Features http://www.guitarworld.com/taxonomy/term/5/SmootFamilyFund/%3Ehttp%3A/%3Ehttp%3A/Smoot%20Family%20Fund en Five Headphone Songs Guaranteed to Blow Your Mind http://www.guitarworld.com/five-songs-made-better-through-advancements-headphones <!--paging_filter--><p>Headphone technology seems to be getting better every day. </p> <p>Recently, Ceekars <a href="http://ceek.com/ceekars">(pronounced “seekers”)</a> developed what it's calling the world’s first 4D headphones, and the aural experience is <a href="https://www.youtube.com/watch?v=8PZdxCGorls">trippy, to say the least.</a> </p> <p>The company recently reached out to <em>Guitar World</em> and asked us to suggest some music that would put their radically new concept to the test. We responded with the following five tracks. </p> <p>While these sound amazing using <a href="http://ceek.com/ceekars">Ceekars</a> 4D technology, they also sound great even using the most modest ear buds. Enjoy!<br /> <br /><br /> <strong>Grateful Dead, “Unbroken Chain”</strong></p> <p>This epic tune on the Dead’s <em>From The Mars Hotel</em> was so difficult for the band to play that it had to be recorded in carefully orchestrated sections. </p> <p>Filled with cascading piano licks, jazzy guitar runs that dance in both sides of the stereo spectrum and weird synth burbles that tease the top of the brain, it’s the perfect headphone experience—especially when you’re “Truckin’” where it’s legal. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/6WycvYhKW08" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Mastodon, “The Czar”</strong></p> <p>This is one case where a song not only sounds great under headphones, but the sprawling arrangement almost makes more sense. In fact, that description applies to almost every track on Mastodon’s underrated 2009 progressive metal masterpiece, <em>Crack the Skye.</em> </p> <p>Richly detailed, “The Czar” is virtual feast of brilliantly layered guitar tones that demands the deep dive you can only get through some fab ‘phones.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Jx2fp-kKOIw" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Muddy Waters, “Feel Like Going Home”</strong></p> <p>If you’ve ever wanted to know what it would be like to stand in the same room with Muddy Waters while he played the greatest blues the world has ever heard, just get a copy of the <em>Folk Singer</em> album recorded in 1964 and listen to this haunting studio performance. You will feel the very earth shake underneath your shoes. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/3sjzp6nGw-w" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Queen, “Killer Queen”</strong></p> <p>Everybody knows Queen are the masters of layering and overdubbing, but how do you get all those sounds to speak properly in the mix? </p> <p>“Killer Queen” from the 1974 album <em>Sheer Heat Attack</em> is a great mini-lesson in how to place all those elements in an entertaining stereo field, and it can only be appreciated with a great set of earphones. Guaranteed to blow your mind. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/BAf2S6ij2gk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Pantera, “5 Minutes Alone”</strong></p> <p>When most people think of headphone jams, they usually flash on something ethereal like Pink Floyd or Jimi Hendrix. But sometimes it’s great to just get a swift kick in the head, especially when you’re hitting the gym or getting psyched up for great night out. </p> <p>Almost anything off Pantera’s <em>Far Beyond Driven</em> does the trick, but “5 Minutes Alone” always works for me.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/7m7njvwB-Ks" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/8PZdxCGorls" frameborder="0" allowfullscreen></iframe></p> <p><em>Brad Tolinski is the editor-in-chief at </em>Guitar World.</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/grateful-dead">Grateful Dead</a> </div> <div class="field-item even"> <a href="/queen">Queen</a> </div> <div class="field-item odd"> <a href="/mastodon">Mastodon</a> </div> <div class="field-item even"> <a href="/pantera">Pantera</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/five-songs-made-better-through-advancements-headphones#comments Brad Tolinski Ceek Ceekars Grateful Dead Mastodon Muddy Waters Pantera News Features Thu, 26 Mar 2015 19:22:49 +0000 Brad Tolinski http://www.guitarworld.com/article/23774 Fingerpicking Beatles: Learn Solo Guitar Arrangements for 30 Beatles Songs http://www.guitarworld.com/fingerpicking-beatles-learn-solo-guitar-arrangements-30-beatles-songs <!--paging_filter--><p><em><a href="http://guitarworld.myshopify.com/products/fingerpicking-beatles-revised-expanded-edition/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=FingerpickingBeatles">Fingerpicking Beatles: Revised &amp; Expanded Edition</a></em> features 30 Beatles songs arranged for solo guitar in standard notation and tab. </p> <p>The arrangements in this book are carefully written for intermediate-level guitarists. Each solo combines melody and harmony in one superb fingerpicking arrangement. The book also includes an easy introduction to basic fingerstyle guitar. </p> <p>The 30 songs include "Across the Universe," "All You Need Is Love," "Can't Buy Me Love," "Hey Jude," "In My Life," "Let It Be," "Michelle," "The Long and Winding Road," "Something," "Yellow Submarine," "Yesterday" and more.</p> <p><a href="http://guitarworld.myshopify.com/products/fingerpicking-beatles-revised-expanded-edition/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=FingerpickingBeatles">The book is available now for $19.99 at the Guitar World Online Store.</a></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/Ms65JQTBCcQ" 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="/beatles">The Beatles</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/fingerpicking-beatles-learn-solo-guitar-arrangements-30-beatles-songs#comments The Beatles News Features Thu, 26 Mar 2015 15:42:10 +0000 Guitar World Staff http://www.guitarworld.com/article/17202 The Top 10 Biggest Hair Bands ... Literally http://www.guitarworld.com/top-10-biggest-hair-bands-literally <!--paging_filter--><p>Face it: They weren’t called “hair” bands for nothin’. In fact, the copious coifs of the artists on this list were so high, the FAA had to adjust flight patterns whenever these bands hit town.</p> <p>And don't just take our word for it. Check out the photo gallery after the list!</p> <p><strong>10. Whitesnake</strong> Most people think that Tawny Kitaen married Whitesnake singer David Coverdale for his big, um, white snake. Truth is she fell for his massive head ... of hair.</p> <p><strong>09. Cinderella</strong> The cover of their debut, <em>Night Songs</em>, depicts the four members of Cinderella standing in a dark alley. Insider secret: It wasn’t really dark — their hair was just blocking the sun.</p> <p><strong>08. Britny Fox</strong> The duties of a guitar tech are many and various, and this was particularly true for guitarist Michael Kelly Smith’s tech. Let’s see — cleaning, polishing, maintenance. Oh, and when he was done with Smith’s hair, he’d work on his guitars, too.</p> <p><strong>07. Firehouse</strong> These guys finally found the love of a lifetime, and her name was Aqua Net. Unfortunately for Firehouse, their debut record came out the same year as Nirvana’s <em>Nevermind</em> — and for hair metal, that was all she wrote.</p> <p><strong>06. Mötley Crüe</strong> If you had the vinyl version of <em>Shout at the Devil</em>, you’ll recall it was a fold-out cover featuring Vince, Nikki, Mick and Tommy in living color, with four of the biggest heavy metal hairdos of all time. Makes you wonder if the band was standing in a pool of water when they came in contact with a “live wire.”</p> <p><strong>05. Winger</strong> When your name is Kip Winger, you’re pretty much doomed to a life of ridicule, so big hair can only help. But when a respected stick man like Rod Morgenstein, formerly of the Dixie Dregs, buys into the bigger-is-better philosophy of money-making hair, something’s terribly wrong.</p> <p><strong>04. Twisted Sister</strong> It’s rather appropriate that the <em>now</em> ponytailed <a href="http://www.guitarworld.com/dee-throned-rockers-comedians-lay-dee-snider-revolverguitar-world-rock-roll-roast">Dee Snider</a> hosts the weekly <em>House of Hair</em> radio gig. In 2001, his famous curls made a comeback when he performed “Lady Marmalade” with Lil’ Kim, Mya and Pink. Oh wait, that was Christina Aguilera.</p> <p><strong>03. Stryper</strong> Michael and Robert Sweet possessed feathered ’dos that even a peacock would envy, but guitarist Oz Fox takes top prize for monumental moptop. What would Jesus say?</p> <p><strong>02. Vixen</strong> Soft rocker (and big-hair farmer) Richard Marx helped kickstart this all-female band by co-writing their signature hit, "Edge of a Broken Heart." We can't confirm whether or not he also co-styled their bountiful hair for that song's music video.</p> <p><strong>01. Poison</strong> Only Vixen could hang with Poison in the Aqua Net marathon, except they weren’t nearly as pretty as Bret, C.C., Bobby and Rikki.</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="/twisted-sister">Twisted Sister</a> </div> <div class="field-item even"> <a href="/motley-crue">Motley Crue</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/top-10-biggest-hair-bands-literally#comments Dee Snider Motley Crue Twisted Sister Guitar World Lists News Features Wed, 25 Mar 2015 15:42:23 +0000 Guitar World Staff http://www.guitarworld.com/article/1994 Guitar World's New 'Talkin' Blues Part 3' DVD Features Seven New In-Depth Video Lessons http://www.guitarworld.com/guitar-worlds-new-talkin-blues-part-3-dvd-features-seven-new-depth-video-lessons <!--paging_filter--><p>A new DVD, <em><a href="http://guitarworld.myshopify.com/products/talkin-blues-dvd-part-3/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=TalkinBluesDVDpart3">Talkin' Blues Part 3</a></em>, is available now at the Guitar World Online Store.</p> <p>With more than two hours of instruction, <em>Talkin' Blues Part 3</em> provides you with seven NEW in-depth video lessons to build your blues chops. Lessons include: </p> <p> • New Orleans-style rhythms and grooves<br /> • Pops Staples-style gospel riffs<br /> • Jimi Hendrix's R&amp;B-influenced rhythm guitar style<br /> • Organ-style pedal-point licks<br /> • The classic Stevie Ray Vaughan shuffle<br /> • Chromatic phrasing<br /> • How to create eerie musical tension</p> <p>...and much, much more! Get this deepest dive into the blues today!</p> <p><strong>Your instructor:</strong> For more than 35 years, Keith Wyatt has been active as a guitarist and educator specializing in American music. He is a prolific author of books, instructional videos and columns on subjects ranging from theory and ear training to beginning guitar methods and blues and "roots" styles. Since 1978, Keith has been an instructor at the world-famous Musicians Institute in Los Angeles, where he also serves as Director of Curriculum. Since 1996, he has been touring internationally and recording with LA's legendary Blasters. </p> http://www.guitarworld.com/guitar-worlds-new-talkin-blues-part-3-dvd-features-seven-new-depth-video-lessons#comments News Features Wed, 25 Mar 2015 12:15:41 +0000 Guitar World Staff http://www.guitarworld.com/article/23741 Big Strokes: A Beginner's Guide to Sweep Picking http://www.guitarworld.com/big-strokes-beginners-guide-sweeping <!--paging_filter--><p>Although often regarded as a “shredder’s” technique, the notion of sweeping (or raking) the pick across the strings to produce a quick succession of notes has been around since the invention of the pick itself. </p> <p>Jazz players from the Fifties, such as Les Paul, Barney Kessel and Tal Farlow, would use the approach in their improvisations, and country guitar genius Chet Atkins was known to eschew his signature fingerstyle hybrid-picking technique from time to time and rip out sweep-picked arpeggios, proving that the technique is not genre specific. Within rock, Ritchie Blackmore used sweep picking to play arpeggios in Deep Purple’s “April” and Rainbow’s “Kill the King.”</p> <p>Fusion maestro Frank Gambale is widely considered to be the most versatile and innovative sweep picker and the first artist to fully integrate the technique into his style, applying sweeping to arpeggios, pentatonics, heptatonic (seven-note) scales and modes, and beyond. </p> <p>Gambale explains his approach wonderfully in his instructional video, <em>Monster Licks and Speed Picking</em>. Originally released in 1988, it remains a must-watch video for anyone interested in developing a smooth sweep-picking technique.</p> <p>It was Stockholm, Sweden, however that would produce the name most synonymous with sweeping in a rock context, one that gave rise to a guitar movement known as neoclassical heavy metal. </p> <p>Swedish guitar virtuoso Yngwie Malmsteen was influenced by Jimi Hendrix, Ritchie Blackmore and Uli Jon Roth but was also equally enthralled by 19th-century virtuoso violinist Niccolò Paganini. Attempting to emulate on his Fender Stratocaster the fluid, breathtaking passages Paganini would compose and play on violin, Malmsteen concluded that sweep picking was the perfect way to travel quickly from string to string with a smooth, fluid sound much like what a violinist can create with his bow. </p> <p>Malmsteen’s style has since influenced two generations of guitarists, including Tony MacAlpine, Jason Becker, Steve Vai, Mattias “IA” Eklundh, Ritchie Kotzen, Marty Friedman, John Petrucci, Vinnie Moore, Jeff Loomis, Synyster Gates, Alexi Laiho and Tosin Abasi, to name but a few.</p> <p>The first five exercises in this lesson are designed to give you a systematic approach to practicing the component movements of sweep picking: from two-string sweeps to six-string sweeps, and everything in between. Practicing each exercise with a metronome for just two minutes every day will improve your coordination and your confidence to use the technique in your own playing. </p> <p>Work from two strings up to six, keeping your metronome at the same tempo. This means starting with eighth notes, and while this will feel very slow, the technique will become trickier with each successive note grouping: eighth-note triplets, 16th notes, quintuplets and, most difficult of all, 16th-note triplets and their equivalent sextuplets. Focus on synchronizing your hands so that your pick and fretting fingers make contact with the string at exactly the same moment. Only one string should be fretted at any time (this is key!), and any idle strings should be diligently muted with your remaining fingers. </p> <p>If you fail to do this and allow notes on adjacent strings to ring together, it will negate the desired effect and sound like you are simply strumming a chord. When it comes to sweep picking, muting is the key to cleanliness. It is also the aspect that will take the most practice to master.</p> <p>The second set of five exercises handles some common sweep-picking approaches. These are shown in one position and based on one chord type each, thus focusing your attention on the exercise until you have become accustomed to the technique. </p> <p>The final piece helps you tackle the various aspects of sweeping while bolstering your stamina, as the bulk of it consists of nonstop 16th notes, with only a few pauses for “breathing.” Break it down into four-bar sections and practice each with a metronome, gradually building up to the 100-beats-per-minute (100bpm) target tempo. </p> <p><strong>Get the Tone</strong></p> <p>In rock, this technique is best suited to Strat-style guitars, using the neck pickup setting for a warm, round tone. Use a modern tube amp with the gain set to a moderate amount—just enough to give all the notes a uniform volume and sustain, but not so much that string muting becomes an impossible battle. </p> <p>The thickness and sharpness of your pick will hugely impact the tone of your sweep picking. Something with a thickness between one and two millimeters and a rounded tip will provide the right amount of attack and still glide over the strings with ease.</p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_1_2.jpg" /></p> <p>[FIGURE 1] This Cmaj7 arpeggio on the two middle strings works just as well on the top two or bottom two. Lightly drag your pick across (push down, pull up) the two strings so that there’s very little resistance. This teaches your picking hand to make smooth motions rather than two separate downward or upward strokes.</p> <p>FIGURE 2 is a C7 arpeggio played across three strings. Strive to maintain the same smooth down/up motion with your pick used in the previous example. Focus on the pick strokes that land on downbeats, and allow the in-between, or “offbeat,” notes to naturally fall into place. Every three notes your pick will change direction. </p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_3.jpg" /></p> <p>Now let’s move on to four strings with this exotic C7 altered-dominant lick, reminiscent of one of Gambale’s fusion forays. Remember, sweep picking is most effective when each note is cleanly separated from the last, so aim to have only one finger in contact with the fretboard at a time in order to keep the notes from ringing together.</p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_4.jpg" /></p> <p>Now we move on to some five-string shapes, the likes of which you can hear in the playing of Steve Vai and Mattias Eklundh. The phrasing here is 16th-note quintuplets (five notes per beat). Once again, if you focus on nailing the highest and lowest notes along with the beat, the in-between notes should automatically fall into place. Move your pick at a constant speed to ensure the notes are evenly spaced. Say “Hip-po-pot-a-mus” to get the sound of properly performed quintuplets in your mind’s ear.</p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_5.jpg" /></p> <p>This six-string arpeggio is an A major triad (A C# E), with the third in the bass and a fifth interval added to the high E string’s 12th fret, so we have the right number of notes for 16th-note triplets (six notes per click). When ascending, use a single motion to pick all six strings, making sure only one note is fretted at a time. The descending section includes a pull-off on the high E string, which, although momentarily disruptive to your picking, is preferable to adding another downstroke.</p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_6.jpg" /></p> <p>This major triad shape is an essential part of the Yngwie Malmsteen school of sweeping. Pay special attention to the picking directions in both the ascending and descending fragments. The alternating eighth-note triplet and quarter-note phrasing allows you to focus on the picking pattern in small bursts and then rest for a beat.</p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_7.jpg" /></p> <p>This example includes ascending and descending fragments again, this time played together. Concentrate on the general down-up motion of your picking hand rather than each pick stroke. Once you are comfortable with this shape you can apply the same approach to minor, suspended and diminished-seven arpeggios.</p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_8.jpg" /> </p> <p>This example is reminiscent of players such as Jason Becker and Jeff Loomis. We start with the three-string shapes from the previous example, followed by the six-string shape from FIGURE 5. This is quite challenging for the picking hand, so start very slowly and remember to keep the hand moving smoothly.</p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_9.jpg" /></p> <p>Here we utilize two-string sweeps with pentatonic shapes. Use your first finger on the fifth fret and third finger on the seventh fret. Keep your fingers flat against the two-string groups, and transfer pressure between strings using a rolling action to mute inactive strings and prevent notes from ringing together. </p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_10.jpg" /></p> <p>Economy picking requires that your pick take the shortest journey possible when crossing from string to string. This essentially means that when you play a scale, there will be a two-string mini-sweep whenever you move to an adjacent string. This exercise combines the eight-note B whole-half diminished scale (B C# D E F G G# As) and a Bdim7 arpeggio (B D F G#).</p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_11.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_11cont.jpg" /></p> <p>This piece is in the key of A minor. The first part is based around a “V-i” (five-one) progression, with the arpeggios clearly outlining the implied chord changes. We begin with some ascending two-string sweeps using alternating E (E G# B) and Bb (Bb D F) triads. Next come some A minor triads (A C E), played with a progressively increasing number of strings; this is a great way to build your confidence in sweep picking larger shapes. The Bm7b5 (B D F A) arpeggio in bar 4 has a series of three-string sweeps combined with some challenging string skips. Bar 7 is an A minor pentatonic scale (A C D E G) played in fourths using two-string sweeps/economy picking. </p> <p>The second part of the piece has a more neoclassical approach and begins with some Yngwie-style three-string triads incorporating pull-offs. Be sure to follow the indicated picking directions. Bar 12 is the trickiest part of the piece to play and utilizes some Jason Becker–inspired six-string shapes. If you have problems with string muting or note separation, apply some light palm muting to the notes as they are picked. This is an effective way to improve note clarity. The final bar is based on the A harmonic minor scale (A B C E D F G#) and incorporates economy picking when traveling from the fifth string to the fourth. </p> http://www.guitarworld.com/big-strokes-beginners-guide-sweeping#comments Avenged Sevenfold Guitar 101 Steve Vai Sweep Picking Tosin Abasi Yngwie Malmsteen News Features Lessons Tue, 24 Mar 2015 18:14:38 +0000 Charlie Griffiths http://www.guitarworld.com/article/17113 Joe Satriani, Tosin Abasi and Guthrie Govan Join Forces for 2015 G4 Experience — Video http://www.guitarworld.com/joe-satriani-tosin-abasi-and-guthrie-govan-join-forces-2015-g4-experience-video <!--paging_filter--><p><em>This is an excerpt from the April 2015 issue of Guitar World. For the complete interview, plus new-album previews from Joe Satriani, Guthrie Govan, Dream Theater, Megadeth, Warren Haynes and more, <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-april-15-abasi-satriani-govan?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=G4Excerpt">check out the April issue at the Guitar World Online Store.</a></em></p> <p>Seated across from one another in a cavernous, chilly San Francisco photo studio, Tosin Abasi and Guthrie Govan are deep in conversation, dissecting and debating the relative merits of various guitar neck tone woods. </p> <p>They’re both clearly attuned to the same profound level of guitar geekery—fretboard brothers. But it’s hard to imagine two human beings more different in appearance. </p> <p>Abasi is impeccably and stylishly dressed in head-to-toe black, including a well-cut jacket that’s the handiwork of his sibling, the fashion designer Abdul Abasi. His hair is styled with razor-sharp precision in a kind of asymmetrical, post-modern pompadour. </p> <p>Tosin’s professorial, tortoise rim eyeglasses lay primly on the table before him. His body language is angular and precise. He’s been pumping some iron of late…as if the dazzling virtuosity and abstract intensity of his eight-string guitar work with Animals as Leaders weren’t enough of an athletic accomplishment. </p> <p>Thin, wiry and slumped in a leather chair across from Abasi, Guthrie Govan is sporting a rumpled Pac-Man T-shirt that looks as if he’s slept in it. His abundant nut-brown hair and scraggly beard appear not to have known the benefit of comb, brush or even shampoo in quite some time. He’s just off the plane from London, but looks as if he might just as well have tumbled out of a time machine, transported from some grotty, early-Seventies Jethro Tull lineup into the 21st Century technopolis that is San Francisco. </p> <p>But the quietly understated wit and careful creativity with which he chooses his words belie his bedraggled appearance. The same strange mixture of offhand nonchalance, well-crafted mastery, retro rock references and fast-forward futurism distinguishes Govan’s exemplary guitar work with the Aristocrats, not to mention his solo discs and sideman work with Steven Wilson, Asia and others. </p> <p>Mahogany versus wenge has become the conversation’s focal point when Joe Satriani enters the room. Like Abasi, he’s all in black, albeit in a more casual way—the timeless rock and roll uniform of T-shirt, jeans and leather jacket. Satch pulls a black watch cap off his clean shaven cranium and takes a seat alongside his fellow guitar titans. His quiet humility and air of mature reserve contrast benignly with the youthful exuberance of his cohorts. </p> <p>Tosin Abasi and Guthrie Govan are both very much the children of Joe Satriani. Wildly disparate as they are in their musical and personal styles, Animals as Leaders and the Aristocrats could never have come into existence, let alone find a dedicated and enthusiastic audience, had Satriani not blazed a bold new trail in rock guitar playing in the Eighties—raising the bar for fretboard technique and making the world safe for shred. </p> <p>And now Satriani, Abasi and Govan are joining forces with fellow guitarist Mike Keneally (Frank Zappa, Steve Vai, Joe Satriani, Henry Kaiser) and <a href="http://g4experience.com/">Dreamcatcher Events</a> to present the second annual <a href="http://g4experience.com/">G4 Experience,</a> a four-day, immersive guitar camp held in the idyllic environs of the <a href="http://www.cambriapineslodge.com/">Cambria Pines Lodge</a> in California, June 28 to July 2. </p> <p>Satch, Tosin, Guthrie and Mike will be joined by Govan’s fellow Aristocrats who also serve, conveniently enough, as Satriani’s current rhythm section. And, along with performances by Animals as Leaders, auxiliary instructors include bassist Stu Hamm and <em>Guitar World’s</em> own Andy Aledort as well as other special guests. The four-day musical retreat will include both concert performances and ad hoc jams as well as up-close and personal instruction from the four guitar stars and their guests.</p> <p>The camp concept is very much Satriani’s brainchild, an offshoot of his much beloved G3 and G4 road tours. </p> <p>“I thought it would be nice if there were some way to get away from the folding chair and PowerPoint presentation vibe behind most clinics,” Satriani says. </p> <p>“Rather than just playing and teaching licks, I wanted to do something that mirrors my experience with the G3 tours. That’s where I see more rapt attention and people getting involved passionately, as concertgoers tend to do. I don’t really see that at clinics. So I was looking for a way to get the juicy fun of a live performance into a clinic situation. And that’s basically what I put to the <a href="http://g4experience.com/">Dreamcatcher Events</a> guys who came to me with this idea of doing some kind of clinic over a period of days.”</p> <p><strong>For more about the 2015 G4 Experience, visit <a href="http://g4experience.com/">g4experience.com.</a> </strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/scMF0b3BbUo" frameborder="0" allowfullscreen></iframe></p> <p><strong>The first question is for Guthrie and Tosin. What was your initial reaction like when you were approached to take part in this instructional camp?</strong></p> <p><strong>GUTHRIE GOVAN</strong> The logical thing to do when approached by Joe Satriani and asked to do something like this is to say yes. In no way was it a difficult decision. Based on my experience with guitar camps, it always turns out to be an extension of the personality of the guy who dreamed it up in the first place. So I’m really looking forward to this one. It looks like it’s going to be a real musical experience, as opposed to a parade of circus tricks. </p> <p> <strong> JOE SATRIANI </strong>Although we’re not beneath that! [laugher] That’s kind of what we do in a way. Let me just say there’s nothing wrong with that. I’ve often said in clinics that everything is equal. All scales are equal. All chords are equal. It’s really all the same. It’s just a question of when and how to use them.</p> <p><strong>TOSIN ABASI</strong> I’ve done clinics myself. My band did something similar to this—a camp setting where we had multiple days with the students. And while the instruction sessions are really cool, what can be even cooler is what happens outside the formal clinics: Students getting together with other students and sharing the ideas they just learned. There’s this really cool “behind the scenes” element. Bands form. Musical relationships are formed. Just having like-minded musicians all together in the same place, sharing the same information—it will be cool to facilitate that kind of interaction.</p> <p><strong>So what can people who take part in the camp expect to experience? </strong></p> <p><strong>SATRIANI</strong> I’m gonna play, I’m gonna talk and just take questions. I’m not going to make people pick up the guitar and say, “Put the third finger on the third fret.” It’s not gonna be like that. People will have a chance to observe me up close and ask questions. I think that’s the best way. There’s nothing like watching a guy do it. And this is one of the few times I won’t have to perform. I’m not gonna jump around. I’m gonna sit there and actually look at my guitar, and I can stand near my amp, which is cool! So that way, you can watch what I do. And if you see something weird, you can ask me about it and I’ll explain it in an honest way. </p> <p><strong>GOVAN</strong> That approach gets my vote as well. The people who are attending will get a more personal experience. We can listen to them and bounce back on whatever they turn out to be looking for…rather than turning up with a prescribed list of what we think they need to know. It’s better to be flexible. </p> <p><strong>ABASI</strong> I go with that too. It allows for an organic process that keeps unfolding, as opposed to predetermining which way it’s gonna go. And I think what Joe said about just watching is huge. There’s a cognitive level of understanding you get from watching people who have been playing guitar professionally for decades and have gotten to this high level of artistry. If you were to verbalize it, it wouldn’t be the same. To watch a guy like Guthrie, it’s not the same as watching a two-dimensional video screen. I can actually get close enough to see and hear how hard he’s picking! I think that level of instruction is invaluable.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/wUoi8jg1Z_w" frameborder="0" allowfullscreen></iframe></p> <p><strong>In Carlos Santana’s autobiography, <em>The Universal Tone</em>, he talks about how players he admired in Mexico when he was coming up never showed him anything, “They showed me their back,” he says, and that this a tradition he and others still really respect. “I have my chops, go find yours.” So the question becomes, does a learning situation like a clinic compromise a player’s originality? Is there any value in finding your own chops? </strong></p> <p><strong>GOVAN</strong> I think that was more showmanship than anything else. You can create a mystique for yourself by pretending that a lick you do is so special that you have to hide it from people. Now more than ever people are going to figure out what you’re doing, whether you’re going to share it with them or not. </p> <p><strong>SATRIANI</strong> When I was growing up you had to find somebody to show you how to play the way you wanted to play. There weren’t instructional videocassettes, let alone YouTube. But yeah, that’s a funny attitude, “I have my chops, go find yours.” I never understood that. That’s not the reality of the modern world. I don’t think people even worry about that. </p> <p><strong>ABASI</strong> I agree, it does seem a little fear based. I think inspiration is what drove all of us to pick up a guitar. And inspiration comes from other guitarists, usually. There’s a fine line between emulation and originality. I might try real hard to emulate something and fail, but all of a sudden I’ve got something that’s my own version of it. There are so many ways to approach it.</p> <p><strong>Okay, so now the question becomes, what has the viral availability of information on technique and things like that done for the art of guitar playing?</strong></p> <p><strong>SATRIANI</strong> It’s definitely elevated it to an incredible level, and here’s the proof right here. Look at these guys! When I started playing, most people played the same, I would say. Six strings. Fenders and Gibsons. Really. There weren’t that many artists. How many pedals were there? Some of the music may have been complicated, but the tools weren’t so great. So people weren’t trying to do much with the guitar. But now the art of guitar playing has been elevated to an incredible level. Look at Tosin and Guthrie here—or someone like Charlie Hunter—and you think, Oh my God, what happened? The future is here. And all that other music is still available too. You can go on YouTube and see a 14-year-old kid who sounds like one of the blues artists from back then.</p> <p><strong>ABASI</strong> The prevalence of all this information has brought a real cool evolution in guitar playing, but it also creates a sense of overload. Like for me, I would get one instructional video, devour it and then I’d have to go to the music store physically, pick out another and take that home. Now it’s like you can Google “melodic minor” and it’s this tremendous rabbit hole that, for me personally, can get a little overwhelming. The information is so accessible and so vast. But that’s why things like this camp are so important. Yes, all this information is now available, but what you’re going to get from us is more of a specialized, individual actual representation of all this information. How we express ourselves on the guitar. And I think that will help channel out all the distractions that can come from all the information out there. </p> <p><em>This is an excerpt from the April 2015 issue of Guitar World. For the complete interview, plus new-album previews from Joe Satriani, Guthrie Govan, Dream Theater, Megadeth, Warren Haynes and more, <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-april-15-abasi-satriani-govan?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=G4Excerpt">check out the April issue at the Guitar World Online Store.</a></em></p> <p><em>Photo: Justin Borucki</em></p> <p><img src="/files/imce-images/Screen%20Shot%202015-02-24%20at%2011.11.01%20AM_0.png" width="620" height="806" alt="Screen Shot 2015-02-24 at 11.11.01 AM_0.png" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/joe-satriani">Joe Satriani</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/joe-satriani-tosin-abasi-and-guthrie-govan-join-forces-2015-g4-experience-video#comments April 2015 Guthrie Govan Joe Satriani Tosin Abasi Videos Interviews News Features Magazine Tue, 24 Mar 2015 10:39:23 +0000 Alan Di Perna http://www.guitarworld.com/article/23779 Available Now: Guitar One Presents Foo Fighters http://www.guitarworld.com/available-now-guitar-one-presents-foo-fighters <!--paging_filter--><p><em>Guitar One Presents Foo Fighters is <a href="http://store.guitarworld.com/collections/guitar-legends/products/guitar-one-presents-foo-fighters/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=LegendsFooFighters">available now at the Guitar World Online Store for $9.99</a>.</em></p> <p>In 1995, former Nirvana drummer Dave Grohl picked up a guitar and buried the past with Foo Fighters and their self-titled debut album. Since then, the Foo Fighters have carved their names in rock and roll history as one of the most successful alternative-rock bands, touting three Grammy wins for Best Rock Album. In 2011, they returned to the studio to make <em>Wasting Light</em>, their seventh album. <em>Guitar One Presents Foo Fighters</em> covers 15 years of interviews and tells the story behind every record. Buy it today for only $9.99!</p> <p><strong>This issue includes:</strong></p> <p> • Dear Guitar Hero: Dave Grohl and Chris Shiflett answer readers' questions.<br /> • Absolutely Foobulous: Dave Grohl and Pat Smear talk rock fashion, reminisce about Nirvana and praise the Foo Fighters' 1997 group effort, The Colour and the Shape.<br /> • The Foo Chain: A Foo Fighters axology.<br /> • Smear Campaign: The life and times of punk survivor Pat Smear.<br /> • True Foo: Dave Grohl rejects the glitz of Hollywood and heads home to Virginia to record the Foo Fighters' soul-searching third album, There Is Nothing Left to Lose.<br /> • Man of Steel: Dave Grohl says goodbye to rock and roll and hello to heavy metal with his smashing project, Probot.<br /> • Honor Society: After a two-year binge of side projects and guest performances, Dave Grohl returns to the Foo Fighters fold for the double album In Your Honor.<br /> • Top Flight: Combine Led Zeppelin's blues-inspired riff rock with Nirvana's post-punk aesthetic and the stoner metal sounds of Queens of the Stone Age. What do you get? Them Crooked Vultures, featuring John Paul Jones, Dave Grohl and Josh Homme.<br /> • Fighting Form: Foo Fighters are back in action with a three-guitar lineup and a hard-hitting, bone-crunching album, Wasting Light. Guitar World weighs in with Dave Grohl, Chris Shiflett and Pat Smear.</p> <p><strong><a href="http://store.guitarworld.com/collections/guitar-legends/products/guitar-one-presents-foo-fighters/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=LegendsFooFighters">Head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/available-now-guitar-one-presents-foo-fighters#comments Dave Grohl Foo Fighters News Features Tue, 24 Mar 2015 10:01:23 +0000 Guitar World Staff http://www.guitarworld.com/article/17957 Hear an Alternate Recording of "Bad Company" from the Legendary UK Band's New Deluxe Remasters — Exclusive http://www.guitarworld.com/alternate-recording-bad-company-band-new-deluxe-remaster-exclusive-premiere <!--paging_filter--><p>Today, GuitarWorld.com presents the exclusive premiere of a previously unreleased alternate recording of "Bad Company," the title track from the 1974 debut album by—you guessed it—Bad Company.</p> <p>The recording is from the new remastered, deluxe edition of the album, which will be released April 7 by Rhino. Rhino also will release a new deluxe version of the band's hit 1975 album, <em>Straight Shooter,</em> the same day.</p> <p>Both two-disc releases feature a host of rare and previously unreleased recordings by the influential U.K. rockers, all of which are from the original master tapes. You can see complete track lists for both albums below.</p> <p>Our exclusive premiere of "Bad Company" is a re-take from the reel that yielded the better-known master. This is actually take 2 (LMS Studio Reel 8 - 73 Session); the next complete version was the one used on the album.</p> <p>Vocalist Paul Rodgers, along with guitarist Mick Ralphs, bassist Boz Burrell and drummer Simon Kirke recorded <em>Bad Company</em> in November 1973 using Ronnie Lane’s mobile studio at Headley Grange, where Led Zeppelin frequently recorded. <em>Bad Company</em> went to Number 1 in the U.S. the following year.</p> <p>Its second disc features 12 tracks, including eight previously unreleased recordings such as the demo for “The Way I Choose” and an unedited version of “Superstar Woman,” which Rodgers later recorded in 1983 for his <em>Cut Loose</em> album. Also featured are the single edit of “Can’t Get Enough” and the B-sides “Little Miss Fortune” and “Easy on My Soul.”</p> <p><strong>For more about Bad Company, visit <a href="http://www.badcompany.com/">badcompany.com.</a> For more about Rhino, visit <a href="http://www.rhino.com/">rhino.com.</a> For more about the new deluxe editions of the albums, <a href="http://www.badcompany.com/news.html">head here.</a></strong></p> <p><iframe src="http://link.brightcove.com/services/player/bcpid4090277488001?bckey=AQ~~,AAAAAyiIY-k~,nwbxG65xosVaO0HxDy7voNpNZQgfgJq8&amp;bctid=4090631843001&amp;width=620&amp;height=365&amp;autoStart=false" width="620" height="365" frameborder="0" scrolling="no" allowtransparency="true" ></iframe></p> <p><strong>Bad Company Deluxe Editions | Track Listings:</strong></p> <p><strong><em>Bad Company</em> (1974)</strong></p> <p><em>Disc One</em><br /> 01. “Can’t Get Enough”<br /> 02. “Rock Steady”<br /> 03. “Ready For Love”<br /> 04. “Don’t Let Me Down”<br /> 05. “Bad Company”<br /> 06. “The Way I Choose”<br /> 07. “Movin’ On”<br /> 08. “Seagull”</p> <p><em>Disc Two</em><br /> 01. “Can’t Get Enough” (Take 1)*<br /> 02. “Little Miss Fortune” (Demo Reel 1)*<br /> 03. “The Way I Choose” (Demo Reel 1)*<br /> 04. “Bad Company” (LMS Studio Reel 2-73 Session)*<br /> 05. “The Way I Choose” (Version 1 Inc. F/S)<br /> 06. “Easy On My Soul” (Long Version)<br /> 07. “Bad Company” (LMS Studio Reel 8-73 Session)*<br /> 08. Studio Chat/Dialogue<br /> 09. “Superstar Woman” (Long Version)*<br /> 10. “Can’t Get Enough” (Single Edit)<br /> 11. “Little Miss Fortune” (B-side of “Can’t Get Enough”)*<br /> 12. “Easy On My Soul” (B-side of “Movin’ On”)*</p> <p><strong><em>Straight Shooter</em> (1975)</strong></p> <p><em>Disc One</em><br /> 01. “Good Lovin’ Gone Bad”<br /> 02. “Feel Like Makin’ Love”<br /> 03. “Weep No More”<br /> 04. “Shooting Star”<br /> 05. “Deal With The Preacher”<br /> 06. “Wild Fire Woman”<br /> 07. “Anna”<br /> 08. “Call On Me”</p> <p><em>Disc Two</em><br /> 01. “Good Lovin’ Gone Bad” (Alternate Vocal &amp; Guitar)*<br /> 02. “Feel Like Makin’ Love” (Take Before Master)*<br /> 03. “Weep No More” (Early Slow Version)*<br /> 04. “Shooting Star” (Alternate Take)*<br /> 05. “Deal With The Preacher” (Early Version)*<br /> 06. “Anna” (Alternate Vocal)*<br /> 07. “Call On Me” (Alternate Take)*<br /> 08. “Easy On My Soul” (Slow Version)<br /> 09. “Whiskey Bottle” (Early Slow Version)<br /> 10. “See the Sunlight”<br /> 11. “All Night Long”<br /> 12. “Wild Fire Woman” (Alternate Vocal &amp; Guitar)*<br /> 13. “Feel Like Makin’ Love” (Harmonica Version)<br /> 14. “Whiskey Bottle” (B-side of “Good Lovin’ Gone Bad” )<br /> * Tracks featured on Deluxe Edition LPs</p> <p><em>Photo: Carl Dunn</em></p> http://www.guitarworld.com/alternate-recording-bad-company-band-new-deluxe-remaster-exclusive-premiere#comments Bad Company News Features Mon, 23 Mar 2015 11:09:15 +0000 Damian Fanelli http://www.guitarworld.com/article/23769 Three Days Grace Guitarist Barry Stock Discusses Gear and New Album, 'Human' http://www.guitarworld.com/three-days-grace-guitarist-barry-stock-discusses-gear-and-new-album-human <!--paging_filter--><p><em>Human</em>, the new album by Three Days Grace, is the first to feature new vocalist Matt Walst, who happens to be the brother of TDG bassist Brad Walst. </p> <p>Besides bringing a familiar face to the band, Matt’s arrival heralds a new-found dynamic; <em>Human</em> introduces heavier, darker shades to the band's songwriting and sound. New tracks like “I Am Machine” offer inspired, hook-laden riffs while “Painkiller” tackles more personal topics from a unique point of view. </p> <p><em>Human</em>, which will be released March 31, reunites Three Days Grace with producer Gavin Brown, who was at the helm for the band’s platinum-selling self-titled debut in 2003.</p> <p>Three Days Grace also includes guitarist Barry Stock and drummer Neil Sanderson. We recently tracked down Stock to discuss the new album, his gear and more.</p> <p><strong>GUITAR WORLD: What was it like reuniting with Gavin Brown?</strong></p> <p>Gavin is awesome because he brought us back to the past. When he’s with us, it’s almost like having a fifth member of the band. He really has an ability to see inside of us and pull out these really deep feelings. He’s also great at making it not just about the lyrics but more like a conversation. He really gets involved in the music and creating sounds, and it was a blast working with him.</p> <p><strong>How would you describe <em>Human</em>?</strong></p> <p><em>Human</em> is the perfect title for this record because there’s been a lot of inner-struggle and loss in the last few years. We’ve had a few people close to us pass on and some addiction and personal issues. This record is really about the last few years of our lives.</p> <p><strong>What was the writing process like?</strong></p> <p>We did a lot of writing for this album while we were on the road. It was all about gathering riffs, melodies and vocal ideas. Then we would all get together in a room and start throwing all of the ideas around. It started from there. Songs can come from anywhere. Whether it’s a cool riff, a chorus idea or even just an emotion. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/8Zx6RXGNISk" frameborder="0" allowfullscreen></iframe></p> <p><strong>I’d like to ask you about a few tracks <em>Human,</em> starting with "I Am Machine."</strong></p> <p>It’s a song about a feeling we all have from time to time. Everyone is stuck in technology these days with our heads stuck down on our phones. We’re all guilty of that to some degree. The song is really about the idea that sometimes you just have to lift your head up and look around and see how beautiful things are.</p> <p><strong>"Painkiller"</strong></p> <p>That song is about how everyone has a vice and it’s written from the perspective of that vice drawing you back in. It can be anything, from drinking to drugs to cigarettes to sex. Whatever your vice is, it’s written from that perspective.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/-U98qkjbYek" frameborder="0" allowfullscreen></iframe></p> <p><strong>What are the band’s touring plans this year?</strong></p> <p>Our goal this time around is to focus on other parts of the world. We’ll be doing America and Canada and then going back and forth all over Europe, playing places we’ve never been to before or haven’t been to in a long time.</p> <p><strong>What inspired you to play guitar?</strong></p> <p>I had a bunch of older brothers. I remember sneaking into their rooms when they weren’t around to see what they were listening to. At the time it was a lot of Seventies music like Black Sabbath, Van Halen and AC/DC. I really wanted to play and actually started out on drums, but my dad made me get rid of them because he didn’t want to put up with them. So instead, he bought me a guitar. At the time, I didn’t have an amp so I had to play it through his reel to reel. By taking away my drums I wound up gassing his reel to reel to get distortion and ended up blowing it up! [laughs].</p> <p><strong>Who were, or are, some of your influences?</strong></p> <p>I’m a huge fan of Paul Gilbert. I also love Yngwie Malmsteen and those Eighties-era players. Tony MacAlpine is another great player. I also love the riff master Tony Iommi and guys like Ritchie Blackmore, Stephen Carpenter of Deftones and Daron Malakian from System of a Down.</p> <p><strong>Were you one of those guitarists who'd lock themselves in their room and play for hours?</strong></p> <p>In my younger days I did. I wasn’t a jock in school and didn’t have many friends so all I did was play music. I eventually made a lot of friends through music and got into bands and started moving around. Then as I got older I started focusing more on songwriting and playing cool parts. </p> <p><strong>How did you connect with Three Days Grace?</strong></p> <p>We were all out-of-town guys who centralized in Toronto and rehearsed in the same building. I was in a band down the hall from them and we’d always see each other in passing. Early on, I thought they could use a guy to fill out guitar so that Adam Gontier [the band's original vocalist] could focus on lead-singer duties instead of having to worry about guitar. We were all in from there and it’s been awesome.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/EiZqZfwZ074" frameborder="0" allowfullscreen></iframe></p> <p><strong>What’s your current setup like?</strong></p> <p>My rig is pretty extensive. My guitar tech/builder, Lonnie Tottman, spent a month rebuilding it. I’m still using the Diezel VH4’s and Marshall JMP1’s which are modded by Trace [Davis] at Voodoo Amps. They go into ENGL power amps. Everything is MIDI-controlled with a loop station and various cool fuzzes I use for different things.</p> <p><strong>What can you tell me about <a href="http://www.meanclothing.com/">your MEAN clothing line?</a></strong></p> <p>That was an idea I started in 2004 when I was putting that “mean” sticker on my guitars. For me, “mean” is more than just being bad ass. It was a feeling I was going though at the time. It’s about aggressive passion. If you’re going to do something, mean it. That’s how it started and I carried that idea on to making shirts with my wife and turned it into <a href="http://www.meanclothing.com/">this online company</a> that’s expanding every day. It’s another expression of myself.</p> <p><strong>What excites you the most about the release of <em>Human</em> and this next stage of Three Days Grace?</strong></p> <p>I’m really looking forward to getting out there and playing. It’s such a rush. I never look at it as us four guys up there and everyone else out there. It’s all of us together having a blast in one big social. And now that we have this new record, I’m also looking forward to the new songs. Our favorite thing to do is play live.</p> <p><em>For more about Three Days Grace, visit <a href="http://human.threedaysgrace.com/">human.threedaysgrace.com.</a></em></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href="http://gojimmygo.net/">GoJimmyGo.net</a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="https://twitter.com/JimEWood">Twitter @JimEWood.</a></em></p> http://www.guitarworld.com/three-days-grace-guitarist-barry-stock-discusses-gear-and-new-album-human#comments Barry Stock James Wood Three Days Grace Interviews News Features Sun, 22 Mar 2015 15:18:36 +0000 James Wood http://www.guitarworld.com/article/23768 Pedal to the Metal: The 25 Greatest Wah Solos of All Time http://www.guitarworld.com/pedal-metal-25-greatest-wah-solos-all-time <!--paging_filter--><p>Since the guitar's inception, there have been countless talented players who could make the instrument sing, but it wasn't until the mid-Sixties and the arrival of the wah pedal that guitarists could make it cry.</p> <p>Perhaps because it entered the collective consciousness at the hands—or feet, rather—of guitar gods like Jimi Hendrix and Eric Clapton, the wah pedal has been a vital part of the rock and roll lexicon since it was introduced by Vox, finding favor with guitarists who wanted to bring a whole new level of expressive possibilities to their playing. </p> <p>More than any other effect pedal, the wah has played a key role in some of modern guitar's shining moments, from Slash's epic, ascending run in "Sweet Child O' Mine" to Eddie Hazel making wah synonymous with funk in the Seventies to Hendrix simply doing that voodoo that he did so well. </p> <p>In honor of its place in rock history, the <em>Guitar World</em> staff recently picked out the very best wah solo moments of all time, each a snapshot of a great guitarist letting his voice be heard through a truly rock and roll pedal. Of course, we considered the quality of the solo itself and the song's iconic status in the world of rock and roll.</p> <p><strong>25. "1969" — The Stooges (<em>The Stooges</em>, 1969)</strong><br /> <strong>Soloist:</strong> Ron Asheton </p> <p>Raw, visceral and distorted to the max, Ron Asheton's solo on this Stooges classic may not win any composition awards, but it was the perfect compliment to Iggy Pop's gutteral snarl.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/k0mRfECsHrc" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>24. "Walk Away" — James Gang (<em>Thirds</em>, 1971)</strong><br /> <strong>Soloist:</strong> Joe Walsh</p> <p>It comes in just at the end of the song, but Joe Walsh's solo spot on "Walk Away" is a bit of a late-in-the-game show-stealer. Since 2007, Walsh has had his very own <a href="http://www.guitarworld.com/say-wah-five-essential-signature-wah-pedals?page=0,3">signature wah</a> made by Real McCoy Custom.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ICmD8P0x8_M" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>23. "Cult of Personality" — Living Colour (<em>Vivid</em>, 1988)</strong><br /> <strong>Soloist:</strong> Vernon Reid</p> <p>"Cult of Personality" was the song that instantly made Vernon Reid a household name in the alt metal community, combining manic use of the wah with a stream-of-conscious flurry of notes straight from the mind of a true guitar junky. Even more impressive, Reid stated in a 1988 <a href="http://www.guitarworld.com/archive-living-colour-guitarist-vernon-reid-talks-vivid-1988-interview"><em>Guitar World</em> interview</a> that the solo was a first take.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/7xxgRUyzgs0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>22. "25 or 6 to 4" — Chicago (<em>Chicago</em>, 1970)</strong><br /> <strong>Soloist:</strong> Terry Kath</p> <p>On the second half of a lengthy guitar solo on this Chicago classic, Terry Kath introduces a distortion-drenched, wah-driven guitar line that melds incredibly well with the song's horn section. Fun fact: Kath was once referred to as "the best guitar player in the universe" by Jimi Hendrix.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/WLiuMkGCOC4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>21. "Maggot Brain" — Funkadelic (<em>Maggot Brain</em>, 1971)</strong><br /> <strong>Soloist:</strong> Eddie Hazel</p> <p>On the opposite end of the the spectrum from the ultra-tight, ultra-clean guitar sounds many listeners identify with funk is Eddie Hazel's tone on this 10-plus-minute track from Funkadelic, which features no vocals and serves primarily as a vehicle for Hazel to explore the deepest reaches of space in his wah-wah-powered mothership.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/a9MgoRIXEqc" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>20. "Stop" — Jane's Addiction (<em>Ritual de lo habitual</em>, 1990)</strong><br /> <strong>Soloist:</strong> Dave Navarro</p> <p>Written all the way back in 1986, it would take four years for this <em>Ritual de lo habitual</em> cut to be unleashed upon the music world as large, climbing to No. 1 on the <em>Billboard</em> Modern Rock Tracks behind the strength of a high-energy performance from vocalist Perry Farrell and a muscular, wah-driven lead from Dave Navarro.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/ZwI02OHtZTg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>19. "The Needle and the Spoon" — Lynyrd Skynyrd (<em>Second Helping</em>, 1974)</strong><br /> <strong>Soloist:</strong> Allen Collins</p> <p>A clear tip of the hat to Eric Clapton's solo from "White Room," Allen Collins pulls out the wah to blend Sixties psychedelia seamlessly into a bona-fide Southern-rock classic.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/bFPaxK-q5gI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>18. "If You Have to Ask" — Red Hot Chili Peppers (<em>Blood Sugar Sex Magik</em>, 1991)</strong><br /> <strong>Soloist:</strong> John Frusciante</p> <p>On this cut from 1991's mega-selling <em>Blood Sugar Sex Magik</em>, Chili Peppers guitarist John Frusciante turns in a sparse, stop-start wah solo fitting for the song's funk-rock minimalism. Fun fact: On the studio version, you can hear the band and production crew applauding Frusciante's guitar work as the song comes to an end.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/dii6bZT0V74" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>17. "Whole Lotta Love" — Led Zeppelin (<em>Led Zeppelin II</em>, 1969)</strong><br /> <strong>Soloist:</strong></p> <p>While much of the bizzare, alien soundscape in the middle section of "Whole Lotta Love" is directly attributable to Jimmy Page's groundbreaking use of backwards tape echo and Page and engineer Eddie Kramer "twiddling every knob known to man," the wah pedal does make an appearance, adding a valuable, extra dimension to Page's most otherworldly guitar work this side of the <em>Lucifer Rising</em> soundtrack.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Mln0RciE2o0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>16. "The Joker" — Steve Miller Band (<em>The Joker</em>, 1973)</strong><br /> <strong>Soloist:</strong> Steve Miller</p> <p>Perfect for all those midnight tokers out there, Steve Miller's laid-back lead work on "The Joker" doesn't go overboard on the wah, opting instead for the tasteful, restrained approach. Fun fact: This song shot back to the top of the charts in 1990, thanks to a popular ad for Levi's jeans.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/DzSC2__LXk4" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>15. "I Ain't Superstitious" — Jeff Beck Group (<em>Truth</em>, 1968)</strong><br /> <strong>Soloist:</strong> Jeff Beck</p> <p>On the debut album from the Jeff Beck Group, Beck uses this wah-laden take on a Howlin' Wolf tune to show off his mastery of the multitude of sounds one can coax out of a guitar. Somehow, he still continues to baffle us with this skill.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/mQFdHlxMhZ0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>14. "Blue on Black" — Kenny Wayne Shepherd (<em>Trouble Is ...</em>, 1997)</strong><br /> <strong>Soloist:</strong> Kenny Wayne Shepherd</p> <p>Kenny Wayne Shepherd burst into the mainstream consciousness with this cut off his 1997 album, <em>Trouble Is ...</em> Any questions over who he was hoping to channel are laid to rest with the inclusion of a cover of "Voodoo Child" as the single's B-side.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/V94pBlA4n7U" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>13. "Pain and Sorrow" — Joe Bonamassa (<em>So, It's Like That</em>, 2002</strong><br /> <strong>Soloist:</strong> Joe Bonamassa</p> <p>Another blues-rock revivalist, Joe Bonamassa lays out some fiery wah work on this deep cut from his sophomore album, <em>So, It's Like That</em>. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/tjEOxHrM-Xo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>12. "Blinded by the Light" — Manfred Mann's Earth Band (<em>The Roaring Silence</em>, 1976)</strong><br /> <strong>Soloist:</strong> Dave Flett</p> <p>This tune may have originally been written by Bruce Springsteen, but it didn't become a hit—and eventually a classic—until guitarist Dave Flett and the rest of Manfred Mann's Earth Band got a hold of it for 1976's <em>The Roaring Silence</em>. </p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/OlBifX0H3yg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>11. "Gets Me Through" — Ozzy Osbourne (<em>Down to Earth</em>, 2001)</strong><br /> <strong>Soloist:</strong> Zakk Wylde</p> <p>Split between powerful melodies and a heaping helping of shred, the solo from "Gets Me Through" sees Zakk Wylde take his Hendrix Cry Baby to the edge and back on this standout track from Ozzy's 2001 comeback record. </p> <p>Zakk would eventually merit his <a href="http://www.guitarworld.com/say-wah-five-essential-signature-wah-pedals">very own wah pedal, complete with the Fasel inductor that was responsible for some of the classic wah sounds of the Sixties.</a></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/sthHMnytQOs" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>10. "Surfing with the Alien" — Joe Satriani (<em>Surfing with the Alien</em>, 1987)</strong><br /> <strong>Soloist:</strong> Joe Satriani</p> <p>"Surfing with the Alien" sees Joe Satriani put the pedal to the metal in every conceivable sense, not the least of which is his stunning work with the wah pedal. </p> <p>Paired with a Tubedriver and a classic Eventide 949, the wah provides just enough control over his alien tone for Satch to weave his way in and out of an asteroid belt of notes.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/uoERl34Ld00" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. "Turn Up the Night" — Black Sabbath (<em>Mob Rules</em>, 1981)</strong><br /> <strong>Soloist:</strong> Tony Iommi</p> <p>It's a rare occasion when Tony Iommi brings out the wah, but on this <em>Mob Rules</em> cut, the Godfather of Heavy Metal uses it too great effect, upping the aggression level one step further on what may be his most furious studio solo.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/qeepyLDSqgA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. "Telephone Song" — Vaughan Brothers (<em>Family Style</em>, 1990)</strong><br /> <strong>Soloist:</strong> Stevie Ray Vaughan</p> <p>Were you expecting to see the long-winded instrumental "Say What!" from Vaughan's <em>Soul to Soul</em> album? Not a chance, not when this mini-masterpiece of a wah solo exists. </p> <p>Even without the wah, it's one of his best-constructed, catchiest solos. This track comes from SRV's first full album with his brother, Jimmie Vaughan—which, sadly, turned out to be his last record.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/CYgIQF6WgPU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. "Bad Horsie" — Steve Vai (<em>Alien Love Secrets</em>, 1995)</strong><br /> <strong>Soloist:</strong> Steve Vai</p> <p>Like Hendrix before him, Steve Vai wanted to take the wah pedal to its limits, and he accomplished just that on his 1995 EP, <em>Alien Love Secrets</em>. </p> <p>And in all due fairness to the remaining songs on the list, "Bad Horsie" remains the only track in this whole feature to have its own wah <a href="http://www.guitarworld.com/say-wah-five-essential-signature-wah-pedals?page=0,2">named after it</a>. </p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/BJfhFZ684SU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. "Even Flow" — Pearl Jam (<em>Ten</em>, 1991)</strong><br /> <strong>Soloist:</strong> Mike McCready</p> <p>"That's me pretending to be Stevie Ray Vaughan," Pearl Jam guitarist Mike McCready told <em>Guitar World</em> of his classic solo from "Even Flow" back in 1995. </p> <p>A fitting tribute to the late SRV, the solo saw McCready break out the wah and churn out perhaps the most iconic solo of the grunge era.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/tkbgtVFlyCQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>05. "A New Level" — Pantera (<em>Vulgar Display of Power</em>, 1992)</strong><br /> <strong>Soloist:</strong> Dimebag Darrell</p> <p>Dimebag Darrell is among those guitarists that utilized the wah pedal more subtly, using it as a tone control in most cases. This isn't one of those cases. </p> <p>Darrell's use of the wah on his "A New Level" solo is as surgically precise as one comes to expect from the master craftsman, lending an all new connotation to the phrase, "on a Dime."</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/77f8u7puTFc" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. "Enter Sandman" — Metallica (<em>Metallica</em>, 1991)</strong><br /> <strong>Soloist:</strong> Kirk Hammett</p> <p>We're going to let Kirk take this one: "There's something about a wah pedal that really gets my gut going! </p> <p>People will probably say, 'He's just hiding behind the wah.' But that isn't the case. It's just that those frequencies really bring out a lot of aggression in my approach." (Read the full 1991 interview with James and Kirk <a href="http://www.guitarworld.com/metallicas-james-hetfield-and-kirk-hammett-talk-guitar-solos-and-gear-1991-guitar-world-interview">here</a>)</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/CD-E-LDc384" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. "Sweet Child O' Mine" — Guns N' Roses (<em>Appetite for Destruction</em>, 1987)</strong><br /> <strong>Soloist:</strong> Slash</p> <p>Known to break out the wah and fiddle around with "Voodoo Child (Slight Return)" as a live lead-in for "Civil War," Slash forged his own piece of rock and roll history with his unforgettable ascending run into one of the shining moments in Eighties guitar rock. </p> <p>Bookended by the feral yowl of frontman Axl Rose, Slash makes this would-be ballad anything but with a fierce lead made possible by a stock Cry Baby wah.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/1w7OgIMMRc4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. "White Room" — Cream (<em>Wheels of Fire</em>, 1968)</strong><br /> <strong>Soloist:</strong> Eric Clapton</p> <p>A masterful performance on "Tales of Brave Ulysses aside," with "White Room," Eric Clapton virtually wrote the book on how the wah pedal would be used in the context of rock guitar for decades to come. </p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/pkae0-TgrRU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. "Voodoo Child (Slight Return)" — The Jimi Hendrix Experience (<em>Electric Ladyland</em>, 1968)</strong><br /> <strong>Soloist:</strong> Jimi Hendrix</p> <p>The go-to song of any guitarist trying out a new wah pedal at Guitar Center, "Voodoo Child (Slight Return)" stands as a mammoth moment in rock history, setting a mark that has yet to be breached by any ambitious guitarist with a Cry Baby and a dream. </p> <p>Of the song's recording, engineer Eddie Kramer recalls that the track "was recorded the day after Jimi tracked 'Voodoo Chile,' the extended jam on <em>Electric Ladyland</em> featuring Traffic’s Stevie Winwood on organ and Jefferson Airplane bassist Jack Casady. </p> <p>Basically, Jimi used the same setup — his Strat through a nice, warm Fender Bassman amp. Jimi’s sound on both tracks is remarkably consistent, leading some to think they were recorded at the same session.” Stevie Ray Vaughan's version is no slouch either, by the way. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/6OTvz1lJzmI" 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="/jimi-hendrix">Jimi Hendrix</a> </div> <div class="field-item even"> <a href="/eric-clapton">Eric Clapton</a> </div> <div class="field-item odd"> <a href="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> <div class="field-item even"> <a href="/jeff-beck">Jeff Beck</a> </div> <div class="field-item odd"> <a href="/steve-vai">Steve Vai</a> </div> <div class="field-item even"> <a href="/joe-satriani">Joe Satriani</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/pedal-metal-25-greatest-wah-solos-all-time#comments Cream Eric Clapton Guns N' Roses Jimi Hendrix Metallica Slash Stevie Ray Vaughan Guitar World Lists News Features Fri, 20 Mar 2015 14:30:40 +0000 Guitar World Staff, Intro by Josh Hart http://www.guitarworld.com/article/16934 Eight Steps to Becoming a Legendary Hair Metal Guitarist http://www.guitarworld.com/eight-steps-becoming-legendary-hair-metal-guitarist <!--paging_filter--><p>From fashion trends to movie remakes, the Eighties are back with a vengeance. </p> <p>But are neon-colored Wayfarers and tiger-print bikinis enough to bring back the decade’s most recognizable musical period? It’s unclear at this point, but as the Boy Scouts say, let’s “be prepared.”</p> <p>It’s impossible to think about Eighties rock without vibrant visuals of half-naked dudes prancing around stage wearing more makeup and hair product than a horde of groupies. Even though the period broke almost every unwritten rule of rock and roll, it became one of its most successful sub-genres. </p> <p>So, what if this current Eighties revival is stronger than we realize and hair metal rises from the ashes like a Spandex and lace-clad phoenix? </p> <p>You’ll have to jump on the bandwagon and tap/palm mute your way to a record deal. However, being a hair metal guitarist is much deeper than just executing signature techniques. How you look and act is just as important as how you sound. </p> <p>Below are eight specific rules you’ll need to employ to become the leader of a full-fledged hair metal resurgence. </p> <p><strong>01. Smile the Entire Time You’re On Stage or Camera</strong></p> <p>One of glam or hair metal's original the genre’s first nicknames was "teeth metal" because band members smiled so much on stage. This style of rock was all about playing upbeat songs that focused on girls, cars and, well, being happy. There’s no way you can’t smile if you’re basically the Tony Robbins of rock music. </p> <p>Performing a song about the best night of your life with a death stare and clenched jaw kills your credibility. Plus, a badass, I’ll-break-your-face-if-you-even-look-me-in-the-eye persona is impossible to pull off while wearing makeup and lace gloves.</p> <p>Exception: Don’t smile when performing a ballad. Shed a minimum of three tears instead. </p> <p><strong>02. Guitars Must Have Custom Graphics</strong></p> <p>By the mid-Eighties, if your guitar didn’t display geometric art that utilized every color in the rainbow, you wouldn’t even be allowed to step on the stage of a high school talent show. However, don’t worry if you lack fine-art skills. You can cheat the rule by blinding fans with sparkly neon or color-shifting chameleon finishes. </p> <p><img src="/files/imce-images/JH.01.01.jpg" width="620" height="517" alt="JH.01.01.jpg" /></p> <hr /> <p><strong>03. Play a "Super Strat"</strong></p> <p>Almost every hair metal guitarist played a "Super Strat" (with the exception of the custom Flying-V) for three reasons: Eddie did it, it offered easy access to the whammy bar and it was extremely light-weight. </p> <p>You may ask, “What the hell did guitar weight have to do with hair metal?” </p> <p>Everything. Watch an old video or concert footage and you’ll notice the lead guitarist running, jumping, sliding, dancing, crawling, spinning and skipping on stage like a maniac that just swallowed 59 caffeine pills. A heavy axe limits aerodynamics and throws off counterbalance. </p> <p><strong>04. Hate Your Lead Singer</strong></p> <p>No explanation needed. </p> <p><img src="/files/imce-images/JH.01.02.jpg" width="620" height="517" alt="JH.01.02.jpg" /></p> <hr /> <p><strong>05. Incorporate the Following Techniques Into Every Song:</strong></p> <p><strong>Transitional Dive Bomb</strong>: Instantly executed after the song’s first solo or transition to the chorus, '80s guitarists were dropping it like it was hot long before Snoop Dog. Although Jimi Hendrix pioneered the technique in the late ‘60s, hair metal popularized dive bombs, instituting a standard presence in almost every recording from the era.</p> <p><strong>Pinch Harmonics</strong>: Pinch harmonics didn’t originate with hair metal but were widely commercialized by the genre. The goal was simple: Create the loudest, highest, most ear-splitting note imaginable. Shortly after they gained popularity, guitarists began combining them with dive bombs to produce an even crazier sequel that resembled a thoroughbred that just inhaled a 10,000-gallon helium tank.</p> <p><strong>High-String Palm Muting</strong>: From “Panama” to “Round and Round,” high-string palm muting is one of hair metal’s most recognizable methods. Muting the G, B and E strings during the bridge gave songs a different kind of sound and complemented the lead singer’s high-pitched voice. </p> <p><strong>Tapping</strong>: Listen to any song from the period and you’ll hear a raging fury of two-handed hammer-ons and pull-offs. Remember, one goal of a hair metal guitarist was to play as many notes per minute as possible. Tapping is an easy way to crank up a solo’s NPMs while looking innovative on stage. </p> <p><img src="/files/imce-images/JH.01.04.jpg" width="620" height="517" alt="JH.01.04.jpg" /></p> <hr /> <p><strong>06. Learn How to Play the Synth</strong> </p> <p>I know, this is a guide to becoming an Eighties guitarist. The funny thing is, most songs from the genre contain light synth work. If your song must have a keyboard hook, you want to be the guy playing it. It’s called taking one for the team. </p> <p>I know you’d rather be shredding a hole in your fretboard, but if you don’t tickle the acrylic keys, your lead singer will step up to the challenge. The last thing everyone needs is to add more self-entitlement to his “I am this band” ego. </p> <p><strong>07. All Headstocks Must Look Like Deadly Weapons</strong></p> <p>Some say Eighties headstocks were used to scare off stalkers in the crowd. Others say they were meant to remind the lead singer to sleep with one eye open. A few even allege they made it easy to quickly chop up lines in the dressing room. Regardless of the actual reason, to be a true hair metal guitarist, you’ll need to use razor-sharp headstocks that are strong enough to cut through flesh. </p> <p><img src="/files/imce-images/JH.01.03.jpg" width="620" height="517" alt="JH.01.03.jpg" /></p> <hr /> <p><strong>08. During Music Videos, Point at the Camera Before Executing a Trick</strong></p> <p>A power slide into a ground-level camera and a simple jump off the drum platform were mandatory scenes in every music video.</p> <p>Back then, superb guitar playing wasn’t good enough; guitarists needed to “wow” their fans by performing a stunt during the solo. </p> <p>To give a “This is slightly dangerous, but I’m going to do it anyway to blow your mind” heads-up to viewers, guitarists always pointed to the camera before executing a low-risk trick. However, a pre-point is not needed if you prefer a post-stunt wink instead. </p> <p><img src="/files/imce-images/JH.01.05.jpg" width="620" height="517" alt="JH.01.05.jpg" /></p> <p><em>Illustrations: Jordan Hart</em></p> <p><em>Jordan Hart is the author and illustrator of <a href="http://www.amazon.com/Steel-Rainbow-Legendary-Underground-Becoming/dp/0762780738/ref=sr_1_1?ie=UTF8&amp;qid=1343743287&amp;sr=8-1&amp;keywords=steel+rainbow">Steel Rainbow: The Legendary Underground Guide to becoming an ‘80s Rock Star</a> (Lyons Press). His spare time is spent collecting albums, designing concert posters, playing the drums excessively loud, split kicking off any elevated surface and shredding on one of his way-too-many guitars. You can follow him on <a href="https://twitter.com/jordan_hart">Twitter @Jordan_Hart</a>.</em></p> http://www.guitarworld.com/eight-steps-becoming-legendary-hair-metal-guitarist#comments Jordan Hart Steel Rainbow Blogs Features Fri, 20 Mar 2015 12:21:22 +0000 Jordan Hart http://www.guitarworld.com/article/16418 Behind the Mask: A Brief History of Guitarists With an Identity Crisis http://www.guitarworld.com/behind-mask-brief-history-guitarists-identity-crisis-0 <!--paging_filter--><p>What possesses a musician to obscure his or her ugly mug with a mask or makeup? </p> <p>There are probably as many reasons as there are noodles in a box of Kraft Macaroni &amp; Cheese: showmanship, shyness, chronic acne and participation in the witness protection program are a few of the more popular explanations. </p> <p>Whatever the reason, musicians have worn masks since prehistoric times, when cavemen donned hollowed-out animal heads after the hunt and entertained the tribe with rousing renditions of “The Great White Buffalo.”</p> <p>Surprisingly, the history of mask-wielding rock guitarists is not well documented. While it’s difficult to ascertain who was the first, one likely candidate for the forefather of modern veiled rockers is Ron Haydock, a Gene Vincent wannabe who made his living writing adult pulp-fiction novels like Ape Rape and <em>Lesbian Stripper</em> and articles for <em>Famous Monsters</em> magazine. </p> <p>In the mid Sixties, Haydock donned long underwear, a ski mask and a Gibson ES-125 to perform as the Batman-inspired “superhero” character Rat Pfink in below-budget films like <em>Rat Pfink a Boo Boo</em> and <em>Lemon Grove Kids Meet the Monsters</em>. In the Seventies, several punk and experimental musicians donned masks to stand out from the crowd and express their uniqueness (or perhaps hide their shame). </p> <p>Guitarist Philip Lithman, better known as Snakefinger, performed a handful of shows onstage with San Francisco avant-garde visionaries the Residents while wrapped up like a mummy, before the group adopted their iconic eyeball masks in the Eighties. As part of the Mentors’ “rape rock” image, Eric Carlson (a.k.a. Sickie Wifebeater) wore a black executioner’s–cum–KKK hood, probably to avoid public beat-downs by pissed-off feminists and offended prison guards. </p> <p>Since then, the legion of masked men has grown. Eighties progressive hair rockers Crimson Glory started off wearing full-face silver masks, but after they discovered the face-melting, poodle-perm-wilting heat of performing while encased in plastic for an entire set, they switched to <em>Phantom of the Opera</em>–style half masks.</p> <p>Unfazed by such annoyances, Nashville-based surf-’mentalists Los Straitjackets perform onstage wearing leather Mexican wrestler <em>lucha libre</em> masks. Guitarists Bronson and Gravy of Mushroomhead still complain that Slipknot stole their mask shtick, but both bands probably wouldn’t exist if it weren’t for the path paved by Gwar. Body Count’s D-Roc rocked a Jason-style hockey mask allegedly to avoid the publicity resulting from the band’s song “Cop Killer,” but we think he didn’t want to be recognized by police as he cruised through Compton. </p> <p>Kiss may be known as the original makeup-clad rockers, but at least one year before Ace Frehley became “Space Ace,” guitarist Zal Cleminson of the Sensational Alex Harvey Band appeared onstage in mime makeup, looking like Marcel Marceau on crack. First or not, Kiss’ black-and-white evil clown legacy lives on with metal guitarists like Infernus of Gorgoroth and Abbath and Demonaz of Immortal. </p> <p>Ex–Limp Bizkit guitarist Wes Borland and Greg Tribbett of Mudvayne prefer a more colorful approach to makeup, painting their faces in colors not found in nature. One makeup-clad guitarist closest in spirit to original masked rocker Ron Haydock is the Misfits’ Doyle Wolfgang Von Frankenstein, who has appeared in several splatter films, married a female wrestler/stripper and has an übercool name. Of course, the influence of the great El Kabong should not be overlooked. </p> <p>Long suspected to be the alter ego of Quick Draw McGraw hiding behind a mask to avoid arrest for assault and battery and public intoxication (where do you think the “bong” in kabong came from?), the flamenco/tejano guitarist’s unique sartorial style and guitar destruction tendencies are notable for inspiring Esteban and Pete Townshend, respectively.</p> http://www.guitarworld.com/behind-mask-brief-history-guitarists-identity-crisis-0#comments Gwar Kiss Los Straitjackets Blogs News Features Fri, 20 Mar 2015 12:17:30 +0000 Chris Gill http://www.guitarworld.com/article/13377 Merch Madness Sale: Save 25 Percent on Any Single Item at Guitar World's Online Store http://www.guitarworld.com/march-madness-sale-save-25-percent-any-single-item-guitar-worlds-online-store <!--paging_filter--><p>It's Merch Madness time at the <a href="http://guitarworld.myshopify.com/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=MerchMadness15">Guitar World Online Store!</a></p> <p>Through 11:59 p.m. Monday, March 23, take 25 percent off the price of any single item!</p> <p>Just be sure to use code <strong>MADNESS15</strong> at checkout.</p> <p>Once again, that's <strong>MADNESS15</strong>!</p> <p><strong><a href="http://guitarworld.myshopify.com/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=MerchMadness15">Head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/march-madness-sale-save-25-percent-any-single-item-guitar-worlds-online-store#comments Merch Madness News Features Thu, 19 Mar 2015 10:58:56 +0000 Guitar World Staff http://www.guitarworld.com/article/23752 The 100 Greatest Metallica Songs of All Time http://www.guitarworld.com/100-greatest-songs-by-metallica <!--paging_filter--><p>Metallica are undeniably the most influential rock band of the past 30 years. That fact can be perceived simply by looking at the numbers. </p> <p>They are on the exclusive list of music artists who have sold more than 100 million records, and each of their albums has enjoyed multi-Platinum status, an achievement that even AC/DC, the Rolling Stones and U2 haven’t matched. </p> <p>And while they’ve never really had a bona fide pop hit, dozens of Metallica songs — including “Seek and Destroy,” “Master of Puppets” and “Enter Sandman” — have become vital landmarks on the vast landscape of music history, inspiring new generations of music fans and aspiring guitarists much the same way “Johnny B. Goode,” “(I Can’t Get No) Satisfaction” and “Stairway to Heaven” inspired previous generations.</p> <p>In that respect, Metallica’s influence can be observed simply by tuning into the very culture of modern music. To put it simply, Metallica redefined metal music. During the early Eighties, bands like Iron Maiden and Judas Priest were considered heavy metal. But after Metallica burst out of the underground and into mainstream awareness, the terms heavy and metal didn’t quite seem to fit those bands any more. </p> <p>Metallica’s sonic signatures — extreme high-gain distortion, rapid-fire down-picked riffs and jackhammer double–bass drum rhythms — became the new vernacular for metal. Since Metallica’s arrival in 1983, thousands of bands—including industrial groups like Ministry, nu-metal newcomers like Korn and unabashed Metallica clones like Trivium—have adopted those characteristics as their own. </p> <p>Having deep influences has certainly helped Metallica hone their craft. Drummer Lars Ulrich’s vast collection of Seventies Euro metal, punk rock and NWOBHM records provided a bottomless well of inspiration during Metallica’s early days, when the band consisted of Ulrich, guitarist/vocalist James Hetfield, lead guitarist Kirk Hammett (who replaced founding guitarist Dave Mustaine) and bassist Cliff Burton. </p> <p>The band members never stopped searching for new inspirations, discovering unlikely muses like Ennio Morricone’s spaghetti western scores, Tom Waits’ lowlife junkyard blues and Nick Cave’s gothic post-punk swamp rock. Along the way they lost members: Burton died in 1986 and was replaced by Jason Newsted, who left in 2001 and was later replaced by Robert Trujillo. But even as Metallica evolved from progressive thrash epics in the Eighties to shorter and more melodic songs in the Nineties, they never lost the essence of their personality — an indefinable intensity that makes Metallica songs as recognizable as any classic from the Beatles or Led Zeppelin catalogs.</p> <p>Considering the band’s lasting and ever-growing influence, we felt an examination of its contributions was long overdue. The following 100 songs are significant mileposts that have shaped and defined much of the hard rock and metal music made today, and they’re also the source of some of the coolest riffs ever written for the guitar. No wonder Metallica remain a powerful force to be reckoned with.</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/100-greatest-songs-by-metallica#comments GW Archive Metallica Guitar World Lists News Features Magazine Wed, 18 Mar 2015 15:22:52 +0000 Guitar World Staff http://www.guitarworld.com/article/11301 Acoustic Rush: The Top 10 Acoustic Rush Songs http://www.guitarworld.com/acoustic-nation-top-acoustic-rush-songs-all-time <!--paging_filter--><p>If you’re a fan of Rush like I am, you probably know them for their hard-hitting, prog masterpieces like “Tom Sawyer,” “The Spirit of Radio” and “Limelight.”</p> <p>Decidedly electric and undeniably energetic, Rush’s intricate arrangements and complex rhythms characterize their catalog.</p> <p>But the band also spins out some masterfully created and performed acoustic parts and songs.</p> <p>Alex Lifeson, Rush’s guitarist, is no stranger to the acoustic and has been known to lend his talents to the mandolin, mandola and even the bouzouki when the mood strikes him.</p> <p>Here are some of our top acoustic moments from the Rush catalog.</p> <p>Check ‘em out. Did we miss any of your favorites?<br /> <br /><br /> <strong>“Closer to the Heart” — <em>A Farewell to Kings</em></strong></p> <p>Perhaps one of the best-known acoustic moments from the band, this lovely picked acoustic intro on “Closer to the Heart” is perhaps one of the most chart-topping of their acoustic contributions.</p> <p>Released in 1977 on <em>A Farewell to Kings</em>, it was the first Rush song to have an external co-writer, namely Peter Talbot, a friend of drummer and lyricist Neil Peart.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/kyhW2v0NDM0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“A Farewell to Kings” — <em>A Farewell to Kings</em></strong></p> <p>This song exemplifies Rush’s preference for medieval, Renaissance-style music. With a distinctly lute-like feel, “A Farewell to Kings” opens with a sweet, fingerpicked instrumental soliloquy before rolling into their classic rhythmic electric downbeat.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/eV-5iNu6Sd8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“The Trees” — <em>Hemispheres</em></strong></p> <p>Another great acoustic intro, and one of my faves. It’s all about a battle between trees that opens with another lovely fingerpicked performance.</p> <p>Check out the entire song for some awesome synth action too!</p> <p>Lyricist/drummer Neil Peart was asked in the April/May 1980 issue of <em>Modern Drummer</em> if there was a message in the lyrics. He said, "No. It was just a flash. I was working on an entirely different thing when I saw a cartoon picture of these trees carrying on like fools. I thought, 'What if trees acted like people?' So I saw it as a cartoon really, and wrote it that way. I think that's the image that it conjures up to a listener or a reader. A very simple statement."</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/JnC88xBPkkc" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“Rivendell” — <em>Fly By Night</em></strong></p> <p>Here’s a really cool entry. It’s “Rivendell” updated with a <em>Lord of the Rings</em> video. This is a rare all-acoustic song for them, with finger-picked acoustic guitar throughout the entire performance.</p> <p>Poignant and gentle lyrics make this Geddy Lee and Alex Lifeson duet calming and delicate.</p> <p>This song originally appeared on their 1975 album, <em>Fly by Night</em>.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/M_2y3_PZdGI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“Lessons” — <em>2112</em></strong></p> <p>This song incorporates some strummy steel string fun. Upbeat and seemingly straight ahead, it kicks into high gear as many Rush songs do, dropping the acoustic for an electric interlude.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/YbgbLfDIVUQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“Fountain of Lamneth” — <em>Caress of Steel</em></strong></p> <p>I’ll admit it, I didn’t know this one. In classic Rush style, it opens with a gentle and heartfelt acoustic intro before rolling into an electric, intense prog section.</p> <p>“The Fountain of Lamneth” is the fifth and final track from Rush's third album, <em>Caress of Steel</em>. The music was written by Geddy Lee and Alex Lifeson and the lyrics were written by Neil Peart. It chronicles a man's journey to find the Fountain of Lamneth.</p> <p>It’s a six-part epic stretching almost 20 minutes. Lots of good stuff in there!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/4mC7j-fxqfs" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“Resist” — <em>Test For Echo</em></strong></p> <p>In 1996 Rush released this song on their <em>Test for Echo</em> album. In the early 2000’s the band introduced an acoustic version of the song as part of their Rush in Rio performance during the Vapor Trails tour.</p> <p>This performance sees Geddy Lee and Alex Lifeson on acoustic guitars for a truly inspired performance.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/mb1UaRu0JVA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“Tears” — <em>2112</em></strong></p> <p>Here’s a lovely ballad from <em>2112</em>. This album was recorded and released around the time Geddy married his current wife Nancy, so perhaps she was the inspiration.</p> <p>"What would touch me deeper? Tears that fall from eyes that only cry. Would it touch you deeper than tears that fall from eyes that know why?" Beautifully said.</p> <p>This kinder, gentler Rush is a nice variation from the rest of the album, which is characterized by the epic seven-part title suite written by Geddy Lee and Alex Lifeson.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/2MrtBAf215g" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“Broon’s Bane” — <em>Exit...Stage Left</em></strong></p> <p>Here’s Alex Lifeson treating us to his wonderful acoustic chops. This instrumental is featured on Rush's live album, <em>Exit...Stage Left</em>. </p> <p>It was performed as an extended intro for "The Trees." The song is named after Terry Brown, who produced <em>Exit...Stage Left</em> and 10 other Rush albums. Interestingly, “Broon's Bane” is not heard on any other live or studio recording by Rush.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/7f4EzGBC7Cg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“Making Memories” — <em>Fly By Night</em></strong></p> <p>This spunky strummed song is from their 1975 album <em>Fly By Night.</em> The striking, rhythmic acoustic strum carries throughout this one.</p> <p>The song talks of good times on the road and spins into a kickin’ electric solo.</p> <p>Yep, “Maybe road life’s not so bad.” You go, Geddy.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/vygLzeNMiDI" 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="/rush">Rush</a> </div> <div class="field-item even"> <a href="/geddy-lee">Geddy Lee</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/acoustic-nation-top-acoustic-rush-songs-all-time#comments Acoustic Nation Alex Lifeson Geddy lee Neil Peart News Rush Blogs Videos News Features Wed, 18 Mar 2015 14:30:51 +0000 Laura B. Whitmore http://www.guitarworld.com/article/23735