Guitars, Eminence Speakers, Seymour Duncan Pickups, Mogami Cables, D'Addario Strings and Stone Tone Rock Blocks and has appeared on the covers of Gitar Plus and Heavy Riff Magazines in Asia and Mexico, respectively.</p> <p>Please note: This product includes a PDF booklet on the DVD and can be retrieved by opening the DVD on your computer.</p> <p><strong><a href="http://guitarworld.myshopify.com/collections/dvds/products/metal-and-thrash-rhythm-guitar/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=MetalThrashDVD">Head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/new-guitar-world-dvd-dave-reffett-teaches-you-metal-and-thrash-rhythm-guitar#comments Dave Reffett News Features Mon, 24 Nov 2014 20:39:00 +0000 Guitar World Staff http://www.guitarworld.com/article/22953 Soundgarden's Kim Thayil Talks 'Echo of Miles,' a New Collection of Originals, Covers and Oddities http://www.guitarworld.com/soundgardens-kim-thayil-talks-echo-miles-new-collection-originals-covers-and-oddities <!--paging_filter--><p>Since the release of their excellent 2012 reunion album, <em>King Animal</em>, Soundgarden have been spending some time revisiting their storied past. </p> <p>In 2013 came a remastered reissue of 1990’s <em>Screaming Life/Fopp</em> album, itself a compilation of two late-Eighties EPs. Then, earlier this year, in recognition of the 20th anniversary of 1994’s <em>Superunknown</em>, the band released updated versions of the landmark album, including a five-disc “Super Deluxe” edition that included demos, rehearsals, B-sides and more from the sessions. </p> <p>Now, Soundgarden have essentially raided their own vaults for the new <em>Echo of Miles: Scattered Tracks Across the Path</em>, a three-disc release that gathers together rarities under three headings: An “Originals” disc presents Soundgarden compositions that have appeared as B-sides, on soundtracks or other compilations or that have remained unreleased; a “Covers” disc collects their interpretations of other band’s songs from over the years; and “Oddities” includes remixes and other bizarre musical moments from the band’s history. </p> <p>Soundgarden guitarist Kim Thayil has been hinting at a project of this scope for years, and the finished product is a virtual treasure trove of goodies, as well as essential listening for any Soundgarden completest. </p> <p>Just prior to the release of <em>Echo of Miles</em>, Thayil sat down with <em>Guitar World</em> to discuss this trip through Soundgarden’s lesser-known past—and also talk about what’s coming up in the near future.</p> <p><strong>GUITAR WORLD: <em>Echo of Miles</em> is the Soundgarden compilation album that we’ve been hearing you reference for years. Now it’s finally here. </strong></p> <p>Yes. This goes back at least 20 years. Of course, I’ve never referred to it as a compilation…although it is a compilation. [laughs] But I tend to think of a compilation as songs that have appeared on albums, or things that are arranged for other purposes, like greatest hits records, or best of’s. Or, back in the Fifties and Sixties they made “rocking” albums and “candlelight” albums. </p> <p>But this is kind of a banding together of a bunch of songs that were non-album tracks, with the exception of a couple songs that were on greatest hits compilations. But the band has never been that thrilled about producing things like B-sides, or material for international releases, or songs on movie soundtracks. You know, we enjoy being on movie soundtracks but we also want these songs to be part of a Soundgarden album. </p> <p><strong>You’ve divided the material into three separate discs: Originals, Covers and Oddities.</strong></p> <p>Basically it’s three albums. And we contemplated releasing the three albums in a serialized fashion, perhaps over months, or maybe over a longer period of time. But we thought that ultimately we’d release them all at once. But that’s one of the strange things about this [project]. In my liner notes I had a hard time establishing the identity of this kind of an album. It’s a collection, but 20 years ago I perceived “Originals” as being ultimately another Soundgarden studio album. </p> <p>Because they were loose ends—a song here, a song there. And these were all songs that we loved, because we went through the whole birthing process of writing them, learning them, recording them, mixing them. If we went through that entire process it’s because we believed in a song. And then to see that song as part of an EP that was released only in Japan was a little disappointing. We would have loved to have put those types of songs on an album here. </p> <p>But, of course, back in the day, with <em>Louder Than Love, Badmotorfinger, Ultramega OK</em>, we would orient our recordings toward vinyl and a single disc. So we were limited to only putting 11 or 12 songs on an album. Starting with Superunknown we oriented toward CD. And, if you notice, everything since then on vinyl is a double album—<em>Down on the Upside, Superunknown, King Animal</em>. We decided we were not going to force ourselves to omit material. So that was kind of the impetus for this.</p> <p><strong>When you were putting this material together was there anything that jumped out at you or surprised you?</strong></p> <p>There’s a lot of material that jumped out. The covers album…I really enjoy the way the covers album is set up, the way the songs flow, and listening to some of the performances. Because when we originally did many of those songs we would self-critically compare them to the original versions that we were covering. And you’d always say, “Well, I’m not playing guitar like this guy…” “Maybe this is sloppier…” “I think Chris [Cornell, vocals] is doing something here the original singer wasn’t doing…” Things like that. </p> <p>You’re always evaluating your performance against the original. But given this much time, I can now listen to these covers independently and not have to juxtapose them against the originals and see the flaws. Now I see them standing on their own as being standout performances by Soundgarden. The stuff with Ben [Shepherd, bass] in the band, or some of the early John Peel stuff with Hiro [Yamamoto, original bassist] in the band, it’s all very good. </p> <p>And it surprised me and impressed me that I could appreciate these covers on that level. There’s the whole session of recordings that includes [the Rolling Stones’] “Stray Cat Blues,” [Black Sabbath’s] “Into the Void,” the Devo song “Girl U Want,” “Touch Me” by [Seventies British pop group] Fancy—those were all done pretty much in, like, one day. And the guitar styles are so different from each other. We’re doing Devo, and then an hour later Black Sabbath. Then the Rolling Stones. Then Fancy, which, as far as the guitar playing, is reminiscent of Mother Love Bone. And I’m playing all the guitars on all these tracks in one day. It was fun and it was funny to have to do all these different styles and colors. And it’s like, How could we do that so easily when at other times we struggled with our own songs?</p> <p><strong>Let’s talk about the song “Storm,” on the “Originals” disc. It’s a new song but also an old song. Can you talk about the history of that one?</strong></p> <p>There are individual songs within this collection that have strange stories, and “Storm” is one of them. Chris wrote a demo of it in ‘85 that had some weird vocals and guitar effects. There was no real guitar part but there was a cool bass line. Then he showed it to the band, and Hiro interpreted the bass line into something pretty much like a bass solo, and I wrote those guitar parts with the seventh chords, some ninths in there, some other things. </p> <p>And our drummer at the time, Scott Sundquist, interpreted the drums as, like, rolling thunder. And locally, we played that song live all the time. It was a favorite—I know our peers in Green River, Mother Love Bone, Nirvana, Skin Yard, Melvins, all these bands we played with all heard the song because it was always in our set. Then when we got Matt [Cameron, drums] in the band we started writing new material, so a lot of the old material got pushed back. We tried doing “Storm” with Matt and it was a little bit of a different feel, so it kind of went from heavy rotation to medium rotation to low rotation. And that was it. It kind of got shelved. </p> <p><strong>So how did it come off the shelf?</strong></p> <p>We thought about how we never gave this song a good studio recording. So we decided to try it. We had some spare time, and then in May [producer] Jack Endino was available. He was the one who was so acquainted with our early material, and he loves this song so we thought we’d give him a chance at recording it. So it’s a brand new recording of a song we haven’t played live since ‘86 or ‘87. For all practical purposes it’s a new song, but it’s also something from 30 years ago. </p> <p><strong>I know you’re also currently working on a reissue of [1988’s] <em>Ultramega OK</em>. When will we see that? And is there any new material from Soundgarden on the horizon?</strong></p> <p>Well, a couple weeks ago Jack Endino and I finished up the remaining songs for Ultramega OK. It sounds way better, bigger and warmer than the original. We’re gonna sit on it for a few months and let everyone else hear it, see how we feel about it. We pulled the record from SST so it belongs to us now. So we’ll have to negotiate a new contract with a label and then we’ll hopefully put it out within a year. As for new material, when Soundgarden gets back from Australia in February and Matt’s Pearl Jam obligations are done, we’ll get together again. We’ll definitely start working on new music in 2015, for sure.</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="/soundgarden">Soundgarden</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/soundgardens-kim-thayil-talks-echo-miles-new-collection-originals-covers-and-oddities#comments Kim Thayil Soundgarden Interviews News Features Mon, 24 Nov 2014 18:18:09 +0000 Richard Bienstock http://www.guitarworld.com/article/22951 RJ Ronquillo Demos Eastwood Guitars' New Link Wray Tribute Model — Video http://www.guitarworld.com/rj-ronquillo-demos-eastwood-guitars-new-link-wray-tribute-model-video <!--paging_filter--><p>In the brand-new video below, guitarist RJ Ronquillo takes Eastwood Guitars' new Link Wray Tribute model for its first test drive. </p> <p>Check out Ronquillo's take on Wray's classic rebel-rousing instrumental, "Rumble."</p> <p>Only 24 of these babies are available, and they'll ship December 18 on a first-come, first-served basis. The next production is scheduled for April 2015.</p> <p>From the company:</p> <p>"We are very excited to announce the production of this new Link Wray model. Eastwood has partnered with U.K.'s Vince Ray to create a stunning new professional grade electric guitar. Featuring the artwork of Vince Ray, the guitar includes images and song titles that spans Link's career and rekindles our love of his music. </p> <p>"But we did not stop there, we wanted to design a guitar that a professional player can be proud of, with pro-grade tuners, pots, a custom tailpiece and we installed a pair of Airline Vintage Voiced Single Coil Pickups for a that killer Link Wray tone. The guitar includes a custom artwork hardshell case, Airline Black Curly Cord and RUMBLE leather strap. The total package for every Link Wray fan and guitarist alike!"</p> <p>For more about this guitar, visit <a href="http://www.eastwoodguitars.com/link-wray-tribute/">eastwoodguitars.com.</a> </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/P6K5FdaoXLI" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/RLEUSn8y9TI" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/rj-ronquillo-demos-eastwood-guitars-new-link-wray-tribute-model-video#comments Eastwood Guitars Link Wray RJ Ronquillo Videos Electric Guitars News Gear Mon, 24 Nov 2014 17:59:58 +0000 Guitar World Staff http://www.guitarworld.com/article/22950 Metal Mike Chlasciak Announces Second Annual Metal Heroes Summer Camp http://www.guitarworld.com/metal-mike-chlasciak-announces-second-annual-metal-heroes-summer-camp <!--paging_filter--><p>In association with Music Masters Camps, shredder—and <em>Guitar World</em> columnist—Metal Mike Chlasciak will host his second Metal Heroes Summer Camp August 24 to 28, 2015, at the Slide Forest House/Full Moon Resort in Big Indian, New York.</p> <p>Developed for young metal-heads ages 12 to 19, Metal Heroes Summer Camp is designed to teach, motivate and inspire through intense but fun instruction in heavy metal.</p> <p>The highlight of this vacation experience will take place on the last day, when the students will have a chance to perform with Mike in front of their peers, family and friends during a live concert staged at the camp’s playground.</p> <p>“I really proud and psyched to welcome you once again to the Metal Heroes Summer Camp," Metal Mike says. "We have had an amazing debut last year with students from as many as 8 states coming in to enjoy special guests, jams, motivational segments and specified instrument clinics. In 2015, one again, all metal band instruments are once again welcome focusing on guitar, bass, drums and vocals. I hope you will join me on this 100 percent full-on metal journey.</p> <p>“I've always wanted to share my tour and music experiences with younger metal-heads and I’m really looking forward to open up the metal vault with you on so many levels in order to help you sharpen your skills to metal ninja perfection. I’m committed to the preservation of heavy metal and this is my way of helping to carry metal for the next generations to enjoy.</p> <p>"While helping you with individual tasks, we’ll also learn to make amazing progress when rehearsing with a band to talking about any musical challenges that you might face. A look into the working of the music business including endorsements and the DYI career approach will keep you learning while you work on your musical chops. I can guarantee this will be incredibly fun and you will learn a lot, too.</p> <p>“We’ll be jamming together, hanging out together, studying what makes a song or a performance great—while everyone will get a chance to ask their questions and get plenty of one-on-one playing tips."</p> <p>Tickets for Metal Heroes Summer Camp are <a href="http://www.musicmasterscamps.com/metal-heroes-summer-camp">on sale now right here.</a> </p> <p>All camp packages are $1,399 include lodging, gourmet meals, housekeeping and access to all workshops, seminars, performances and camp activities. Full Moon Resort features an eclectic array of comfortable country-inn accommodations. There is a $595 non-participant spectator package option where you can watch your child’s progress at Metal Heroes Summer Camp while you absorb the beauty of the Catskill Mountains.<br /> All accommodations are just steps away from daily camp activities. Guests can enjoy the spring-fed swimming pool and explore the splendors of the Catskills. Dedicated to the celebration of nature, music and the arts, this one hundred-acre wonderland of mountains, fields and streams is a world of its own.</p> <p>Interested rockers can take advantage of the early-bird price of $1,299 by registering by January 5, 2015. All returning campers receive a free webcam guitar lesson with Mike or Metal Heroes instructor. All Metal Heroes Campers get an additional 15% all webcam lessons with Mike that are currently available from <a href="http://www.metalheroesacademy.com/">metalheroesacademy.com.</a></p> <p>For more information, visit <a href="http://www.metalheroesacademy.com/">metalheroesacademy.com</a> and <a href="https://www.facebook.com/MetalMikeC">Facebook.</a></p> http://www.guitarworld.com/metal-mike-chlasciak-announces-second-annual-metal-heroes-summer-camp#comments Metal Mike Chlasciak News Mon, 24 Nov 2014 17:45:03 +0000 Guitar World Staff http://www.guitarworld.com/article/22949 Jimmy Page Visits 'Ellen DeGeneres Show,' Discusses Possibility of Led Zeppelin Reunion — Video http://www.guitarworld.com/jimmy-page-visits-ellen-degeneres-show-discusses-possibility-led-zeppelin-reunion-video <!--paging_filter--><p>Jimmy Page recently visited <em>The Ellen DeGeneres Show</em> to discuss his new book and, as you'll see below, to address the "Of course, I have to ask this" topic of a Led Zeppelin reunion.</p> <p>In the clip, Page says Robert Plant has become "very difficult" lately; he even tells host Ellen DeGeneres that she really should be addressing her reunion question to Plant.</p> <p>Page also sort of denied the rumors that Plant turned down an offer of $800 million to take part in a Led Zeppelin reunion.</p> <p>"I don't know anything about it," Page said. "No, I really don't. I've heard all manner of detail on this and I thought, 'Well, I don't know anything about this.' I didn't know anything about it all."</p> <p>Note: The top video has better audio and dives right into the reunion conversation. The bottom video contains their full conversation, but you'll need to crank it up.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/xaMccVQt21o" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/UGWP9_UZLAE" 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 class="field-item even"> <a href="/led-zeppelin">Led Zeppelin</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/jimmy-page-visits-ellen-degeneres-show-discusses-possibility-led-zeppelin-reunion-video#comments Jimmy Page Led Zeppelin Videos News Mon, 24 Nov 2014 16:18:01 +0000 Damian Fanelli http://www.guitarworld.com/article/22948 Jim Dunlop Effect Pedal Throwdown, Round 3: Zakk Wylde Signature Cry Baby Vs. Cry Baby Multi-Wah http://www.guitarworld.com/jim-dunlop-effect-pedal-throwdown-round-3-zakk-wylde-signature-cry-baby-vs-cry-baby-multi-wah <!--paging_filter--><p>GuitarWorld.com's latest readers poll—the first annual Jim Dunlop Effect Pedal Throwdown—has reached Round 3!</p> <p>For the past month, we've been pitting Dunlop, MXR and Way Huge pedals against each other in a no-holds-barred shootout. Now the competition is guaranteed to get even tougher.</p> <p>Therefore, we're pulling out all the stomps! Sixteen stompboxes will go head to head — or toe to toe, if you prefer — leading up to the king of Dunlop/MXR/Way Huge pedals.</p> <p>You can check out the current bracket — with all 32 competing pedals that starting things off in Round 1 — in the <a href="https://www.scribd.com/">Scribd.com</a> window below (Be sure to click on the "full screen" button in the lower-right-hand corner to expand the bracket). </p> <p>The bracket is updated after (almost) every matchup, and matchups will take place pretty much every day, excluding weekends. Each competing pedal will accompanied by a demo video created by the Jim Dunlop company, and you'll always find a photo gallery of the competing pedals at the bottom of each matchup.</p> <h1>Today's Matchup</h1> <p>In today's matchup, the <strong>Dunlop ZW95 Zakk Wylde Signature Cry Baby</strong> goes foot to foot against the <strong>Dunlop 535Q Cry Baby Multi-Wah</strong>. Start voting below!</p> <p><strong>YESTERDAY'S RESULTS</strong>: Yesterday, the <strong>Dunlop JHF1 Jimi Hendrix Fuzz Face</strong> (61.75 percent) destroyed the <strong>Way Huge WHE 101 Angry Troll Boost</strong> (38.25 percent) to advance to the next round! <a href="http://www.guitarworld.com/tags/jim-dunlop-effect-pedal-throwdown">To see all the matchups that have taken place so far, head HERE.</a> Thanks for voting!</p> <h1>Meet the Combatants</h1> <p><strong><a href="http://www.jimdunlop.com/product/zw45-zakk-wylde-signature-wah">Dunlop Zakk Wylde Signature Cry Baby Wah</a></strong></p> <p>Modern Cry Baby Master Zakk Wylde and Dunlop have joined forces to deliver the toughest, meanest wah pedal on the planet. Built from the ground up with great tone and rugged durability in mind, this pedal can stand up to the crushing stomp of metal's reigning king of lead guitar. </p> <p>The Wylde Wah features a heavy-duty raw-metal casing and road worthy components to withstand years of ass-kicking abuse. With guts that have been finely tuned to Zakk's specs, this wah is specially voiced to deliver an extra thick and cutting tone. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/RMPzL7gZROI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong><a href="http://www.jimdunlop.com/product/535q-cry-baby-multi-wah">Dunlop 535Q Cry Baby Multi-Wah</a></strong></p> <p>The 535Q is the Swiss Army knife of wah pedals. It provides control over the most important wah parameters, making it easy for you to create your ultimate wah tone. Select the frequency center of the effect, then dial in the frequency range to be swept by the pedal. From narrow and sharp to broad and subtle, this amazing wah can deliver it. Once you've got your sound, make sure it gets heard with the adjustable, switchable boost that can create endless sustain on any note.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/jmLRkgWwGRQ" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <h1>Vote Now!</h1> <script type="text/javascript" charset="utf-8" src="http://static.polldaddy.com/p/8467915.js"></script><p><noscript><a href="http://polldaddy.com/poll/8467915/">Jim Dunlop Effect Pedal Throwdown, Round 3: Zakk Wylde Signature Cry Baby Vs. Cry Baby Multi-Wah</a></noscript></p> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View The Hellecasters Rule Sheet1 on Scribd" href="https://www.scribd.com/doc/247744087/The-Hellecasters-Rule-Sheet1" style="text-decoration: underline;" >The Hellecasters Rule Sheet1</a></p> <p><iframe class="scribd_iframe_embed" src="https://www.scribd.com/embeds/247744087/content?start_page=1&amp;view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_83777" width="100%" height="400" frameborder="0"></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/zakk-wylde">Zakk Wylde</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/jim-dunlop-effect-pedal-throwdown-round-3-zakk-wylde-signature-cry-baby-vs-cry-baby-multi-wah#comments Jim Dunlop Jim Dunlop Effect Pedal Throwdown Poll Polls Zakk Wylde Videos Effects News Features Gear Mon, 24 Nov 2014 12:04:31 +0000 Damian Fanelli http://www.guitarworld.com/article/22934 AC/DC Premiere "Rock or Bust" Music Video http://www.guitarworld.com/acdc-premiere-rock-or-bust-music-video <!--paging_filter--><p>AC/DC have premiered the official video for "Rock or Bust," the title track from their new album. </p> <p>The clip, which you can watch below, was shot in early October with director David Mallet at Black Island Studios in Middlesex, England.</p> <p>You'll notice drummer Phil Rudd isn't behind the kit in the video; he also was missing from the shooting of <a href="http://www.guitarworld.com/acdc-premiere-play-ball-music-video">the far more ridiculous "Play Ball" music video</a>. </p> <p>In both clips, Rudd was replaced by drummer Bob Richards. At the time, singer Brian Johnson told fans that Rudd was unable to participate due to an undisclosed "family emergency." </p> <p><em>Rock Or Bust</em> is scheduled for release December 2.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/_NdHySPJr8I" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/acdc">AC/DC</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/acdc-premiere-rock-or-bust-music-video#comments AC/DC ACDC Videos News Mon, 24 Nov 2014 12:00:35 +0000 Guitar World Staff http://www.guitarworld.com/article/22947 The Francesco Artusato Project Premiere "Our Dying Sun" Lesson Video — Exclusive http://www.guitarworld.com/francesco-artusato-project-premiere-our-dying-sun-lesson-video-exclusive <!--paging_filter--><p>Today, GuitarWorld.com presents an exclusive "Our Dying Sun" lesson video featuring Francesco Artusato of the Francesco Artusato Project.</p> <p>This is the title track from the band's new album, which was released in October by Sumerian Records. You'll also find a transcription of the "Our Dying Sun" guitar solo at the bottom of this story.</p> <p>"This is the solo from 'Our Dying Sun'," says Artusato (Devil You Know, All Shall Perish). "I start by playing a syncopated lick that superimposes a group of four over the 6/4 meter (m.2); this type of rhythmic dissonance (created via polyrhythms) sets the mood for the rest of the solo. </p> <p>"The first long phrase that appears is based around the E diminished scale; it further incorporates additional chromatic notes that push the sound even more outside (m.3-4). Here, the rhythmic dissonance of the polyrhythm transitions into the harmonic dissonance of the diminished scale. </p> <p>"This is followed by an ascending and descending sequence based around one of the two possible whole tone scales (m.5-6). I execute the ascending whole tone sequence via hybrid picking. The rising line which appears in the middle of measure 7 uses the other whole tone scale—when the last two sequences of whole tone scales are taken together, you get the entire chromatic set. </p> <p>"One thing the solo achieves is to break down the chromatic scale into different types of symmetrical sets which form most of the phrases you hear here. Lastly, a tapping line moving up the neck chromatically in quintuplets closes out this entire solo."</p> <p><em>Our Dying Sun</em> is available at <a href="https://itunes.apple.com/us/album/our-dying-sun/id913407797">iTunes</a> and <a href="https://play.google.com/store/music/album/The_Francesco_Artusato_Project_Our_Dying_Sun?id=Bn3uu2i6353vrgmrq3b7r2ctwqu&amp;hl=en">Google Play.</a></p> <p>Stay tuned to <a href="https://www.facebook.com/francescoartusatomusic">Artusato's Facebook page</a> for updates and more info. As always, tell us what you think of the video in the comments or on Facebook!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/1eYTsMycSK4" frameborder="0" allowfullscreen></iframe></p> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View &amp;quot;Our Dying Sun&amp;quot; on Scribd" href="https://www.scribd.com/doc/247964082/Our-Dying-Sun" style="text-decoration: underline;" >&amp;quot;Our Dying Sun&amp;quot;</a></p> <p><iframe class="scribd_iframe_embed" src="https://www.scribd.com/embeds/247964082/content?start_page=1&amp;view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_79123" width="100%" height="600" frameborder="0"></iframe></p> http://www.guitarworld.com/francesco-artusato-project-premiere-our-dying-sun-lesson-video-exclusive#comments Francesco Artusato the Francesco Artusato Project Videos News Lessons Mon, 24 Nov 2014 11:49:21 +0000 Damian Fanelli http://www.guitarworld.com/article/22940 Le Projet, Featuring Candlebox’s Kevin Martin and Sevendust’s Morgan Rose, Premiere "Head Down" Lyric Video http://www.guitarworld.com/le-projet-featuring-candlebox-s-kevin-martin-and-sevendust-s-morgan-rose-premiere-head-down-lyric-video <!--paging_filter--><p>Kevin Martin of Candlebox and Morgan Rose of Sevendust recently got together to form a new band, Le Projet, with Adam Kury (Candlebox) and Lenny Cerzosie (the Infinite Staircase).</p> <p>Today, GuitarWorld.com presents the exclusive premiere of "Head Down," their new lyric video. You can check it out below. As always, be sure to tell us what you think of it in the comments below or on Facebook.</p> <p>In other Le Project news, the band has started a crowd-funding campaign at <a href="https://www.indiegogo.com/projects/le-projet-album-tour">indiegogo.com</a> to help them launch a tour and new album. For all the details, <a href="https://www.indiegogo.com/projects/le-projet-album-tour">check out their campaign here.</a> In the meantime, Le Project will be entering Think Loud Studios in York, Pennsylvania, with Mike Ferretti at the helm.</p> <p>For more about Le Projet, follow them on <A href="https://www.facebook.com/leprojetofficial?ref=hl">Facebook.</a></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 https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience3905956734001" 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="3905956734001" /> </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 --><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="/sevendust">Sevendust</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/le-projet-featuring-candlebox-s-kevin-martin-and-sevendust-s-morgan-rose-premiere-head-down-lyric-video#comments Candlebox Kevin Martin Le Projet Morgan Rose Sevendust Videos News Mon, 24 Nov 2014 11:48:50 +0000 Damian Fanelli http://www.guitarworld.com/article/22941 BIG Something Premiere "Megalodon" Music Video — Exclusive http://www.guitarworld.com/big-something-premiere-megalodon-music-video-exclusive <!--paging_filter--><p>Today, GuitarWorld.com presents the exclusive premiere of BIG Something's new music video for "Megalodon."</p> <p>The song is from their new album, <em><a href="https://itunes.apple.com/us/album/truth-serum/id921356330">Truth Serum,</a></em> which was released November 4.</p> <p>"We recorded <em>Truth Serum</em> almost entirely live in the studio in order to get the best of both worlds, the energy from playing together live and the polish of the recording studio environment," said BIG Something's Nick MacDaniels. </p> <p>"This video was created in the spirit of that concept, combining studio footage from the recording of 'Megalodon' and concert footage from the Big What?, our annual summer music festival."</p> <p>Speaking of which, the 2015 The Big What? festival will take place June 25 to 27 in Mebane, North Carolina. For more information, visit <a href="http://thebigwhat.com/">thebigwhat.com.</a> To find out where to see BIG Something in November, December and January (including their November 28 show in Washington, D.C.), check out their current tour dates directly below the video. </p> <p>For more about BIG Something, visit <a href="http://www.bigsomething.net/">bigsomething.net</a> and follow them on <a href="https://www.facebook.com/theBIGsomething">Facebook.</a></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/RgRwQOfiNmw" frameborder="0" allowfullscreen></iframe></p> <p><strong>Current BIG Something Tour Dates:</strong></p> <p>Nov 26 Ziggy’s Winston-Salem, NC<br /> Nov 28 Gypsy Sally’s Washington, DC<br /> Nov 29 Skullys Music Diner Columbus, OH<br /> Dec 7 Barrelhouse South Savannah, GA<br /> Dec 12 Charleston Pour House Charleston, SC<br /> Dec 13 JJ’s Bohemia Chattanooga, TN<br /> Dec 30 The Chop Shop Charlotte, NC<br /> Dec 31 Lincoln Theatre NYE Raleigh, NC<br /> Jan 2 Martin’s Downtown Roanoke, VA<br /> Jan 3 Martin’s Downtown Roanoke, VA</p> <p>** - Baltimore Residency @ The 8x10<br /> # - Album release show/5th Annual Big Something Costume Ball</p> http://www.guitarworld.com/big-something-premiere-megalodon-music-video-exclusive#comments BIG Something Videos News Mon, 24 Nov 2014 11:48:24 +0000 Damian Fanelli http://www.guitarworld.com/article/22942 Monster Licks Unleashed with Glenn Proudfoot: Blues Scale Chaos — Video http://www.guitarworld.com/monster-licks-unleashed-glenn-proudfoot-blues-scale-chaos-video <!--paging_filter--><p>I've found that incorporating the flat 5, major 3rd or 6th into the pentatonic scale can really open up your legato possibilities.</p> <p>Obviously, there's a drastic tonal difference between these notes, but as they are being added to the minor pentatonic, tonally you can get away with it, especially when playing at speed. </p> <p>It creates a very chaotic, manic-sounding effect, which is right up my alley. </p> <p>Players often will combine lots of different modes, etc., to their soloing. I do the same but with a different approach; I base everything around the pentatonic, so instead of playing modes, I simply add the notes to the pentatonic. This way, I always have that rock base behind the sound. </p> <p><strong>The Lick:</strong></p> <p>The stretches are the main challenge here. If they're too much for you, simply move the idea up the neck into a different key where the pattern is more comfortable. Then you can slowly start to move it back down. </p> <p>Once you start to work through the legato pattern, you'll notice the pattern repeats, so the motivation should be that you'll be able to adapt this technique to create your own runs in any position. </p> <p>This sound is captured purely from blues-based scales. It is created by combining two patterns of the pentatonic, rather than playing the scale in the traditional two-note-per-string form. </p> <p>The great thing is you can adapt this idea into many different genres. You can give it a different feel or use it with a cleaner sound, etc. It doesn’t have to be played at a million mph to sound great; it can be used in many different ways. This is just an example of how far you can take the idea. </p> <p><strong>I hope you enjoy this Monster Lick Unleashed! Join me on <a href="https://www.youtube.com/user/atomicguitaraudio">YouTube right here!</a> Contact me through <a href="http://www.glennproudfoot.com/">glennproudfoot.com</a> or <a href="https://www.facebook.com/glenn.proudfoot">my Facebook page</a>.</strong></p> <p><em>Australia's Glenn Proudfoot has played and toured with major signed bands and artists in Europe and Australia, including progressive rockers Prazsky Vyber. Glenn released his first instrumental solo album, </em>Lick Em<em>, in 2010. It's available on iTunes and at <a href="http://www.glennproudfoot.com/">glennproudfoot.com</a>. His brand-new instrumental album — </em>Ineffable<em> — is out now and is available through <a href="http://www.glennproudfoot.com/">glennproudfoot.com</a> and <a href="https://itunes.apple.com/au/album/ineffable/id914342943">iTunes</a>.</em></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/JiAgKhw9g74" frameborder="0" allowfullscreen></iframe></p> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View Monster Licks - Unleashed No 4a on Scribd" href="https://www.scribd.com/doc/247980869/Monster-Licks-Unleashed-No-4a" style="text-decoration: underline;" >Monster Licks - Unleashed No 4a</a></p> <p><iframe class="scribd_iframe_embed" src="https://www.scribd.com/embeds/247980869/content?start_page=1&amp;view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_55866" width="100%" height="600" frameborder="0"></iframe></p> http://www.guitarworld.com/monster-licks-unleashed-glenn-proudfoot-blues-scale-chaos-video#comments Glenn Proudfoot Monster Licks Monster Licks Unleashed Videos Blogs News Lessons Sun, 23 Nov 2014 23:13:45 +0000 Glenn Proudfoot http://www.guitarworld.com/article/22944 Guide to The Beatles' White Album: the Recording Equipment, the Songs, the Conflicts http://www.guitarworld.com/guide-beatles-white-album-recording-equipment-songs-conflicts <!--paging_filter--><p>Having opened a Pandora's box with their critically acclaimed and commercially successful album <em>Sgt. Pepper's Lonely Hearts Club Band,</em> the Beatles faced serious competition from a variety of open-minded artists who were expanding rock music's barriers. </p> <p>Newcomers like Jimi Hendrix, Frank Zappa, Pink Floyd and the Doors, and even contemporaries like the Rolling Stones, the Beach Boys and Bob Dylan were challenging the Beatles' role as innovators. But rather than continue to pursue the psychedelic excesses of the previous year, the Beatles went in the opposite direction. </p> <p>The result was a double-album that found the group returning to a more stripped-down rock and roll sound and often eschewing electric guitars for acoustics. Popularly known as the White Album for its stark white sleeve, <em>The Beatles</em> was made during a particularly tumultuous period for the band. </p> <p>In the wake of manager Brian Epstein's death in August 1967, Paul McCartney had begun to assume more of a leadership role, creating an imbalance in the group's seemingly democratic power structure. At the same time, John Lennon, newly in love with Yoko Ono, was beginning to lose interest in the Beatles. </p> <p>George Harrison had grown tired of having his creativity quashed by Lennon and McCartney and began pushing back against their authority. Starr, meanwhile, was becoming fed up with sitting around in the studio and waiting for the others to finish writing their songs. Ironically, the group's disintegration occurred after a fruitful period of togetherness, when the four Beatles traveled to India in spring 1968 to study transcendental meditation with the Maharishi Mahesh Yogi.</p> <p>While in India they wrote more than 30 songs, many of which became the basis for the White Album, including "Dear Prudence," "Julia" and "Mother Nature's Son." Upon returning to England, the group convened at Kinfauns, George Harrison's house in Esher, to record four-track demos for the new album. By some accounts, neither Lennon nor McCartney was willing to sacrifice some of his songs to make room for others, and thus <em>The Beatles</em> became a double album.</p> <p>According to Harrison, "The rot had already set in."</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/c66NZDB_1tc" frameborder="0" allowfullscreen></iframe></p> <p>But it's also true that the Beatles' creative energy could no longer be confined to a single album—nor a single studio. As a result, when it came time to record the album, the Beatles essentially took over Abbey Road, occupying several studios at once while they recorded their new songs, often working on them individually rather than as a group.</p> <p>Anyone who walked down the halls of the facility on a June evening in 1968 probably would have been shocked by the contrast between McCartney recording the wistful "Blackbird" on an acoustic guitar in Studio Two while Lennon was in Studio Three manipulating and mutilating tape loops for "Revolution 9," his and Ono's musique concrete tape experiment.</p> <p>After McCartney's dominant role on <em>Sgt. Pepper's</em>, Lennon was eager to assert more control on the White Album. His song "Revolution 1" was the very first tune the group tackled for the record when the sessions began on May 30. </p> <p>Though Lennon insisted the Beatles release the track as their next single—the first release on their new Apple label—McCartney convinced him that the tempo was too slow and unlikely to make the song a Number One hit. Lennon relented, but on July 10, he led the group through a faster, rocking version of the tune, called simply "Revolution," which was ultimately selected as the flipside for "Hey Jude," the Beatles' debut Apple single. </p> <p>As on <em>Revolver</em> and <em>Sgt. Pepper's</em>, engineer Geoff Emerick was responsible for the song's innovative sound, most notably the heavily fuzzed-out guitar tones. To create them, Emerick plugged Lennon and Harrison's guitars (probably their Epiphone Casino and Gibson SG, respectively) directly into Studio Two's mixing console, overdriving two REDD.4 7 mic preamps to create the warm distorted tones.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/rDCu1UjezDc" frameborder="0" allowfullscreen></iframe></p> <p>"I had an idea that I wanted to try," Emerick recalled of the session in his 2006 memoir, <em>Here, There and Everywhere</em>, "one that I thought might satisfy John, even though it was equipment abuse of the most severe kind. Because no amount of mic preamp overload had been good enough for him, I decided to try to overload two of them patched together, one into the other. As I knelt down beside the console, turning knobs that I was expressly forbidden from touching because they could literally cause the console to overheat and blow up, I couldn't help but think, If I was the studio manager and saw this going on, I'd fire myself."</p> <p>Emerick didn't have to worry about being fired—on July 16, just six days after the "Revolution" session, he quit. The day before, he'd worked on a particularly grueling vocal session for the McCartney track "Ob-La-Di, Ob-La-Da," and the tension had simply become too much for him. "I was on the verge of a breakdown during the making of the White Album," Emerick says. "It was because of the emotional stress for me. I was just not into it." </p> <p>The conflicts only became worse as the work continued through the summer and into autumn. Ringo Starr was next to leave. Feeling unappreciated by his bandmates, he quit the band in the middle of recording "Back in the U.S.S.R." on August 22. In his absence, McCartney (and possibly Lennon and Harrison as well) handled drum duties on the song, as he did when the threesome recorded "Dear Prudence" on August 28. (As these are the first two songs on <em>The Beatles</em>, Starr isn't heard on the album until "Glass Onion.") </p> <p>Starr returned on September 5, but his brief exit demonstrates how strained The Beatles' relations were becoming. Even though the band members spent a considerable amount of time working separately on the album, they recorded most of the backing tracks for its 30 songs live as a group. Typically, the writer of each song would then work on overdubs alone or with another Beatie or two assisting. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/Z6ghgQe2ikA" frameborder="0" allowfullscreen></iframe></p> <p>As several tracks were being worked on at once, George Martin was unable to oversee all of the sessions. In his absence, the individual band members or Martin's assistant Chris Thomas took over. Harrison in particular seemed more empowered than he had been on previous albums. In addition to often working on his own songs in a separate studio, he made decisions without consulting anyone else, such as when he brought in Eric Clapton to play lead guitar on "While My Guitar Gently Weeps."</p> <p>Harrison recalled that Clapton's presence made his bandmates "try a bit harder; they were all on their best behavior." Harrison was also becoming less inclined to defer to Martin's authority. Once while Harrison was working on the mix for his song "Savoy Truffle," Martin said he thought it sounded too shrill and trebly. "I like it like that," Harrison said, turning his back on Martin and continuing his work.</p> <p>But amid the enmity, the Beatles were, as always, breaking new ground in the studio. By 1968, they had recorded in each of Abbey Road's three studios, but for the taping of "Yer Blues" on August 13, they found a spot that they had not used yet—a small utility closet known as the Studio Two "annexe." The tight quarters gave the recording an especially "live" sound, thanks to microphone leakage and sound-wave reflections off the walls.</p> <p>From a technological standpoint, the White Album is significant for marking the Beatles' transition to eight-track recording. In this respect, Ken Scott, who replaced Emerick in the engineer's seat, played an instrumental role. Abbey Road had purchased several 3M eight-track recorders in May 1968, but the machines required numerous modifications before George Martin would approve their use on Beatles sessions. However, during an evening of work on ''While My Guitar Gently Weeps," Scott removed one of the unmodified eight-track machines from storage when he could no longer tolerate being limited to four tracks. </p> <p>Although only 10 of the album's songs were recorded entirely on eight-track machines, by the time the album was finished, the Beatles' four-track era reached its end. Despite having more tracks at their disposal, the Beatles kept the album's music surprisingly straightforward and stripped down. </p> <p>They made up for the recordings' simplicity by offering listeners an impressively eclectic 90-minute musical journey that included acoustic folk, rock and roll, blues, country, acid rock, music-hall schmaltz, avant-garde experimentalism and smartly crafted electric pop rock. Few artists cover as much stylistic ground in their careers—the Beatles pulled off this monumental feat in a mere four and a half months.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/pBJqPxpWD5w" frameborder="0" allowfullscreen></iframe></p> <p>In the end, even the double-album format was not enough to contain all of their creative ambitions, and several of the songs they wrote during this period were put aside for later release. Some, like Harrison's "Not Guilty" and Lennon's "What's the New Mary Jane," were recorded during the White Album sessions but not issued. </p> <p>And while George Martin has always believed that the group should have trimmed the collection down to a single disk, even the most casual Beatles fan would have trouble picking five songs to cut from the White Album, let alone 15.</p> <p><strong>THE BEATLES: EXTRA FACTS</strong></p> <p><strong>Recorded</strong>: May 30 to October 13<br /> <strong>Location:</strong> Abbey Road One, Two and Three; Trident Studios<br /> <strong>Released:</strong> November 2, 1968</p> <p><strong>TRACKLISTING</strong></p> <p>Back In the U.S.S.R<br /> Dear Prudence<br /> Glass Onion<br /> Ob-La-Dt, Ob-La-Da<br /> Wild Honey Pie<br /> The Continuing Story of Bungalow Bill<br /> While My Guitar Gently Weeps<br /> Happiness Is a Warm Gun<br /> Martha My Dear<br /> I'm So Tired<br /> Blackbird<br /> Piggies<br /> Rocky Raccoon<br /> Don't Pass Me By<br /> Why Don't We Do It in the Road?<br /> I Will<br /> Julia<br /> Birthday<br /> Yer Blues<br /> Mother Nature's Son<br /> Everybody's Got Something to Hide Except for Me and My Monkey<br /> Sexy Sadie<br /> Helter Skelter<br /> Long, Long, Long<br /> Revolution 1<br /> Honey Pie<br /> Savoy Truffle<br /> Cry Baby Cry<br /> Revolution 9<br /> Good Night</p> <p><strong>RELATED SINGLES</strong></p> <p>• "Hey Jude" / "Revolution," August 30,1968 (Apple)</p> <p><strong>THE 3M M23</strong></p> <p>Abbey Road's first eight-track, the M23 was rejected by George Martin for various technical issues. The tape deck remained out of use for months while the studio's technicians modified it to his specifications. Fed up with recording on four-track, The Beatles "liberated" the M23 on September 3, 1968, and used it to record 10 tracks on the White Album.</p> <p><em>Photo: The Beatles, 1968—thebeatles.com</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/paul-mccartney">Paul McCartney</a> </div> <div class="field-item odd"> <a href="/john-lennon">John Lennon</a> </div> <div class="field-item even"> <a href="/george-harrison">George Harrison</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guide-beatles-white-album-recording-equipment-songs-conflicts#comments 2011 George Harrison Holiday 2011 John Lennon Paul McCartney Ringo Starr The Beatles Holiday News Features Magazine Sat, 22 Nov 2014 21:14:58 +0000 Chris Gill http://www.guitarworld.com/article/15212