News en John Page Classic Guitars Introduces the Ashburn <!--paging_filter--><p>John Page Classic, a new guitar brand that brings the custom-design genius of John Page, co-founder of the Fender Custom Shop, to the world of production guitars, has announced the Ashburn, its initial production model. </p> <p>The double-cutaway, hard-body Ashburn was designed by Page and produced to his standards in a state-of-the-art workshop in Japan and set up in the U.S. by John Page Classic techs.</p> <p>“The Ashburn has all the design features of my hand-built custom guitars,” Page said. “It’s the culmination of my nearly 40 years building custom guitars. Through John Page Classic, I’m now able to make the Page custom-design experience available to more people.”</p> <p>John Page Classic is a cornerstone brand of <a href="">HRS Unlimited</a>, a new company founded by MI veteran Howard Swimmer to bring forward-thinking business models to MI. </p> <p>“In a market characterized by custom guitars on the one hand and production guitars on the other, the Ashburn is a new alternative—the first ‘custom production’ guitar,” Swimmer said.</p> <p>The Ashburn offers several John Page custom design advantages. Its threaded machine bolt neck assembly provides superior tone transfer and a unique complexity to overtones and harmonics. It is equipped with Bloodline by John Page JP-1 pickups, custom voiced by Page and with the bridge pickup reverse-slanted for greater thickness and girth. The Ashburn’s bass-justified fret dots provide greater visibility. Its staggered Gotoh Vintage Style tuners reduce and, in most cases, eliminate the need for string trees. </p> <p>Page co-founded and led the Fender Custom Shop for its first 12 years and created legendary guitars for artists including Eric Clapton, Pete Townshend, David Gilmour, Elliot Easton and Cesar Rosas. He also designed guitars in conjunction with Harley Davidson, <em>Playboy</em> and Jaguar. Page is prominently featured in <em><a href="">The Dream Factory: Fender Custom Shop</a></em>, by Tom Wheeler (<em>Hal Leonard, 2011</em>).</p> <p><strong>Specs: The Ashburn, from John Page Classic</strong></p> <p>• Body: Alder<br /> • Neck: Maple<br /> • Neck/Body Attachment: Machine screws with Threaded Inserts<br /> • Fingerboard: Maple or Rosewood<br /> • Neck Shape: Medium C<br /> • Scale Length: 25.5"<br /> • Frets: 22 Nickel Silver<br /> • Hardware: Nickel/Chrome<br /> • Tuners: Gotoh Staggered Vintage Style<br /> • Bridge: Gotoh 510 Tremolo<br /> • Pickups: Bloodline by John Page JP1 single coil S-style Pickups (3)<br /> • Controls: Master volume/tone, 5-way pickup selector allowing noise cancelling in positions 2/4<br /> • Colors: Black Metallic, Daphne Blue, Fiesta Red, Inca Silver, Olympic White, Shoreline Gold<br /> <strong>MSRP:</strong> $1,499 <em>Optional hard shell case with John Page Classic logo: $100</em></p> <p><strong>For more information about John Page Classic and the Ashburn, visit <a href=""></a>.</strong></p> John Page John Page Classic Electric Guitars News Gear Tue, 31 Mar 2015 17:03:56 +0000 Guitar World Staff Inventing the Steel: How to Solo Like Angus Young, Jimmy Page and Tony Iommi <!--paging_filter--><p>Regarded by many as the three most vital purveyors of pure hard rock/heavy metal sonic evil, AC/DC’s <strong>Angus Young</strong>, Led Zeppelin’s <strong>Jimmy Page</strong> and Black Sabbath’s <strong>Tony Iommi</strong> have each forged a distinct, instantly recognizable guitar style and sound. </p> <p>After decades of dedicated service, all three players continue to influence countless up-and-coming metalheads the world over, and an in-depth study of each guitarist’s distinct musical personality is mandatory for any aspiring hard rock player.</p> <p>Young, Page and Iommi share a few similarities in their respective crafts. </p> <p>All three have relied on Gibson solidbody/dual-humbucker-style guitars for the majority of their careers, inspiring signature models of their respective axes: Angus Young has favored Gibson SG-type guitars and has his own Gibson signature model; Jimmy Page is most closely associated with the 1959 sunburst Les Paul, replicated in limited quantity by Gibson (with a retail price of more than $20,000); and Tony Iommi’s long association with the ’61 SG led to the creation of the similarly designed Gibson Tony Iommi model (as well as the custom-made SG-type Patrick Eggle and JayDee models that Iommi also uses). When soloing, all three guitarists most often use the bridge pickup. </p> <p>Armed with their respective axes, the three defined the sound of metal in the late Sixties and early Seventies by relying on specific amplification: Jimmy Page favors Marshall SLP-1959 100-watt amps modified with KT-88 tubes, while also employing Voxes, Hiwatts, Fender Super Reverbs and Orange amps. </p> <p>Angus Young has generally used Marshall 100-watt “Plexi” models along with JTM-45 “Plexis.” Iommi is also known for his use of Marshall and Orange gear and has long been a fan of Laney amplification; he even has his own Laney 100-watt signature amplifier.</p> <p>Another commonality among the three guitar gods is their choice of scale for soloing. In the spirit of their American blues guitar heroes, all three rely most heavily on the minor pentatonic scale. <strong>FIGURE 1a</strong> shows the A minor pentatonic scale (A C D E G) played in fifth position; <strong>FIGURE 1b</strong> shows the same scale as played in an extended pattern that traverses the neck from the third fret to the 12th. The root notes are circled in each figure; once you have become familiar with these fingering patterns, be sure to move them to all other keys.</p> <p><img src="/files/imce-images/1_5.png" width="620" height="113" alt="1_5.png" /></p> <p>Let’s now look at these two patterns one octave and 12 frets higher: <strong>FIGURE 2a</strong> depicts A minor pentatonic played in 17th position while <strong>FIGURE 2b</strong> shows an extended pattern that spans the 15th–22nd frets, ending with a whole step bend from D to E. Young, Page and Iommi all cover the highest reaches of the neck in many of their solos, so be sure to practice the minor pentatonic scales in every key and all over the fretboard.</p> <p><img src="/files/imce-images/2_3.png" width="620" height="120" alt="2_3.png" /><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">Angus Young</span></p> <p>With his comedic school-boy outfit and hyperenergetic stage antics, Angus Young has been both celebrated and reviled for his over-the-top persona. But in truth, he is simply one of the greatest rock soloists ever. His intense, exciting playing style is equal parts adrenaline, blues rock fire, and precision, all of it spiked with a crash-and-burn attitude. In other words, it’s hard rock at its absolute best.</p> <p>One of Young’s greatest solos is the one he recorded in the AC/DC classic, “You Shook Me All Night Long” (<em>Back in Black</em>). <strong>FIGURE 3</strong> presents a solo played in this style: it’s played over a repeating I-IV-V-IV chord progression in the key of G—G-C-D-C—and is based primarily on the G minor pentatonic scale (G Bf C D F); bars 1–4 are played in third position, and then the next phrase shifts one octave higher to 15th position in bars 5–8. </p> <p>The figure begins with a whole-step bend from C to D on the G string that is sustained and played with vibrato for three beats. Use your ring finger to fret the note and both your ring and middle fingers to push the string, with the middle finger one fret behind the ring finger. This two-finger bending technique is known as reinforced fingering and is used extensively by Young as well as Page and Iommi. </p> <p>The first note in <strong>FIGURE 3</strong> is a prime example of Young’s signature bend vibrato: upon bending the string with the ring and middle fingers (the index finger may also be used to help push the string for additional strength and support), the bend is then repeatedly released partially—somewhere between a quarter step and a half step—and restored to a whole step (“full”) in quick, even rhythm. </p> <p><img src="/files/imce-images/3_1.png" width="620" height="259" alt="3_1.png" /></p> <p>When executing this type of bend vibrato, you’ll find that it helps to push your fret-hand thumb against the top side of the neck, as this provides leverage for the fingers that are pushing and releasing the string. Young’s vibrato is relatively fast and not very wide and will require practice and keen listening to emulate authentically.</p> <p>The C-to-D bend is followed with an index-finger barre across the top two strings at the third fret, and in bar 2 the pinkie frets F (second string/sixth fret), followed by the same reinforced ring-finger bend and release on C (third string/fifth fret). At the end of bar 2, after fretting the G note, roll the tip of the ring finger from the fourth string over to the fifth string and then back. This “finger roll” may take some practice to get used to, but it’s a very useful technique that is worth learning. </p> <p>What makes a solo like this great is its simplicity and melodic quality. Each idea is balanced against the next in an effortless way, and the overall result is a memorable solo that one could easily sing—an earmark of every great hard rock guitar solo. </p> <p>Beginning in bar 5 of <strong>FIGURE 3</strong>, the second half of the solo relates to the first half in that it also leads off with a sustained bend, this time from a high F, the flatted seventh, to G, the root note, which is played vibrato in a similar manner. When playing minor pentatonic licks like these in high positions, many blues, blues/rock and hard rock players adopt a three-finger approach—index-middle-ring—for the majority of their licks, presumably because of the closeness of the frets. Young, however, chooses to use his pinkie in many of his licks, regardless of his fretboard position. </p> <p>I wrap the solo up in bar 8 by switching to a riff based on G major pentatonic (G A B D E). A staple of blues soloing is to alternate between the “sweet” sound of major pentatonic and the darker sound of minor pentatonic, and Young does just this in many of his solos. </p> <p>Another great example of Young’s masterful soloing can be heard on the title track to <em>Back in Black</em>. <strong>FIGURE 4</strong> shows a solo played in a similar style. This example is played over a simple repeating chord progression in the key of E: E-D-A (I-fVII-IV). The majority of the solo is based on the E minor pentatonic scale (E G A B D), although I begin with a phrase that incorporates notes from the E Dorian mode (E Fs G A B Cs D) by including the sixth, Cs. The placement of this pitch is critical in relation to the accompanying chord progression, as it lands on the A chord, and Cs is the major third of A. </p> <p><img src="/files/imce-images/4.png" width="620" height="366" alt="4.png" /></p> <p>Like <strong>FIGURE 3</strong>, the goal with this example is to illustrate Young’s clear sense of melody and melodic development: <strong>FIGURE 4</strong> begins with a “hooky” phrase that is developed by descending the G string in a similar manner across the first two bars. At bar 3, I jump up to the 12th-position E minor pentatonic “box” pattern, beginning with a high D-to-E bend and vibrato that is sustained through the first two beats of the bar, followed by a fast phrase based on descending 16th-note triplets. </p> <p>The solo then stays rooted in 12th position through the remainder of bar 3, all the way to the end of bar 7. As with the high-position pentatonic licks in the previous example, the majority of these licks may be played comfortably with three fingers. </p> <p>Particularly noteworthy is the classic lightning-fast blues/rock/metal run that spans bar 7 of <strong>FIGURE 4</strong>: based entirely on descending 16th-note triplets, the run begins with a pull-off from a high G (first string/15th fret) to E (12th fret) followed by D (second string/15th fret). The next 16th-note triplet starts one note lower, on E, and is followed by a pull-off from D to B (15th fret to12th fret). The pattern of starting one note lower with each subsequent 16th-note triplet and using pull-offs wherever possible is repeated throughout the run. </p> <p>As the solo develops, analyze each beat and notice how the progression of the lines contributes to the overall phrase. Young is a master of “phrase-ology,” a skill/gift that lends an almost effortless quality to his solos and the feeling of constantly pushing the music forward and telling a story. </p> <hr /> <span style="font-size:18px;font-weight:bold;">JIMMY PAGE</span> <p>Jimmy Page was inspired by many of the same American blues guitar heroes as his British blues/rock contemporaries Eric Clapton, Jeff Beck and Peter Green. These heroes include the three Kings—Albert, B.B. and Freddie—as well as T-Bone Walker, Buddy Guy and Otis Rush. </p> <p>Page was also equally influenced by the fiery intensity of rockabilly guitarists Cliff Gallup (Gene Vincent and the Blue Caps) and Scotty Moore (Elvis Presley), as well as the futuristic daring of Les Paul. A student of many different styles of guitar playing, Page always combines in his solos a well-balanced structure and sense of melodic development with true depth of feeling. His progressive approach to soloing has pushed the nature of blues/rock guitar to previously unimagined territory. </p> <p><strong>FIGURE 5</strong> is an eight-bar solo representative of Page’s improvisation style. It’s played in the key of A minor over a repeating Am-G-F (i-fVII-fVI) chord progression. The majority of the solo is based on A minor pentatonic (A C D E G), beginning in fifth position with a D-to-E bend on the G string. This note is bent and shaken using the same reinforced fingering and thumb leveraging techniques described earlier in reference to <strong>FIGURE 3</strong>.</p> <p><img src="/files/imce-images/5_0.png" width="620" height="351" alt="5_0.png" /></p> <p>This initial bend is followed by a stream of cascading 16th notes played across the next four beats on the top three strings, with notes quickly alternating between either the fifth and seventh frets or the fifth and eighth frets. Through the majority of this solo, a balance of eighth and 16th notes is achieved, giving the solo a forward-leaning quality as each phrase flows seamlessly into the next. </p> <p>Over an F chord in bars 2, 4, 6 and 8, I occasionally incorporate an F note into the A minor pentatonic-derived lines in order to clearly relate the solo line to the backing chord progression; this approach is a Page trademark. Adding this one note also serves to broaden the solo beyond the strict blues territory while also strengthening the melodic quality of the licks. </p> <p>Bar 5 begins with a descending run wherein a stream of 16th notes are phrased in two six-note groups that form an interesting melodic contour. A similar phrasing approach is used in bar 6 with successive four-note descending groups. The solo develops interestingly and builds to a climax in bars 7 and 8 with a repeated melodic “shape” that ascends the A minor pentatonic scale in seven-note phrases, starting from either the root note or the fifth each time. </p> <p>While this may sound overly analyzed, in truth it is the application of these melodic phrasing techniques that gives the solo its clear sense of structure, which is a hallmark of all of Page’s best lead work.</p> <hr /> <span style="font-size:18px;font-weight:bold;">TONY IOMMI</span> <p>As the progenitor of the heaviest of heavy metal, Tony Iommi set high standards for the writing of demonic-sounding riffs while he simultaneously created the template for the heavy metal soloing of future generations.</p> <p>As a teenager, Iommi, a left-handed player, was the victim of an unfortunate accident in which he lost the tips of his right hand’s middle and ring fingers while working in a sheet metal factory. Discouraged but not defeated, the resourceful guitarist devised plastic covers made from bottle caps to wear over those fingertips. </p> <p>In later years, he would wear custom–fitted leather finger protectors. Iommi also switched to using super light-gauge strings: .008, .008, .011, .018w, .024 and .032, which are much easier to fret and bend than a standard set of .009s or 010s. </p> <p>In its earliest days, Black Sabbath tuned to concert pitch, but soon after Iommi began tuning his strings down one half step (low to high: Ef Af Df Gf Bf Ef) and subsequently tuned down even further by one and a half steps (low to high: Cs Fs B E Gs Cs), all the while continuing to use very light strings. </p> <p>A signature element in the characteristically dark vibe of Iommi’s solos is the incorporation of minor modes. In his outro solo for “War Pigs” (<em>Paranoid</em>), Iommi utilizes the E Aeolian mode (E Fs G A B C D) along with E minor pentatonic (E G A B D). <strong>FIGURE 6</strong> illustrates a solo played with a similar approach. </p> <p>Within the key of E minor, the chord progression simply alternates between Em and D, and in his solo, Iommi’s ties his licks squarely to the chord progression with the use of chord tones that relate to each specific chord. Bars 1–4 of <strong>FIGURE 6</strong> demonstrate this approach by favoring the notes E and G, the root note and minor third, respectively, over Em, and the notes D and Fs, the root and major third, respectively, over D. The additional notes and overall phrasing serve to fill in the space and effectively set up the incorporation of these shifting chord tones (also known as guide tones). </p> <p><img src="/files/imce-images/6_0.png" width="620" height="339" alt="6_0.png" /></p> <p>Another key aspect of Iommi’s soloing style that <strong>FIGURE 6</strong> demonstrates is the intensity of both the pick attack and vibrato. Iommi’s playing is well-loved for its aggressive power, so lean into the lines with both hands, and listen closely to his recorded works to get a clear picture of and feel for his playing style. </p> <p>Beginning on beat two of bar 5, I repeatedly bend E, third string/ninth fret, up one and one half steps (the equivalent of three frets) to G. When performing “overbends” like this, it’s even more important to harness the strength of at least two fingers, the ring and middle, if not three (the ring, middle and index). This is followed in bar 6 by fast whole-step bends that alternate with hammer-on/pull-of combinations between the seventh and ninth frets on the G string. This is a challenging lick that will take a bit of slow practice to master.</p> <p>In the second half of bar 7, I borrow a signature phrasing technique of Iommi’s, with a 16th-note run that descends the E Aeolian mode in three-note groups on a single string, using pull-offs and finger slides. This type of line serves to add both rhythmic and melodic interest to a pentatonic- or mode-based solo.</p> <p><strong>FIGURE 7</strong> offers another example of soloing in Iommi’s style, this time incorporating the detuning of one and one half steps. (All notes and chords sound in the key of C# minor, one and one half steps lower than written.) This example demonstrates Iommi’s penchant for using fast hammer-ons and pull-offs within repeated short phrases, as he does on his solo in “Supernaut” (Vol. 4).</p> <p><img src="/files/imce-images/7_0.png" width="620" height="365" alt="7_0.png" /></p> <p>The solo is based entirely on the E minor pentatonic scale, played in 12th position, and begins with a repeated phrase that starts with a quick hammer/pull on the first string from the 12th fret to the 15th, followed by D, second string/15th fret. This sequence is played four times through bar 1, and bar 2 consists entirely of trills in 12th position. (A trill is executed by quickly alternating between two notes, usually using hammer-ons and pull-offs in combination.) </p> <p>Bars 3 and 4 are similar in that both feature fast phrases based on 16th-note triplets; in bar 3, note bursts are performed with hammer/pulls on the D string, and in bar 4 the hammers occur on the G string. Bars 5 and 6 offer an example of the “threes on fours” concept—16th notes phrased in groups of three—and bars 7 and 8 wrap up the solo with fast hammer/pulls, played in 16th-nopte triplets, that traverse the strings, moving from high to low. </p> <p>In all of their solos, Young, Page and Iommi combine well-structured melodic ideas, solid execution and spirited performance—essential factors in any great, memorable guitar solo that you should strive to achieve in your own solos.</p> <p><em>Painting: Tim O'Brien</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="/tony-iommi">Tony Iommi</a> </div> <div class="field-item even"> <a href="/jimmy-page">Jimmy Page</a> </div> <div class="field-item odd"> <a href="/andy-aledort">Andy Aledort</a> </div> <div class="field-item even"> <a href="/acdc">AC/DC</a> </div> <div class="field-item odd"> <a href="/led-zeppelin">Led Zeppelin</a> </div> </div> </div> </fieldset> Angus Young Articles GW Archive JamPlay Jimmy Page May 2007 Tim O'Brien Tony Iommi In Deep with Andy Aledort News Features Lessons Magazine Tue, 31 Mar 2015 14:23:56 +0000 Andy Aledort Let There Be Rock: AC/DC Lead Guitarist Angus Young on Picking Hard <!--paging_filter--><p><em>The following is from Angus Young's classic </em>Guitar World<em> column, "Let There Be Rock." Interview by Nick Bowcott.</em></p> <p>AC/DC are more than just a great rock band, they're an institution. </p> <p>Trends may come and go, but their unique brand of rhythm 'n bruise has proven to be timeless. Angus Young, the band's lead-playing livewire, has also deservedly attained a legendary standing in the business. In fact, one of modern rock's leading lights, Jerry Cantrell of Alice in Chains recently referred to him as "the absolute god of blues-rock guitar."</p> <p>In the first of a series of exclusive lessons with <em>Guitar World</em>, Angus talks about his unique playing style ... </p> <p>"Style? I didn't think I had any!" laughs Angus. "I just plug in and hit the thing really hard. That's my style ... or lack of one! That's why I use extra-heavy Fender picks-there's a lot of plastic in 'em so it takes longer to wear 'em out! Actually, because I'm so small, when I strike an open A chord I get physically thrown to the left and when I play an open G chord I go right. That's how hard I play, and that's how a lot of my stage act has come about. I just go where the guitar takes me."</p> <p><strong>GUITAR WORLD: Did you play that hard from the moment you started or is it something that evolved?</strong></p> <p>I've always liked to really hit the strings. I grew up with Mal [Mal is Angus' nickname for his brother Malcolm], who, besides having a great right [picking] hand, really understands how to get the most out of a guitar. He would always tell me, "don't tickle it, hit the bugger!" </p> <p>The funny thing is, when you learn to play really hard you also learn the instrument's limitations. I honestly believe that you have to be able to play the guitar hard if you want to be able to get the whole spectrum of tones out of it. Since I normally play so hard, when I start picking a bit softer my tone changes completely, and t hat's really useful sometimes for creating a more laid-back feel.</p> <p><strong>The verse of "Sin City" [<em>Powerage</em>] is a good example of this being put into action.</strong></p> <p>Yeah, we belt out the main riff pretty hard during the intro and the chorus, but when the vocal comes in we ease back on it a bit. Doing that adds a bit of color and dynamics to the song. You can't always be going for the throat, mate! You need some relief from time to time.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>Do you ever reach for your guitar's volume pot and turn it down a tad when you're easing back on the intensity?</strong></p> <p>Yeah, I'll roll it back just a hair for that kinda part sometimes. It depends if I think I'm being cool-which is pretty friggin ' rare, actually! [laughs] Normally, I'm too lazy to do that, so I just pick a little lighter instead. Or, sometimes I might even sit out for a while, like I do at the start of "Livewire" [<em>High Voltage</em>]. Mal starts the thing off with the chords and then I just jump in when the rest of the band comes in. That's the beauty of having another guitarist there, I can nip off for a quick smoke and leave Mal to it! [laughs)</p> <p><strong>Do you ever switch to your neck pickup to create a different tonal vibe?</strong></p> <p>I used to do that a lot; I'd be fiddling about with the [pickup selector] switch all the time. I still hunt back and forth sometimes now, but only if I'm in a diddly mood. </p> <p>On stage though, I rarely do it. Hell, you can do a lot to alter your tone just by changing where you pick the strings—you don't even have to flick that switch! If you pick near the bridge you get more top and as you move further away from it your sound gets more bassy.</p> <p>Another thing I' ll do to add a bit of color to a part is pick it with my fingers. I do that quite a bit, and so does Mal.</p> <p><strong>Like at the start of "Rock and Roll Ain't Noise Pollution" [<em>Back in Black</em>] for example...</strong></p> <p>Exactly. I kick the thing off by picking out the riff using my pick and my fingers together [a technique known as hybrid picking]. Then, when the band comes in, I just hammer it out to get a more dynamic thing happening.</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="/acdc">AC/DC</a> </div> </div> </div> </fieldset> AC/DC ACDC Angus Young Let There Be Rock Blogs Interviews News Tue, 31 Mar 2015 14:23:20 +0000 Nick Bowcott AC/DC Perform "Fling Thing" and "Rocker" in 1978 — Video <!--paging_filter--><p>Today, our vintage video camera drops in on the Bon Scott-fronted AC/DC in the midst of a high-spirited performance of "Fling Thing" (aka "Bonny") and "Rocker," one of many rowdy <em>T.N.T.</em> tracks.</p> <p>If nothing else, the video answers the "Boxers or briefs?" question and proves that AC/DC are one hell of a live band. </p> <p>"We try to do everything with a fresh approach," Angus Young told <em>Guitar World</em> in 1984. "We don't like to leave people dry or have them say, 'These guys have left us and gone off to something else.' That self-indulgent thing. So we try and keep it basic. A lot of people say we work a formula, but we don't. We try a fresh approach all the time.</p> <p>"I saw Deep Purple live once and I paid money for it and I thought, 'Geez, this is ridiculous.' You just see through all that sort of stuff. I never liked those Deep Purples or those sort of things. I always hated it. I always thought it was a poor man's Led Zeppelin."</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="/acdc">AC/DC</a> </div> </div> </div> </fieldset> AC/DC Angus Young Malcom Young Videos News Tue, 31 Mar 2015 14:19:32 +0000 Damian Fanelli May 2015 Guitar World: Joan Jett, Judas Priest, How to Play Rock and Roll Guitar, Ian Anderson and More <!--paging_filter--><p><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWMAY15">The all-new May 2015 issue of Guitar World is available now!</a></p> <p><em>Guitar World</em>’s May 2015 issue features the queen of noise, <strong>Joan Jett!</strong> She's been banging out some of rock's greatest power chords since age 15. With her induction into the Rock and Roll Hall of Fame, there's only one thing you need to know: she still loves rock and roll. </p> <p><strong>Special Rock Riffs Lesson: Andy Aledort</strong> examines the essential riffs and licks that define true rock and roll guitar, from <strong>Chuck Berry</strong> to <strong>Joan Jett. </strong></p> <p>Then, just over 30 years ago, <strong>Judas Priest</strong> recorded the heavy metal call to arms, <em>Defenders of the Faith</em>. Here, Priest guitarist <strong>Glenn Tipton</strong> and singer <strong>Rob Halford</strong> recall the making of their masterwork.</p> <p>Later, remix magician <strong>Steven Wilson</strong> and <strong>Jethro Tull</strong> frontman <strong>Ian Anderson</strong> detail the finer points of breathing new life into classic Tull albums like the newly reissued <em>Minstrel in the Gallery.</em> Also, Anderson readies a new rock opera about Jethro Tull's namesake, while Wilson tackles his toughest subject matter yet on latest solo disc, <em>Hand. Cannot. Erase.</em></p> <p>Finally, from his home in Gothenburg, Sweden, acoustic singer-songwriter <strong>José González</strong> opens up about <em>Vestiges &amp; Claws,</em> his first solo album in seven years. </p> <p>PLUS: Tune-ups on <strong>Fear Factory, Gang of Four, Venom</strong> and <strong>We are Harlot</strong>.</p> <p>Soundcheck reviews of Supro 1624T Dual Tone, S6420 Thunderbolt and 1690T Coronado combos, Epiphone Gary Clark Jr. Casino guitar, Decibel Eleven Dirt Clod pedal, Toneville Broadway amp and much more!</p> <p><strong>Five Songs with Tabs for Guitar and Bass:</strong></p> <p> • Joan Jett &amp; The Blackhearts, "I Love Rock 'N' Roll"<br /> • Judas Priest, "Freewheel Burning"<br /> • Hozier, "Take Me to Church"<br /> • Emerson, Lake &amp; Palmer, "From the Beginning"<br /> • Periphery, "Alpha"</p> <p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWMAY15">The all-new May 2015 issue of Guitar World is available now at the Guitar World Online Store!</a></strong></p> <p><img src="/files/imce-images/Screen%20Shot%202015-03-25%20at%2012.23.16%20PM.png" width="620" height="805" alt="Screen Shot 2015-03-25 at 12.23.16 PM.png" /></p> May 2015 News Features Tue, 31 Mar 2015 12:01:52 +0000 Guitar World Staff Van Halen Perform "Panama" and "Runnin' with the Devil" on 'Jimmy Kimmel Live' — Video <!--paging_filter--><p>It took a few decades, but Van Halen finally performed on live TV in the U.S. with David Lee Roth.</p> <p>Last night, a portion of Hollywood Boulevard was shut down so the band could perform before a crowd of about 6,000 die-hard fans (and a few last-minute stragglers) for ABC's <em>Jimmy Kimmel Live.</em></p> <p>It was the band's first U.S. TV appearance with its original lead singer.</p> <p>Below, you can watch three official clips from the event, including the band's performances of "Panama" (top video) and "Runnin' with the Devil." We've also thrown in a fan-shot clip of "Hot for Teacher" and "Eruption." (The sound quality is weak, but we like Eddie's "Eruption" solo; go directly to the 5:03 mark.)</p> <p>"They opened with 'Panama,' but during Dave's microphone-stand ninja moves, he cut his nose," says Andy Alt of Los Angeles, who was at the show. "You can see he's dealing with it in some of the fan-shot videos—until he realizes they needed a bandage to stop the bleeding."</p> <p>It was a live taping, so Roth announced they needed to start over. However, it appears Roth didn't tell Eddie he was stepping off stage, so Eddie performed an impromptu guitar solo, which was cool and unexpected. </p> <p>Part of Van Halen's performance was broadcast on <em>Kimmel</em> last night. The rest will be broadcast tonight, March 31. Hollywood Boulevard was finally opened around 6 a.m. PST today, by the way. </p> <p>The <em>Kimmel</em> performance is an extended part of Van Halen's 2015 North American summer and fall tour, which kicks off in earnest July 5 in Seattle. Tickets go on sale April 4. </p> <p>Van Halen's new live album, <em>Tokyo Dome Live in Concert</em>, also featuring Roth (not to mention Eddie, Wolfgang and Alex Van Halen), was released today. The album, which was recorded June 21, 2013, at the Tokyo Dome in Japan, includes 23 songs that span all seven of the band’s albums with Roth. It's available as a double CD, digitally and as a four-LP set on 180-gram vinyl. </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/van-halen">Van Halen</a> </div> </div> </div> </fieldset> Van Halen Videos News Tue, 31 Mar 2015 10:44:38 +0000 Damian Fanelli Valkyrie Premiere New Song, "Mountain Stomp" — Exclusive <!--paging_filter--><p>Today, presents the exclusive premiere of "Mountain Stomp," a new song by Virginia rockers Valkyrie.</p> <p>The song is from the band's new album, <em>Shadows,</em> which will be released May 19 via Relapse Records.</p> <p>Propelled by the guitar heroics of brothers Pete and Jake Adams, Valkyrie sound like a blend of American-style doom rockers like Pentagram or Spirit Caravan and classic hard rock like Thin Lizzy, Wishbone Ash and Deep Purple. </p> <p>Where Pete Adams' other band, Baroness, focuses more on the modern proggy and poppy side of metal, Valkyrie look to proto metal trailblazers for influence while injecting plenty of current inspiration. The album was produced by Sanford Parker (Pelican, Leviathan, YOB).</p> <p><strong>For more about Valkyrie, visit <a href=""></a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Valkyrie News Tue, 31 Mar 2015 10:20:05 +0000 Damian Fanelli Review: Ibanez Tube Screamer Mini Pedal — Video <!--paging_filter--><p><em>These videos and audio files are bonus content related to the May 2015 issue of </em>Guitar World<em>. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the <a href=";utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=May2015VideosPage">Guitar World Online Store</a>.</em></p> <p><strong><em>PLATINUM AWARD WINNER</em></strong></p> <p>Since Ibanez first introduced the Tube Screamer in 1979, it has been one of the most recognizable, respected and employed overdrive pedals on the market. </p> <p>Anyone who has ever wanted creamy overdrive and added signal boost has definitely tried, and probably owns, one of Ibanez’s many iterations of its green machine. </p> <p>For all its intended purpose, the Tube Screamer never needed a facelift. But as guitarists continue to jam-pack or streamline their pedal boards, it makes perfect sense that Ibanez now offers its most celebrated flagship pedal in a smaller footprint with the Tube Screamer Mini.</p> <p><strong>FEATURES</strong> The TS Mini measures 1 1/2–inches wide and 3 7/8–inches long, and like the rest of the Tube Screamer series, it’s made in Japan. Ibanez pulled out all the stops to create this solidly built, all-analog stompbox in a compact design, while retaining the sonic integrity of their acclaimed TS808 Reissue. </p> <p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=May2015VideosPage">For the rest of this review, including FEATURES, PERFORMANCE, the BOTTOM LINE and more, check out the May 2015 issue of Guitar World.</a></strong></p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at --><script language="JavaScript" type="text/javascript" src=""></script><object id="myExperience4142756829001" 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="4142756829001" /> </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 --> Ibanez May 2015 Videos Effects News Gear Magazine Mon, 30 Mar 2015 21:09:39 +0000 Paul Riario Monster Licks Unleashed: Glenn Proudfoot's Tap Fest — Video <!--paging_filter--><p>I'm using the diminished 7th scale (arpeggio) for this lick. The notes in this arpeggio are E, G, Bb and C#. </p> <p>This lick is very challenging—not for its speed, but for the techniques used. </p> <p>There are no picked notes in this lick; it's all legato and tapping. The big challenge comes with the hammered notes the right-hand index finger hits. While in theory this sounds easy, it's something we generally don't do on the guitar, so it proves quite difficult. </p> <p>Normally we hammer with our second, third or fourth fingers while using our index finger as the pivot point to enable the strength for the hammer. This technique relies on your using your thumb as the sole grip point to create the strength. </p> <p>This is not one of those things that takes months of practice; it will take about an hour or so to really get it happening. The index finger is incredibly strong, so it's just a matter of getting your head around the idea. The key is to practice these hammer-ons and make sure you're sounding all the notes correctly. If not, the lick will lose its appeal. </p> <p>You will notice in the slow demonstration of the lick how hard I'm hitting the notes with my index finger. It's essential to really smack your finger on the note!</p> <p>The possibilities with this technique are endless. It's such a great way to get around the guitar, and it has a very unique sound. You'll also notice in the video that I have a string mute running over the strings. This is just to keep the string noise down. Because I'm not picking any notes the right hand, it's constantly on the move and it makes it harder to mute the strings. You can use anything as a string mute—just wrap some material around the neck of your guitar, and that'll work fine. </p> <p>Don't let any of the above commentary keep you from attempting this lick. These techniques are incredibly fun to play and add to your solos. Just focus on the end result!</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202015-03-30%20at%202.57.06%20PM.png" width="620" height="385" alt="Screen Shot 2015-03-30 at 2.57.06 PM.png" /></p> <p><strong>I hope you enjoy this Monster Lick Unleashed! Join me on <a href="">YouTube right here!</a> Contact me through <a href=""></a> or <a href="">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=""></a>. His brand-new instrumental album — </em>Ineffable<em> — is out now and is available through <a href=""></a> and <a href="">iTunes</a>.</em></p> Glenn Proudfoot Monster Licks Monster Licks Unleashed Videos News Lessons Mon, 30 Mar 2015 18:59:59 +0000 Glenn Proudfoot Betcha Can't Play This: Mike Groisman's Monster Multi-Finger Tapping Lick — Video <!--paging_filter--><p>In <em>Guitar World's</em> latest edition of Betcha Can't Play This, New York City-based "subway shredder" Mike Groisman returns with what we're calling a "Monster Multi-Finger Tapping Lick."</p> <p>First he plays it fast, then slow. Then he explains the lick.</p> <p>We shared Groisman's first three Betcha Can't Play This videos earlier this month. Feel free to check out <a href="">"Subway Shredder Mike Groisman's Sweep Arpeggios,"</a> <a href="">"Mike Groisman's Insane A Minor Tapping Lick" and <a href="">Mike Groisman's Crazy-Fast Alternate-Picking Run.</a></a></p> <p>If Groisman looks familiar, maybe it's because he often can be found playing "Crazy Train," "Stairway to Heaven" (the metal version, of course) or Europe's "The Final Countdown" at various stops along the New York City subway system.</p> <p><strong>Visit Groisman on YouTube <a href="">right here.</a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Betcha Can't Play This Mike Groisman Videos News Lessons Mon, 30 Mar 2015 17:43:29 +0000 Guitar World Staff Raising the Barre: Classical Barring Tips from Guitar Salon International <!--paging_filter--><p>This video, presented by Guitar Salon, boasts not only some beautiful classical guitar playing, it’s also a lesson on using partial barres in your left hand fingering technique.</p> <p>Here Scott Morris runs down some tips for strategic use of partial and full barring. Plus some barring technique tips that’ll tune up your barres.</p> <p>Morris wrote the book on classic guitar with his <em><a href=";sortby=-3&amp;status=0&amp;field_18=&amp;field_21=&amp;keywords=morris&amp;categoryid=9">Classical Guitar Complete</a></em> method. </p> <p>This lesson is merely a taste of his genius.</p> <p>Check it out:</p> <p><iframe width="620" height="349" src="" frameborder="0" allowfullscreen></iframe></p> <p>Guitar Salon International is the world’s largest dealer of fine classical and flamenco guitars since 1983, and the premier online community and resource for guitar related discussion, entertainment and education. </p> <p>The GSI website offers hundreds of performance videos, thousands of guitar listings in both an active webstore and our museum archive, a news blog and countless reference resources. </p> <p>Find out more at <a href=""></a></p> Acoustic Nation Guitar Salon International Lessons Videos Blogs Videos News Lessons Mon, 30 Mar 2015 16:14:01 +0000 Acoustic Nation Orianthi and Richie Sambora Visit Norman's Rare Guitars — Video <!--paging_filter--><p>Orianthi and former Bon Jovi guitarist Richie Sambora recently visited <a href="">Norman's Rare Guitars on Ventura Boulevard in Tarzana, California.</a></p> <p>The pair—or shall we say couple—tried out a ton of prime guitars, including Fender Strats, Esquires and Custom Shop Teles. They also traded off on a Gibson Les Paul Jr. and a few vintage acoustics.</p> <p>In the end, Orianthi returned to the 1971 Strat that caught her eye early on. Or maybe that's just how the video was edited!</p> <p>If nothing else, this candid video answers the question, "What riffs does Orianthi play when she picks up a guitar in a guitar shop?" </p> <p>Enjoy!</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="/orianthi">Orianthi</a> </div> </div> </div> </fieldset> Orianthi Richie Sambora Videos News Mon, 30 Mar 2015 15:42:09 +0000 Guitar World Staff Whitesnake Premiere New Cover of Deep Purple's "Burn" <!--paging_filter--><p>Let's call it a "Cover-Dale."</p> <p>Whitesnake are streaming their new version of “Burn,” which started its life as the title track for a 1974 Deep Purple album featuring Whitesnake's David Coverdale on vocals.</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>Coverdale is revisiting his Deep Purple years on Whitesnake's new album, <em>The Purple Album</em>, which will be released May 19. </p> <p>The project 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> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/deep-purple">Deep Purple</a> </div> </div> </div> </fieldset> David Coverdale Deep Purple Whitesnake News Mon, 30 Mar 2015 15:18:19 +0000 Damian Fanelli Hand Chord Presents an Alternative to Learning Barre Chords — Video <!--paging_filter--><p>We know you guys (and gals) enjoy hearing about new pieces of gear—including gear-related oddities that appear on Kickstarter from time to time.</p> <p>Ergo, we present the Hand Chord, a new product that's the subject of a new Kickstarter campaign.</p> <p>According to Hand Chord's creators:</p> <p>"The number one reason people give up playing guitar is because of finger pain. Hand Chord takes away the pain and frustration; no more hurting fingers, just a soft cushy rubber feel.</p> <p>"It's also a shortcut for people who don't have the time to learn guitar and can also be a gateway for people learning guitar to help them concentrate on strumming and getting a feel for playing guitar without months of practice."</p> <p>In other words, Hand Chord—which looks a bit like brass knuckles (albeit plastic)—presents itself as an alternative to learning how to play barre chords (What are your thoughts on that?). Hand Chord, which can be set up to "finger" several different chords, lets you just line up the Hand Chord (we don't know what else to call it) on your strings, squeeze it on the neck and strum. </p> <p>There's also an attachment that is said to be suitable for playing slide guitar.</p> <p><strong>You can find out more on the <a href="">Hand Chord Kickstarter page right here.</a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" scrolling="no"> </iframe></p> Acoustic Nation Hand Chord Accessories Gear Videos Blogs Videos News Gear Mon, 30 Mar 2015 14:44:27 +0000 Damian Fanelli Smashing Pumpkins Premiere "Drum + Fife" Music Video <!--paging_filter--><p>Smashing Pumpkins (also known as Billy Corgan) have premiered the music video for their new single, "Drum + Fife." </p> <p>You can check it out below.</p> <p>"Drum + Fife" is from <em>Monuments to An Elegy</em>, which was released December 9 via Martha's Music/BMG as part of Smashing Pumpkins' ongoing work-in-progress, <em>Teargarden By Kaleidyscope.</em> </p> <p>"Our aim was to create a film that was poetic and yet made a very direct statement about war, conflict and how we acclimatize ourselves from an early age to this course of action," said the clip's directors, Ahlander/Antiga.</p> <p>"I asked, albeit in an allegorical way, for the video to represent what our returning soldiers are going through with PTSD, and I feel that the directors captured that with poignancy," added Corgan, Smashing Pumpkins' frontman. "I couldn't be more proud of the message we're sending that we care what happens to those that are out there hurting."</p> <p><iframe width="620" height="365" src=";autoplay=0" 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="/billy-corgan">Billy Corgan</a> </div> </div> </div> </fieldset> Smashing Pumpkins Videos News Mon, 30 Mar 2015 14:26:39 +0000 Guitar World Staff