Features http://www.guitarworld.com/taxonomy/term/5/all en Dear Guitar Hero: Buddy Guy Discusses Muddy Waters, Fender Strats, Touring with The Rolling Stones and More http://www.guitarworld.com/dear-guitar-hero-buddy-guy-discusses-muddy-waters-fender-strats-touring-rolling-stones-and-more <!--paging_filter--><p><em>He’s been called the greatest living guitarist by Eric Clapton, he’s played with blues legends like Muddy Waters and Howlin’ Wolf, and his new double album, </em>Rhythm and Blues<em>, is a powerhouse set with guest shots by Aerosmith, Kid Rock, Gary Clark Jr., Beth Hart and Keith Urban. But what </em>Guitar World<em> readers really want to know is....</em></p> <p><strong>What’s the most important thing you learned from Muddy Waters? — Marc Merriwether</strong></p> <p>That you should play music for the love of it, not for the money. It’s 57 years since I first arrived in Chicago from Baton Rouge, Louisiana, and when I came here I didn’t have the slightest idea that I would be good enough to play guitar with Muddy or even make a record. I was working as a custodian at Louisiana State University in Baton Rouge. </p> <p>But I come up to Chicago, and the next thing I know, Muddy was asking me to play. And I found out that the money Muddy was making wasn’t much more than I was making working day jobs at LSU. But here’s Howlin’ Wolf, Muddy Waters, Little Walter, Sonny Boy Williamson…and they were having so much fun just playing. And I learned that they were playing for the love of music, not the love of money. </p> <p><strong>What are you driving these days? — Butch Teagarden</strong></p> <p>I’m into classic cars, man. I got a ’55 T-Bird, a ’58 Edsel and all them old cars. I got a lot of what they call “vintage” cars. Eric Clapton can spot one of them a mile away and then asks me how much I want for it. Eric talked me into buying a Ferrari about 20 years ago. </p> <p>I read that they had caught him driving one in Europe, and I think he was doing 170 miles an hour. The cops couldn’t catch him. They had to tell ’em to stop him in the next town. I asked him about it and he said, “Man, you must get a Ferrari. It sits down.” But that damn thing … You know, when you get to my age, there isn’t a lot of room inside a Ferrari. It’s like a prop plane. Even them big jumbo planes, if you go into the cockpit to see the pilot, he don’t have much room to move around or cross his legs and stuff. And every time I get in a Ferrari, I feel like I’m flying a plane. </p> <p><strong>Your string bends have always been awesome. What gauge strings do you use? — Paolo Sandoval</strong></p> <p>I was using very thin strings in the early days, when I made my first record, “Sit and Cry and Sing the Blues,” in 1958. I laugh about it now because they’d break so easily, being so thin. But they were real easy on your fingers. The thing is, I couldn’t always afford new strings when they broke. I’d go play a gig at night and I didn’t have but one string and could not afford another one. So I had to get heavier strings. </p> <p>Later on guys like Hendrix and Stevie Ray were using the really thick haywire strings, which would cut the tip of your finger if you bent them in the B.B. King style. B.B. King used to put glue on the tips of his fingers to protect the skin and keep them from bleeding. So right now I’m using an 11 for my first string, a 13 to 14 for the second, probably a 16 to 18 for the third. And for the wound strings I think I start around 28 and go up to 35 for the fifth string and maybe 40 for the number-six string. </p> <p><strong>What was it like opening the Rolling Stones in the Seventies? — Idriss Moussaka</strong></p> <p>In 1970, me and Junior Wells opened a whole tour for the Rolling Stones throughout Europe. And when you open a show for them, some fans are gonna look up and say, “That’s not the Rolling Stones!” Sometimes the few people there who knew us—two or three maybe—were okay. </p> <p>But the rest of the 40, 50 or 60 thousand were saying, “Who the hell is this?” A lot of people weren’t ready for me and Junior back then. But I kept saying to myself, “Well, they got us out here. Play a few licks and maybe you’ll sell a few more records next time you make one because somebody saw you with the Rolling Stones.” But it was exciting. And even today I get people right now coming up and saying, “I didn’t know who you was till I saw you on a stage with the Stones.”</p> <p><strong>How and when did you first know that that Fender Stratocaster was the guitar for you? — Doug Polanski </strong></p> <p>I saw the late Guitar Slim play when I was still very young. That was the first time I saw a Strat. He had a 100-foot cord coming in the door, playing “I Done Got Old.” And I’m saying, “Is that a guitar? What the hell is that?” Later on, I played with a guy named Big Poppa [Tilley]. He had a little three-piece band, two guitars and drums, and he played a little harmonica. And he bought a Strat for me to play in his band. </p> <p>That was the first time I got to play one. When I first came to Chicago, I had a Gibson Les Paul, but I was so in love with the Strat. So when the Les Paul got stolen, I got my first Strat, a ’57. One reason why I fell in love with the Strat back then was that acoustics and other guitars weren’t built so solid. If something happened, they could crack easy and all of that. Back then I couldn’t afford a new guitar if something happened to mine. </p> <p>And I found out the Strat has a steel rod in the neck and it was a solid piece of wood, so if you drop it you might scratch it, but you couldn’t hurt it. That’s what made me fall in love with it. Plus, Leo Fender had that tone and that sound on it, man. So I got hooked with that experience. </p> <p><strong>How did you like recording “Messin’ with the Kid” with Kid Rock on your new album? — Peter Brown </strong></p> <p>We had a great time. “Messin’ with the Kid” was the biggest record by my late musical partner, Junior Wells. And I always said, “You know, I’m waitin’ on Kid Rock to do this song.” He laughed when I told him, and said, “Man, I’ll come in and do it. I never thought of that.” I told him, “I beat you to it.” Kid Rock and I go back a long way. He’s into the deep blues. </p> <p>He was there when they honored me at the Kennedy Center awards at the White House last year. He said, “I wouldn’t miss it for the world.” Every musician you know of, even some of the hip-hoppers, are into some of the things we did way back then. </p> <p><strong>What is the real origin of the polka dots on your Strat? — Mia Sanderson</strong></p> <p>Well, I’m the oldest boy in my family. There were five of us: three boys and two girls. And when I left Louisiana for Chicago 57 years ago, my mother had a stroke and didn’t want me to go. She wasn’t even able to walk or talk right anymore, but she got to where she could understand a few things and I could understand her. </p> <p>And I wanted to make her feel good, so I say, “Well, I’m gonna go to Chicago and make more money than I’m making here, and I’m gonna be sending you money back and you’ll see how well I’m doing. I’m gonna drive back down to you in a polka-dot Cadillac.” I knew I was lying to her. And when she passed away in 1968, I said to myself, “You lied to your mama and never got a chance to tell her you were lying.” That bothered me. </p> <p>And one day I said to myself, “You know what? I’m gonna see if Fender will make me a polka-dot Strat.” At first they said they couldn’t do it, but then they hired a guy who said, ‘We can do it.’ They made me one or two, and then they tried it out at the NAMM show. </p> <p>They made 100 or 200, just to see what would happen, and they let me know the 200 were gone before they even got there. These days, I think I own about seven or eight of them. But I got some sons and grandsons come up to see me now. And sometimes I open up a case after they leave and the guitar is gone!</p> <p><strong>“Poison Ivy” is a track you originally cut for Vanguard Records in 1968. What made you want to revisit it on <em>Rhythm and Blues</em>? — Mike Mulcahy</strong></p> <p>Did I record it before? I don’t remember that. I know I would sing it in person. But I wanted to do it on my new album to honor the late Willie Mabon, who had a hit on Chess Records with “Poison Ivy” [in 1954]. When we got in the studio we were doing mostly new songs, but I wanted to honor a few people like Willie Mabon, Junior Wells and Guitar Slim by doing some of their songs. </p> <p><strong>What do you think of the new young generation of blues guitarists? — Bob Andres</strong></p> <p>I think they’re great. Gary Clark Jr., he’s a young man who plays on my new album. I’m really pulling for him, because it takes young people to keep the blues alive. Like another young guy I’m promoting—Quinn Sullivan. When I first met him, he was seven and he was playing as well as Eric Clapton, me, B.B. King or Jeff Beck or any of those guys. </p> <p>How did he learn all that at seven years old? Here I’m 77 and I still haven’t found some of those notes! He just turned 14 and we got a CD coming out on him soon. You know, we don’t get much airplay on the blues anymore, for some strange reason, until some young kid come along. That’s what happened with the British guys, like the Stones and Clapton. They opened the door. And Stevie Ray and all of them. Youth is the one to keep the blues going. That’s what makes the world go ’round, and that is what we need for the blues. I know it would put a big smile on Muddy’s face.</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="/buddy-guy">Buddy Guy</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/dear-guitar-hero-buddy-guy-discusses-muddy-waters-fender-strats-touring-rolling-stones-and-more#comments Buddy Guy Dear Guitar Hero GW Archive October 2013 Interviews News Features Magazine Wed, 30 Jul 2014 14:13:33 +0000 Alan di Perna http://www.guitarworld.com/article/19129 September 2014 Guitar World: The Black Keys 'Turn Blue,' Return of Judas Priest, Eric Clapton Speaks, Amazing Practice Amps http://www.guitarworld.com/september-2014-guitar-world-black-keys-turn-blue-return-judas-priest-eric-clapton-speaks-amazing-practice-amps <!--paging_filter--><p><strong>The all-new September 2014 issue of Guitar World is <a href="http://guitarworld.myshopify.com/products/guitar-world-september-2014-the-black-keys/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWSEP14">available now!</a></strong></p> <p>In the September 2014 issue of <em>Guitar World</em>, we talk with <strong>Dan Auerbach</strong> of <strong>the Black Keys</strong>. Auerbach tells how the group made its latest hit album, <em>Turn Blue</em>, in the midst of personal hardship, using a handful of guitars, amps and effects and whole lotta spontaneous inspiration. Then, the guitarist reveals his gear. Learn which guitars, amps and effects are behind the band's strange musical brew.</p> <p>Then, <em>Guitar World</em> focuses on <strong>Judas Priest</strong>. A few years ago, it looked as though Judas Priest were finished. But with the ferocious new album <em>Redeemer of Souls</em>, the Metal Gods have regained their mojo. </p> <p>Next, the GW editors come up with a list of 10 vintage guitars that at one point were considered mutant oddities from an alternate universe. But in the hands of <strong>Muddy Waters, Jack White, Dan Auerbach</strong> and other visionary players, these pawnshop rejects became six-string superheroes.</p> <p>Finally, legend <strong>Eric Clapton</strong> salutes and pays tribute to his friend and inspiration <strong>J.J. Cale</strong> and talks about <em>The Breeze</em>, his new star-studded tribute to the late Oklahoma guitarist and songwriter.</p> <p>PLUS: <strong>Neal Schon</strong>, 17 Best Practice Amps, <strong>Dave Mustaine, Linkin Park</strong> and much more!</p> <p><strong>Five Songs with Tabs for Guitar and Bass</strong></p> <p>• Judas Priest - "Electric Eye"<br /> • Cream - "Sunshine of Your Love"<br /> • Animals As Leaders - "CAFO"<br /> • Ed Sheeran - "Sing"<br /> • Black Keys - "Lonely Boy"</p> <p><strong><a href="http://guitarworld.myshopify.com/products/guitar-world-september-2014-the-black-keys/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWSEP14">Head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/september-2014-guitar-world-black-keys-turn-blue-return-judas-priest-eric-clapton-speaks-amazing-practice-amps#comments September 2014 News Features Wed, 30 Jul 2014 14:12:41 +0000 Guitar World Staff http://www.guitarworld.com/article/21881 Alex Lifeson and Geddy Lee of Rush Choose 22 Songs That Inspired Them Most http://www.guitarworld.com/60-minutes-alex-lifeson-and-geddy-lee-rush <!--paging_filter--><p>In this interview from 2009, Rush’s guitarist — Alex Lifeson — and bassist — Geddy Lee — choose 60 minutes' worth of the music that is closest to their hearts, essentially putting together the ultimate Rush-approved "mixed tape."</p> <p><strong>ALEX LIFESON:</strong></p> <p><strong>“SINK THE BISMARCK”</strong> Johnny Horton, <em>Greatest Hits</em> (1990)</p> <p>I fell in love with music because of this song. It was the first single I bought. I was around 11 years old, which was about a year before I started playing guitar. </p> <p>It’s a song about the Bismarck, a German battleship that sunk during World War II. It’s a very thematic, rousing song. I think I mowed two lawns or something to make enough money to buy it.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/KecIdlEAKhU" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“FOR WHAT IT’S WORTH” </strong> Buffalo Springfield, <em>Buffalo Springfield</em> (1966)</p> <p>This was the first rock song that had a big influence on me. I remember hearing it on the radio in my dad’s car when I was a kid. Buffalo Springfield were unlike the other bands of the ‘San Francisco sound’; they were more country sounding. Stephen Stills and Neil Young trade leads on this one. </p> <p>I like Young’s very fast vibrato and edgy, truncated playing style, particularly on his soloing, whereas Stills’ sound is sweeter and smoother. This is still one of my all-time favorite songs. In fact, Rush did a version of it on our covers tribute EP, <em>Feedback</em>.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/DIoKr9VDg3A" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“SHAPES OF THINGS” </strong> Jeff Beck, <em>Truth</em> (1968)</p> <p>This is another song we covered on <em>Feedback</em>. Jeff Beck has a tone like no one else, maybe because he doesn’t play with a pick very much. He also has a very strong left hand and can move the strings almost effortlessly. </p> <p>He’s still cranking it out today, but he doesn’t put out albums as often as I’d like; he works only when he feels like it. Before <em>Truth</em>, Beck was an integral part of the Yardbirds, and their recording of this song is great. But this version, with Rod Stewart’s voice on top, adds a whole new element to the song. </p> <p>It sounds tougher, bigger and beefier.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/0pzMjZSchFg" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“MY GENERATION” </strong> The Who, <em>The Who Sings My Generation</em> (1965)</p> <p>Pete Townshend is one of my greatest influences. More than any other guitarist, he taught me how to play rhythm guitar and demonstrated its importance, particularly in a three-piece band. </p> <p>His chording and strumming always took up the right amount of space. The first time I heard this song was in the basement of Rush’s original drummer, John Rutsey. John had two older brothers, both of whom were music fiends, and they always had whatever new album had just come out.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/uswXI4fDYrM" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“ARE YOU EXPERIENCED” </strong> Jimi Hendrix, <em>Are You Experienced</em> (1967)</p> <p>This was another record I heard for the first time at Rutsey’s place. What attracts me to this song is all the backward stuff. It sounds so alien but so right and perfect. </p> <p>Hendrix was a natural genius who played many beautiful styles. Talent as great as his doesn’t come through life very frequently. Hendrix was one in a billion.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/k66ED403Al8" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong> “ALL ALONG THE WATCHTOWER” </strong> Jimi Hendrix, <em>Electric Ladyland</em> (1968)</p> <p>This is one of the most beautiful songs and arrangements ever recorded. Hendrix took a Bob Dylan folk song and turned it into a symphony. The acoustic guitar on this song [<em>played by Dave Mason</em>] has such beautiful compression. </p> <p>It doesn’t slap you; it caresses you. This song grabs your heart and sails away with it; it sounds unlike anything anyone has ever done. That was the magic of Hendrix: even if you copied what he recorded and tried to play like him, it could never be the same.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/z_L4RtU1iRg" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“HOW MANY MORE TIMES” </strong> Led Zeppelin, <em>Led Zeppelin</em> (1969)</p> <p>Of any guitarist, Jimmy Page was my biggest influence. I wanted to look, think and play like him. Zeppelin had a heavy influence on Rush during our early days. Page’s loose style of playing showed an immense confidence, and there are no rules to his playing. </p> <p>I met Page at a Page/Plant concert in Toronto in 1998. I was acting like a kid, all googly eyed. I was freaking out and my hands were shaking. I was so thrilled to meet him because his work meant so much to me.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/NBqbuGgt0Us" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“KASHMIR” </strong>Led Zeppelin, <em>Physical Graffiti</em> (1975)</p> <p>This is an absolutely brilliant song, an all-time classic. ‘Kashmir’ has such a wonderful, exotic Middle Eastern feel to it — it’s like no other song of its era — and <em>Physical Graffiti</em> is a mind-blowing album. </p> <p>In a roundabout way, ‘Kashmir’ influenced ‘A Passage to Bangkok’ [<em>2112</em>], which has a similar sort of odd-tempo arrangement to the verses.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/sfR_HWMzgyc" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“(I CAN’T GET NO) SATISFACTION” </strong> The Rolling Stones, <em>Hot Rocks, 1964–1971</em> (1972)</p> <p>This was the second single I bought. One summer when I was 12, I went to Yugoslavia to visit my relatives. I took one record with me — this one. I played it for my relatives because I wanted my cousins to hear it. </p> <p>The Stones had that bluesy, dirty, bad-boy image, which I much preferred to cleaner-sounding bands like the Beatles or the Searchers. The Stones were more dangerous than other bands of the Sixties. It looked like they had more fun than the Beatles — like they stayed up later.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/3a7cHPy04s8" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“COMFORTABLY NUMB” </strong> Pink Floyd, <em>The Wall</em> (1979)</p> <p>David Gilmour is so well respected, and while he’s often overlooked among guitarists, I think people who appreciate rock guitarists regard him as one of the best. </p> <p>He’s a brilliant player and has such passion and feel. You can sense he’s a smart man: you can hear how he puts it all together and how it fits, which is a real testament to his songwriting. He’s such a bluesy player, to boot. My eyes water whenever I hear this song. </p> <p>Pink Floyd have such incredible arrangements; their songs are rich and complex but not particularly complicated. They can take as long as they want to tell you a story, but it’s always interesting.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/y7EpSirtf_E" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>“IN THE DEAD OF NIGHT” </strong> U.K., <em>U.K.</em> (1978) <p>Allan Holdsworth has an amazing, out-of-this-world liquidity. What a genius! His fingers are constantly moving. Pulls make up the bulk of his playing; I don’t think he does much picking. </p> <p>I was listening to Holdsworth around the time of <em>Moving Pictures</em> [<em>1981</em>], and you can indirectly hear his influence on my playing on ‘YYZ.’</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/hMu7XUc9OcI" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“THIRD EYE” </strong> Tool, <em>Ænima</em> (1996)</p> <p>Adam Jones is a fabulous guitarist and songwriter, and Tool are such a powerful band. You know it’s Tool when you hear them, because they’re intensely dynamic, yet heavy, even when they’re playing is light. I listened to this album over and over; I don’t do that very often. </p> <p>Tool have an interesting, intelligent approach to song construction and lyrics. It’s just too bad we don’t hear from them more often.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/7zV78IgXzB0" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“AH VIA MUSICOM” </strong> Eric Johnson, <em>Ah Via Musicom</em> (1990)</p> <p>I’ve never heard anybody with a better tone than Eric Johnson! He played with us on a couple of tours and I’d watch his performance most every night. </p> <p>There’s a smoothness to his playing that is so elastic. Eric is very accurate and articulate but soulful at the same time. If anybody could come close to playing like Hendrix, he could.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/bVdb9KHfFKM" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>GEDDY LEE</strong></p> <p><strong>“THICK AS A BRICK” </strong> Jethro Tull, <em>Thick As a Brick</em> (1972)</p> <p>In my view, this is the first truly successful concept album by a British prog-rock band. They even brought a flute into heavy rock music. How dare they! [<em>laughs</em>] </p> <p>Their music is so brilliantly written and well put together, what with its hard-to-play parts and odd time signatures, not to mention the great guitar sounds of the totally underrated Martin Barre. </p> <p>And I love how, no matter what influences they brought into the music, from classical to folk, they always did it in a rock context.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/u9bk2MrMGaA" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“TIME AND A WORD” </strong> Yes, <em>Time and a Word</em> (1970)</p> <p>I didn’t know who Yes were until a friend loaned me this record. I was totally amazed. I’d never heard a band like this, and I’d never heard a bass player placed so upfront in the mix. </p> <p>Chris Squire had such a driving, aggressive sound, and it made this such a pivotal, influential song for me. Squire’s melodies were brilliant, and they were definitely out there. </p> <p>But they were always essential to the skeletal forms of those songs; he never wandered off out of context. His lines help hold the songs together.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/AaYUSokuRTo" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“HOW MANY MORE TIMES” </strong> Led Zeppelin, <em>Led Zeppelin</em> (1969)</p> <p>I saw them in Toronto at a little place called the Rockpile. We were in the second row, and when they played this song it just blew me away. It reaffirmed for me all the creative potential in blending hard rock with progressive music. John Paul Jones was the unsung hero in that band. </p> <p>What bass player of that period didn’t know how to play that riff? I still jam to it sometimes at soundchecks.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/NBqbuGgt0Us" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“I AIN’T SUPERSTITIOUS” </strong> Jeff Beck, <em>Truth</em> (1968)</p> <p>If I had to pick a favorite guitarist of all time, it would probably be Jeff Beck. I mean, was there a better guitar sound ever? I think this was the first great Jeff Beck ‘moment,’ the first time when you’d hear something and know that it couldn’t be anybody but him. He was such an amazing pioneer, and just an incredible stylist. </p> <p>The notes he squeezes out of that thing with a whammy bar, a volume control knob and his fingers are simply incredible.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/SYlWNb9tmtk" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>“OVER UNDER SIDEWAYS DOWN” </strong> The Yardbirds, <em>Roger the Engineer</em> (1966) <p>Jeff Beck again, playing one of the most unique guitar lines ever. It’s really hard to play that thing — it manages to grab something essential from the Eastern quarter-tone style without just being imitative of Indian music. </p> <p>And it’s the hook to a pop song — back when pop, particularly in England, could be a platform for experimentation and innovation. Beck, Page, Clapton and some other Brits really discovered a totally new sound. </p> <p>They figured out how to get a pop angle on the blues by electrifying it, and it became a profound way for guitarists to speak through music.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/MLv7viCMGo8" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“WATCHER OF THE SKIES” </strong> Genesis, <em>Foxtrot</em> (1972)</p> <p>This is a very strange, ominous tune from very early Peter Gabriel-era Genesis. The time signature was completely odd — it was a little like Yes, but darker and much more theatrical. </p> <p>The music wasn’t about people stepping out and doing bluesy solos; they were taking a high level of musicianship and weaving it into the guts of the song, playing with layers of melody, odd time signatures and strange guitar riffs. What fascinated me was how these intricate parts all supported one another — and the song.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/57HicYcY4Ow" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>“3/5 OF A MILE IN TEN SECONDS” </strong> Jefferson Airplane, <em>Bless Its Pointed Little Head</em> (1969) <p>A great live record, where the band takes some risks and really changes the arrangements, especially rhythmically. Jack Casady, one of the truly great, underrated bass players, is the star of this record. </p> <p>His tone was very different from other American bassists; it was edgier, and his riffs were really challenging — they aggressively pushed the songs along. I like when a bass player gets a little pushy and won’t keep his place. He steps out of line, but in a great way.”</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/E2tr-UctURQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“SPOONFUL” </strong> Cream, <em>Fresh Cream</em> (1966)</p> <p>‘Crossroads’ was the song you had to learn to play if you were in a band. Clapton just flies through that song. But for me, ‘Spoonful’ was more about Jack Bruce’s great voice and adventurous playing. Bruce, like all the bass players I’ve mentioned, wasn’t content to be a bottom-end, stayin'-the-background bassist. </p> <p>He’s playing a Gibson bass obviously too loud, to where it’s distorting the speakers. But it gave him this aggressive sound and a kind of spidery tone, and I love everything about it.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/Y-lRmVOGw3M" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“MY GENERATION” </strong> The Who, <em>Live at Leeds</em> (1970)</p> <p>What an amazing guitar sound on this album! And [<em>Pete</em>] Townshend even plays a few solos, which he usually never does. Was there anybody better at expressing themselves through power chords? </p> <p>I just loved that record, and I know Alex did, too. Every time we jammed as a young band we would wind up jamming parts of that record.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/uY9sDk6NyQY" frameborder="0" allowfullscreen></iframe></p> <p>Can't get enough Rush? <a href="http://secure.nps1.net/guitarworld/index.php?main_page=product_info&amp;cPath=5&amp;products_id=13&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=60MinutesWith">Check out Guitar Legends: Rush, which is available now at the Guitar World Online Store.</a></p> <p><em>Photo: rush.com</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/geddy-lee">Geddy Lee</a> </div> <div class="field-item even"> <a href="/rush">Rush</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/60-minutes-alex-lifeson-and-geddy-lee-rush#comments 60 Minutes Alex Lifeson Geddy lee GW Archive Rush Interviews News Features Tue, 29 Jul 2014 16:38:11 +0000 Guitar World Staff http://www.guitarworld.com/article/964 'Learn Slide Guitar' DVD Teaches Slide Scales, Improvising, Muting, Vibrato and More http://www.guitarworld.com/learn-slide-guitar-dvd-teaches-slide-scales-improvising-muting-vibrato-and-more <!--paging_filter--><p>The <em>Learn Slide Guitar</em> DVD is <a href="http://store.guitarworld.com/collections/dvds/products/learn-slide-guitar-dvd/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=SlideGuitarDVD">available now at the Guitar World Online Store.</a></p> <p>It's the ultimate DVD instructional guide to playing slide guitar like a pro. The disc, which was designed for beginning-to-intermediate guitar players, contains more than two hours of lessons that will help you play in open and standard tunings, learn slide scales for soloing in all keys, plus improvising, open-tuning chord forms, muting, vibrato, Delta and electric blues and more.</p> <p><strong>The <em>Learn Slide Guitar</em> DVD contains</strong>:</p> <p><em>Chapter 1: Introduction</em></p> <p> • Performance/DVD Objectives<br /> • Wearing the Slide: What Finger?<br /> • String Action/String Gauge<br /> • Picking: Fingers vs. Pick<br /> • Slide Types/Materials</p> <p><em>Chapter 2: Open E Tuning</em></p> <p> • Open E Tuning: E B E G# B E<br /> • Chord Forms in Open E Tuning<br /> • Slide Scales for Soloing<br /> • Slide Positioning/Intonation<br /> • Right-and Left-Hand Muting Techniques<br /> • Expanding Basic Scale Position<br /> • Using Open Strings<br /> • E Major Pentatonic<br /> • E Major Hexatonic<br /> • Medium-Slow Shuffle, Elmore James Style<br /> • Medium-Slow Shuffle, Johnny Winter Style<br /> • E Shuffle, a la Robert Johnson<br /> • Duane Allman Style<br /> • Ry Cooder Style<br /> • Derek Trucks Style</p> <p><em>Chapter 3: Open D Tuning</em></p> <p> • Open D Tuning: D A D F# A D<br /> • Johnny Winter Style</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/W61FbTm3sLU" frameborder="0" allowfullscreen></iframe></p> <p><em>Chapter 4: Open A Tuning</em></p> <p> • Open A Tuning: E A E A C# E<br /> • Chord Forms in Open A Tuning<br /> • Slide Scales for Soloing<br /> • Using Open Strings<br /> • John Lee Hooker Style<br /> • Johnny Winter Style<br /> • Robert Johnson/Sleepy John Estes Style<br /> • Muddy Waters Style</p> <p><em>Chapter 5: Open G Tuning</em></p> <p> • Open G Tuning: D G D G B D<br /> • Slide Scales for Soloing<br /> • Muddy Waters/Johnny Winter Style<br /> • Keith Richards Style<br /> • Mick Taylor Style</p> <p><em>Chapter 6: Standard Tuning</em></p> <p> • Slide Scales for Soloing<br /> • Slow Blues in E, Robert Nighthawk Style<br /> • Earl Hooker/Wah-Wah Slide Style<br /> • a la "Statesboro Blues"</p> <p><em>Chapter 7: Vibrato</em></p> <p><em>Chapter 8: Standard Tuning with a Twist</em></p> <p> • Stevie Ray Vaughan's G String up One Half Step to G#</p> <p>For more about this exclusive DVD, visit the <a href="http://store.guitarworld.com/collections/dvds/products/learn-slide-guitar-dvd/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=SlideGuitarDVD">Guitar World Online Store.</a></p> http://www.guitarworld.com/learn-slide-guitar-dvd-teaches-slide-scales-improvising-muting-vibrato-and-more#comments Mick Taylor News Features Tue, 29 Jul 2014 16:37:50 +0000 Guitar World Staff http://www.guitarworld.com/article/16398 Mikael Akerfeldt of Opeth Discusses Camel's 'Moon Madness' — The Record That Changed My Life http://www.guitarworld.com/mikael-akerfeldt-opeth-discusses-camels-moon-madness-record-changed-my-life <!--paging_filter--><p><em>Mikael Akerfeldt of Opeth chooses (and discusses) the record that changed his life.</em></p> <p><strong>Camel</strong><br /> <em>Moon Madness</em> (1976)</p> <p>“I was already in my twenties when I first heard it. I was working at a record store in Stockholm at the time, and one of my co-workers, who was in his early forties, suggested I check out Camel. </p> <p>"I bought a couple of their albums on second-hand vinyl, including <em>Moon Madness</em> and <em>The Snowgoose</em>, and took them home on a lunch break. I was floored by <em>Moon Madness</em> and especially by Andy Latimer’s guitar playing. It was just what I’d been looking for—finally, someone to copy! I had always leaned toward hard-rock players like Blackmore, but this was something new. It was so heartfelt and emotional, and every note felt like it served a purpose. </p> <p>“I was also amazed by the compositions, as well as the solos, and of course, Latimer’s guitar tone. One of the best guitar solos is in a song called ‘Lunar Sea.’ It’s long and fantastically executed. He really builds it to a splendid climax. That solo that has highly influenced me. In fact, there’s a song on our new album, <em>Ghost Reveries</em>, called ‘The Baying of the Hounds,’ and my solo on it definitely has Andy’s sound and his way of building up the drama of solos. </p> <p>"Also, on our new track ‘Beneath the Mire,’ there’s a unison part played by me on guitar and by keyboardist Per Wiberg on the Moog synthesizer, and it sounds very Camel-esque. You listen to that and you think, Well, it’s Camel!”</p> <object width="620" height="365"><param name="movie" value="//www.youtube.com/v/sAgE5L3tPhM?version=3&amp;hl=en_US" /><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><embed src="//www.youtube.com/v/sAgE5L3tPhM?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="620" height="365" allowscriptaccess="always" allowfullscreen="true"></embed></object><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="/opeth">Opeth</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/mikael-akerfeldt-opeth-discusses-camels-moon-madness-record-changed-my-life#comments Camel July 2014 Mikael Åkerfeldt Moon Madness Opeth The Record that Changed My Life Interviews News Features Magazine Mon, 28 Jul 2014 17:01:51 +0000 Mikael Akerfeldt http://www.guitarworld.com/article/21931 Big Strokes: A Beginner's Guide to Sweeping 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 Mon, 28 Jul 2014 16:41:30 +0000 Charlie Griffiths http://www.guitarworld.com/article/17113 Learn Hybrid Picking, Bending, Open-String Licks and More with 'Red Hot Country Guitar' Book/CD http://www.guitarworld.com/learn-hybrid-picking-bending-open-string-licks-and-more-red-hot-country-guitar-bookcd <!--paging_filter--><p><em>Red Hot Country Guitar</em> is the complete guide to playing lead guitar in the styles of Pete Anderson, Ray Flacke, Danny Gatton, Albert Lee, Brent Mason and more! </p> <p>This book-and-CD pack will take your country guitar playing to the next level with loads of red-hot licks, techniques, solos, theory and more! </p> <p>You'll learn: hybrid picking, single-note soloing, open chord licks, double stops, bending, open-string licks, licks in the style of the masters, CAGED system, chord and scale diagrams, and more.</p> <p><strong><a href="http://store.guitarworld.com/collections/tab-books/products/red-hot-country-guitar/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=RedHotCountry">This 88-page book is available now at the Guitar World Online Store for $17.95.</a></strong></p> http://www.guitarworld.com/learn-hybrid-picking-bending-open-string-licks-and-more-red-hot-country-guitar-bookcd#comments News Features Mon, 28 Jul 2014 16:40:41 +0000 Guitar World Staff http://www.guitarworld.com/article/18757 Kenny Wayne Shepherd Discusses Muddy Waters' 'Hard Again' — The Record That Changed My Life http://www.guitarworld.com/kenny-wayne-shepherd-discusses-muddy-waters-hard-again-record-changed-my-life <!--paging_filter--><p><em>Kenny Wayne Shepherd chooses (and discusses) the record that changed his life.</em></p> <p><strong>Muddy Waters</strong><br /> <em>Hard Again</em> (1977)</p> <p>"<em>Hard Again</em> is not just one of the greatest blues albums of all time, it's one of the greatest albums of all time. It came out the year I was born, in 1977, on Blue Sky Records. Johnny Winter produced and played guitar on it. </p> <p>"It's packed with great blues musicians: James Cotton on harmonica, Pinetop Perkins on piano, Willie 'Big Eyes' Smith on drums and 'Steady Rollin'' Bob Margolin on guitar as well. When I was three years old, my dad took me to see Muddy Waters and John Lee Hooker. That was my first concert and my introduction to the blues. So even though I was young when I discovered <em>Hard Again</em>, I was already a fan. </p> <p>"My dad was a DJ who did the morning show at a local radio station when I was growing up. I would drive into work with him in the morning and hang out until it was time for me to go to school. Then another DJ who had the overnight shift would take my dad's car and drive me to school... only we would pull around the corner—I was 13 years old at the time—and the guy would jump out of the driver's seat and we would switch places. He would let me drive my dad's car to school. And the first thing I would do is put on this Muddy Waters record and crank it up, man. Every single day, on the way to middle school."</p> <p>"That album changed me in a lot of ways. It has a lot to do with my interest in blues music. But also I decided that, if I was gonna sing, I wanted to sound like Muddy Waters. But I couldn't do it when I was young. That's one reason why I shied away from singing for so long and just focused on the guitar. </p> <p>"So that album definitely changed my life, because for as long as I can remember listening to it, it's been my favorite album and it's made me want to play the blues. It inspires me every time I listen to it. It makes me want to run and pick up a guitar and start playing."</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/ZoVO9zZTJ10" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/kenny-wayne-shepherd-discusses-muddy-waters-hard-again-record-changed-my-life#comments undefined Interviews News Features Magazine Fri, 25 Jul 2014 20:16:39 +0000 Kenny Wayne Sheperd http://www.guitarworld.com/article/21927 Learn Foundations of Jazz Guitar with '20 Essential Jazz Licks' DVD http://www.guitarworld.com/learn-foundations-jazz-guitar-20-essential-jazz-licks-dvd <!--paging_filter--><p>Master the skills and stylistic techniques of jazz guitar playing in this feature-filled lick pack DVD, <em><a href="http://store.guitarworld.com/collections/new-products/products/20-essential-jazz-licks/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=20JazzLicks">20 Essential Jazz Licks</a></em> ($14.95). </p> <p>You'll learn the foundations of jazz guitar, including jazz-blues licks, how to apply the modes over different types of chords, bossa nova guitar style, how to play chords and melody together, chromatic chord tones, chord and passing tones, jazz waltz, and how to move in and out of the pentatonic scale while soloing. </p> <p>Plus, the lessons cover a diverse range of techniques, including Django Reinhardt-style gypsy jazz runs, Wes Mongromery-style strummed octaves, Al Di Meola-style shred, and much, much more!</p> <p><strong>Learn to Play in the Style of:</strong></p> <p> • Al Di Meola<br /> • Wes Montgomery<br /> • Les Paul<br /> • Django Reinhardt<br /> • Jim Hall<br /> • John Scofield<br /> Pat Metheny</p> <p><strong><a href="http://store.guitarworld.com/collections/new-products/products/20-essential-jazz-licks/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=20JazzLicks">Head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/learn-foundations-jazz-guitar-20-essential-jazz-licks-dvd#comments News Features Fri, 25 Jul 2014 16:56:40 +0000 Guitar World Staff http://www.guitarworld.com/article/17927 Synth City: 10 Classic Guitar Synth Songs http://www.guitarworld.com/synth-city-10-classic-guitar-synth-songs <!--paging_filter--><p>Here's an ode to a piece of gadgetry rarely heralded on GuitarWorld.com, something that has brought a whole new world of sounds to guitarists' fingertips: the guitar synthesizer, aka the guitar synth.</p> <p>A guitar synth is a synth module whose input device is a guitar instead of a keyboard. To quote Norm Leet from Roland's UK website, "The most important part of a guitar synth system is the divided — or hexaphonic — pickup, which allows each string to be treated individually and for the attached synth to be able to detect finger vibrato and string bending." </p> <p>At first these systems were farily sizable, taking up so much space that they had to be housed in specially designed guitars that were part of the entire synth system. Today's synth systems, however, are tiny things that can fit into pretty much any guitar.</p> <p>Modern systems send the pitch information as MIDI to allow you to control external modules or keyboards. This also means that pitch information can be recorded by a MIDI sequencer. </p> <p>Countless artists have dipped their toes into the world of guitar synths -- everyone from Eric Clapton to Steve Hackett to Eric Johnson and Jeff Loomis — and some players made it a massive part of their sound, including Pat Metheny, Robert Fripp and Adrian Belew. Carlos Alomar even recorded an entire album for synth guitar — 1990's <em>Dream Generator</em>. </p> <p>Here are 10 classic songs that feature guitar synths. They demonstrate at least some of the many dreamy, bizarre sounds (or "soundscapes," as some people like to say in this context), these devices can create.</p> <p>10. <strong>"Stranger In a Strange Land," Iron Maiden, <em>Somewhere in Time</em>, 1986</strong></p> <p>After completing a masterful trilogy of albums with 1984's <em>Powerslave</em>, Iron Maiden took a turn for the progressive, unleashing a barrage of synth guitars on their listeners with their sixth studio album, <em>Somewhere in Time</em>. </p> <p>Easing their fans into the idea, the album's first single, "Wasted Years," was the only track on the album to feature no synthesizers at all. Its follow-up, "Stranger in a Strange Land" — the tale of an Arctic explorer frozen and lost in time — featured Adrian Smith and Dave Murray's guitars processed through synth effects, giving their dual guitar attack a distinctive larger-than-life chorus sound.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/ry42FHfz67A" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>09. <strong>"Never Make You Cry," Eric Clapton, <em>Behind the Sun</em>, 1985</strong></p> <p>By the mid-'80s, the guitar synth was officially a bandwagon, and even ol' Slowhand himself, Eric Clapton, hopped on — if only briefly.</p> <p>Clapton used a Roland guitar synth to record "Never Make You Cry" from his successful 1985 album, <em>Behind the Sun</em>, which was co-produced by Phil Collins of Genesis (a major guitar synth band, especially during the <em>Duke</em> tour). </p> <p>It's only fitting that Clapton experimented with cutting-edge technology on <em>Behind the Sun</em>, the album that kicked off a period of slick commercial releases by the venerable guitarist, including 1986's <em>August</em> and 1989's <em>Journeyman</em>. </p> <p>Before its release, he had been coasting along on a series of rootsy, laidback, Band- and J.J. Cale-inspired albums, from 1974's <em>461 Ocean Boulevard</em> to 1983's <em>Money and Cigarettes</em>.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/E8nC6e4OI4w" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>08. <strong>"Are You Going With Me?," Pat Metheny, <em>Offramp</em>, 1982</strong></p> <p>Over the decades, guitarist Pat Matheny has become closely associated with Roland guitar synths — especially the GR-300. But it all started with his 1982 album, <em>Offramp</em>, which featured his first documented use of the Roland GR-300.</p> <p>The album features the samba-based "Are You Going With Me?," which has since become a trademark Metheny song. Its lengthy, trancelike guitar solo is played on the Roland. Check it out below.</p> <p>Metheny still uses his GR-300, which has since been discontinued by the company.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/qY8z1w1JzMs" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>07. <strong>"Who's to Blame," Jimmy Page, <em>Death Wish II,</em> 1982</strong></p> <p>In 1981, former Led Zeppelin guitarist Jimmy Page was asked to compose and record the <em>Death Wish II</em> soundtrack by his neighbor, director Michael Winner. </p> <p>It was just what Page needed — an opportunity to start creating music again, now that John Bonham (and with him, Led Zeppelin) was gone.</p> <p>Page mirrored the film's moodiness and edginess with a slew of new devices, including the Roland GR-505 guitar synth and TR-808 Rhythm Composer. The guitar synth can be heard on the entire soundtrack album, which was re-released on JimmyPage.com late last year in a "heavyweight vinyl package." Only 1,000 copies were made.</p> <p>Page continued experimenting with guitar synths and even appeared in several Roland print advertisements in the early to mid-'80s.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/jF8X0t-Fllw" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>06. <strong>"Venus Isle," Eric Johnson, <em>Venus Isle</em>, 1996</strong></p> <p>Texas guitar great Eric Johnson started dabbling with guitar synths in the late '80s, but he didn't seriously record with them until his 1996 album, <em>Venus Isle</em>, an album full of what he calls "extra textures." </p> <p>Johnson uses a Roland guitar synth to create those textures on several tracks, including "Mountain," "Battle We Have Won," "When the Sun Meets the Sky" and the title track, which you can check out below.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/RypgfOTUNRI" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>05. <strong>"Discipline," King Crimson, <em>Discipline</em>, 1981</strong></p> <p>If you were putting together a dream team of guitar synthists, you'd probably want King Crimson's Robert Fripp and Adrian Belew batting third and fourth in your lineup.</p> <p>The guitarists were among the most proficient guitar synth users of their generation, and Fripp continues to push the boundaries of synthetic sound with his mesmerizing Soundscapes shows.</p> <p>On King Crimson's <em>Discipline</em> album, Fripp and Belew made great and bountiful use of the Roland GR-300. On later albums, they moved into GR-700 territory.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/_-dZNzXylVE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>04. <strong>"Racing in A," Steve Hackett, <em>Please Don't Touch,</em> 1978</strong></p> <p>The upbeat and catchy "Racing in A" is from Steve Hackett's <em>Please Don't Touch</em> album from 1978. </p> <p>It was the first solo album he recorded after leaving Genesis and his first album to feature his pioneering work with the Roland GR-500 guitar synth. </p> <p>"Racing in A" is a five-minute-long progressive-rock masterpiece that glides along for more than a minute with its almost-Yes-like rhythm before the vocals kick in (But Hackett keeps the spotlight squarely on the GR-500). </p> <p>As is the case with several other selections on this list, be sure to check out the entire <em>Please Don't Touch</em> album for more examples of Hackett's guitar synth work.</p> <p>By the way, that's Hackett's photo at the top of this page (and all the pages in this story). </p> <p><strong>NOTE: We've included a cool live performance of "Racing in A," plus (for the purists), the studio version.</strong></p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/NDIj1plyU04" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/wkxk4IAmWvs" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>03. <strong>"Turbo Lover," Judas Priest, <em>Turbo</em>, 1986</strong></p> <p>"Turbos were all the rage, the in-thing," said Judas Priest bassist Ian Hill of the mid-1980s. "I'd even bought a vacuum cleaner because it had the word 'turbo' on it!"</p> <p>Perhaps this obsession with the super-charged is what lead the boys in Priest to experiment with guitar synthesizers on their 1986 classic "Turbo Lover." </p> <p>Taken from the album <em>Turbo</em> — easily among the most divisive albums for diehard fans — the song featured a whole new sonic palette for the band, with guitarists K.K. Downing and Glenn Tipton employing guitar synths and anything else they could get their hands on to give the song its distinctive futuristic, sci-fi feel.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/DdwuxoSHsSo" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>02. <strong>"Don't Stand So Close to Me," The Police, <em>Zenyattà Mondatta</em>, 1980</strong></p> <p>"Don't Stand So Close to Me," which appeared on The Police's 1980 <em>Zenyattà Mondatta</em> album, features Andy Summers jamming away on an early Roland synth (He had a few models during the band's heyday, including a GR-707).</p> <p>"After Sting had put the vocals on 'Don't Stand So Close To Me,' we looked for something to lift the middle of the song," Summers said in 1981. "I came up with a guitar synthesizer. It was the first time we'd used it. I felt it worked really well."</p> <p>"I was sort of known for [guitar synth] then, and I was in a pretty high-profile band," Summer said in a more recent interview for Roland. "I was trying to fill out two hours with a trio, trying to keep it interesting all the way. The Roland synths blended in quite well."</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/KNIZofPB8ZM" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>01. <strong>"Ashes to Ashes," David Bowie, <em>Scary Monsters (and Super Creeps)</em>, 1980</strong></p> <p>It's Hammer time. Guitarist Chuck Hammer is an accomplished player and Emmy-nominated digital film composer who has recorded with Lou Reed, David Bowie and Guitarchitecture, to name just a few. </p> <p>But Hammer might be best known for his textural guitar synth work on "Ashes to Ashes" from Bowie's <em>Scary Monsters (and Super Creeps)</em> album. Hammer used a Roland GR-500 with an Eventide Harmonizer to get the synthetic string sound that can be heard in the video below. He actually used four multi-tracked guitar synths, each one playing opposing chord inversions. Be sure to check out the rest of album, which features a healthy dose of Hammer.</p> <p><em>Rolling Stone</em> put Hammer in the category of "musical pioneers" along with guys like Robert Fripp and Allan Holdsworth.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/CMThz7eQ6K0" 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="/eric-clapton">Eric Clapton</a> </div> <div class="field-item even"> <a href="/jimmy-page">Jimmy Page</a> </div> <div class="field-item odd"> <a href="/iron-maiden">Iron Maiden</a> </div> <div class="field-item even"> <a href="/judas-priest">Judas Priest</a> </div> <div class="field-item odd"> <a href="/eric-johnson">Eric Johnson</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/synth-city-10-classic-guitar-synth-songs#comments Adrian Belew Andy Summers David Bowie Iron Maiden Judas Priest King Crimson Robert Fripp Roland The Police Guitar World Lists News Features Thu, 24 Jul 2014 16:21:33 +0000 Damian Fanelli, Josh Hart http://www.guitarworld.com/article/15794 Top 10 Greatest Rock and Roll Song Endings of All Time http://www.guitarworld.com/top-10-greatest-rock-and-roll-song-endings-all-time <!--paging_filter--><p>Well, bub, no matter how good the song is, it eventually has to end. The question, then, is: How’s it going to end? </p> <p>A studio fade giving the illusion of a sing-along chorus going on forever in some imaginary world populated by elves? A repeated turnaround? An abrupt, punk-rock-style halt? An unsuspected, off-key chord? </p> <p>It’s possible, of course, that the end could wind up being a transcendent moment in itself. Such is the case with the 10 gems below.</p> <p><strong>10. “Frankenstein,” Edgar Winter </strong></p> <p>It’s not so much the virtuosity of the synchronized synth and guitar arpeggios that got this one on the list but, rather, the fact it lends itself well to puns about monsters and rock ’n’ roll. (We won’t bother getting started.) It then dawns on us how language and wordplay makes us human. Mighty profound for an instrumental.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/P8f-Qb-bwlU" frameborder="0" allowfullscreen></iframe></p> <p><strong>09. “Roll With the Changes,” REO Speedwagon </strong></p> <p>The chorus is repeated so many times toward the end of the song that it becomes a mantra of sorts, meant to hammer home the Zen philosophy expressed in the title of this stadium anthem by an immensely popular band from the ’80s. Thankfully, Gary Richrath’s string bending and tremolo picking bring the listener back from the arena-rock astral plane into the real world.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/4PdU6migsqQ" frameborder="0" allowfullscreen></iframe></p> <p><strong>08. “Let's Go Crazy,” Prince</strong> </p> <p>The Purp goes crazy as this ultimate party tune winds down, showing off his wah-wah-laced Hendrixisms. Judging by the ecstatic state of his solo, he doesn’t want the party to die. But the realization finally hits home that the party must end. Then what? The giant comedown known as <em>Under the Cherry Moon</em>.</p> <p><strong>07. “21st Century Schizoid Man,” King Crimson</strong> </p> <p>The end homes in on the most addictive part of the riff—Robert Fripp’s chromatic power-chord progression—and accelerates until it becomes a blur of tones, symbolic, perhaps, of human addiction patterns, obsessive behavior, and mental illness. I mean, can you down a bag of potato chips once it’s open? That’s what this riff is like. Do the research.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/8Ubc5_owhl0" frameborder="0" allowfullscreen></iframe></p> <p><strong>06. “Shy Boy,” David Lee Roth</strong> </p> <p>Vai, Sheehan. Sheehan, Vai. When David Lee Roth combined the talents of these two stringmen, he unleashed the shred equivalent of a nuclear fission reaction. The furious four-handed tapping makes one realize the importance of science to our daily lives.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/GYyuK2JcaSg" frameborder="0" allowfullscreen></iframe></p> <p><strong>05. “Paradise City,” Guns N’ Roses</strong> </p> <p>Rarely has an ending been so uncanny. Axl F. Rose’s repeated pleas for someone to take him home express a young man’s basic yearning for stability and warmth. Slash just wants to play faster and faster. This conflict foreshadows what would for the band grow into an appetite for self-destruction.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Rbm6GXllBiw" frameborder="0" allowfullscreen></iframe></p> <p><strong>04. “Metal Head,” Blotto </strong></p> <p>This obscure group, in a parody of ’80s heavy metal, takes the ever-loving piss out of the drawn-out rock ’n’ roll ending by practically turning it into its own movement. Obviously, they espouse the philosophy that life is a joke. Blue Oyster Cult’s Buck Dharma vouches for Blotto, though, by playing lead guitar on the track.</p> <p><strong>03. “Hot For Teacher,” Van Halen</strong> </p> <p>Eddie uses his space-age finger slides and tremolo picking to sound like a laser weapon battle from a late-’70s sci-fi flick, while brother Alex runs in place on his double bass pedals and David Lee Roth howls till his heart’s content. You don’t have to be Freud to figure out what pubescent fantasy an ending of this magnitude symbolizes. Orgasm. Oh, my gawd.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/vyJSetm6U0k" frameborder="0" allowfullscreen></iframe></p> <p><strong>02. “Highway to Hell,” AC/DC</strong> </p> <p>Whether or not this song is truly about Hell doesn’t matter. How the Young brothers wind it out—furiously strumming their chords, whittling away at the pentatonic scale, and battering up against Bon Scott’s wails—evokes a descent into an underworld of Wagnerian proportions.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/qKggnBh2Mdw" frameborder="0" allowfullscreen></iframe></p> <p><strong>01. “Won't Get Fooled Again,” The Who</strong> </p> <p>The tension of the synth interlude and the subsequent release—by way of Pete Townshend’s gargantuan power chords and Roger Daltrey’s vocal-chord-shredding scream—at the time encapsulated what we now refer to as “going postal.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/zYMD_W_r3Fg" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/top-10-greatest-rock-and-roll-song-endings-all-time#comments Guitar World Lists Features Thu, 24 Jul 2014 15:55:10 +0000 Guitar World Staff http://www.guitarworld.com/article/2012 A Clean and Sober Ace Frehley Discusses Kiss' Rock and Roll Hall of Fame Debacle and More http://www.guitarworld.com/clean-and-sober-ace-frehley-discusses-kiss-rock-and-roll-hall-fame-debacle-and-more <!--paging_filter--><p>This year started off innocently enough for Ace Frehley. </p> <p>Just one week prior to Christmas 2013, the former Kiss lead guitarist learned that he and his comrades in the original Kiss lineup—Gene Simmons, Paul Stanley and Peter Criss—were finally being inducted into the Rock and Roll Hall of Fame after 15 years of eligibility (and 15 years of outcry from the Kiss Army). </p> <p>A cause for celebration, no doubt—and a golden opportunity for the four founding members of the legendary rock band to perform onstage together again for the first time since October 7, 2000, the final North American date of their Farewell Tour.</p> <p>And then, somehow, it all imploded. In the weeks preceding the Rock and Roll Hall of Fame induction ceremony on April 10 in Brooklyn, New York, Kiss became the primary focus of every public and private discussion surrounding the event after they announced that there would be no Kiss performance—let alone a Kiss reunion—that night. </p> <p>To make matters worse, the band members seized every opportunity to lambast one another in the press on a seemingly daily basis, effectively rendering what was supposed to be a triumphant reunion performance loaded with all the blood-spitting, fire-breathing, makeup-running pageantry that fans had been clamoring for all these years into a pitiful non-event. </p> <p>“I was like, Jesus Christ, after 40 years of support you can’t give the fans 10 minutes?” says a still worked-up Frehley over a cup of black tea at <em>Guitar World</em> headquarters in New York. “The fans wanted it, the Rock and Roll Hall of Fame wanted it. But Gene and Paul didn’t. It’s sad. They definitely lost some fans because of this decision.</p> <p>“I think the reason they didn’t want to get together with the original members was because they’re afraid of history repeating itself. When we did <em>Unplugged</em> in 1995, you saw what happened: because the fans were so excited about me and Peter playing with those guys, they had to scrap their last record [with then-current members Bruce Kulick and Eric Singer] and do a reunion tour [with Frehley and Criss in 1996]. Although at this point I don’t think Peter could do a two-hour show and a full tour. But I still got the chops. I definitely blow [current Kiss guitarist] Tommy Thayer off the stage.”</p> <p>It’s obvious that Frehley is fired up, and with good reason. With the Rock and Roll Hall of Fame fiasco behind him, the clean-and-sober Spaceman is able to focus on the things in life that make him happy, like living in San Diego with his pretty, blond 47-year-old fiancé Rachael Gordon, writing books, working with Gibson on various signature guitars and recording new music. <em>Space Invader</em>, his first record since 2009’s top-notch <em>Anomaly</em>, is due out in a few weeks, and Ace couldn’t be more excited. </p> <p>“I haven’t had a drink in more than seven and a half years, and I feel great now,” says the 63-year-old guitarist. “I’m writing great songs and I’m singing great, and I’m super excited about this new album. It’s gonna be even better than <em>Anomaly</em>. I played some tracks for a couple of guys I was considering using for mixing, and the first thing out of their mouths was, ‘God, your voice sounds like it did on your 1978 solo record.’ Unlike some other people, whose voices aren’t maybe what they used to be. Not to name names, or anything.” </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/qGvz7FdUzOc" frameborder="0" allowfullscreen></iframe></p> <p><strong>Your love affair with alcohol during Kiss’ heyday—and, well, all through the Eighties and Nineties—is well documented. Do you miss it? Are there days when you want a drink?</strong></p> <p>No. I haven’t had the urge to drink in a long time. And I don’t miss the hangovers, I don’t miss the smells, the late nights at the bars, or the people. I was hanging out with some pretty shady people in my heavy-drinking-and-coke years. I was in some situations that really could have gone sideways. I was just lucky. And you have to realize that my fans used to emulate my behavior when I was a crazy man—“Ace is a party animal, let’s go get loaded!” Then they’d go crash their car, and I’d feel terrible. </p> <p>Now it’s turned around. And when someone comes up to me and says that they haven’t had a drink in six months and that they’re doing well because I am, that makes my day. Maybe that’s one reason why God has kept me alive. By all rights I should have died a half dozen times already, so every day above ground I’m thrilled. </p> <p><strong>Did you think Kiss would ever be inducted into the Rock and Roll Hall of Fame?</strong></p> <p>I knew that [the Hall] had to buckle to popular opinion. It was only a matter of time. We were first eligible 15 years ago, so I knew it would happen eventually. I mean, how can you exclude Kiss, one of the biggest American rock groups in history? Even though we didn’t perform, I’m still thrilled to be in it.</p> <p><strong>Where were you when you found out that you were being inducted?</strong></p> <p>I was at home in San Diego and got a call from my manager. Then, about a week later, I got the “congratulatory” call from Paul and Gene. And I could tell that there was some hesitancy on their part about the whole thing. I was asking them if we were gonna play, and Gene avoided the question by saying, “Well, we’re just looking forward to getting the four of us up there together and celebrating…whatever.” It was a noncommittal congratulatory call.</p> <p>Then, about a week later, I was told that the Rock and Roll Hall of Fame absolutely wants the four original members to reunite, and I said, “Great, I’ll do it.” And there was silence from Gene and Paul. And finally it was shot down. The next thing I heard is that Paul and Gene wanted to perform with the current Kiss lineup [with Tommy Thayer and Eric Singer]. And I said, Well, that’s kind of a slap in the face. I mean, they’re not even being inducted. I have to sit through a Kiss cover band when I’m receiving an award? I don’t think so. </p> <p>I also heard at one point that they wanted me to perform in makeup with Tommy at the same time. I really didn’t want to be onstage with Tommy, but I said I would do it, as long as I got to play the bulk of the songs and that I could wear the <em>Destroyer</em> costume. Then a few days later [it was], “No, we’re not gonna play at all.” It was almost like they were trying to bait me, so that if I said no to anything they would just blame me for there being no performance. I was almost going to boycott the whole thing.</p> <p><strong>The weeks leading up to the induction ceremony were filled with all sorts of public drama. A lot of negative comments were hurled back and forth in the press between the four original members of Kiss. Why do you think Gene and Paul are always so quick to disparage you publicly?</strong></p> <p>I don’t know. I think they’re just cranky. For years, when I was fucked up, Gene used to say that I was a drunk and a drug addict and that I was unemployable. Kick a guy when he’s down, right? But they can’t do that anymore, so it’s like they’re scratching their heads trying to come up with new ways to insult me. The most recent thing was that I’m anti-Semitic, that I’m a fucking Nazi. That’s just below the belt. Next I’ll be a member of the Ku Klux Klan. And my fiancé is Jewish! My whole life I’ve worked with Jewish people in all different capacities—my accountants, my attorneys, people on the road. Jesus Christ, I can’t believe the stuff that comes out of their mouths. But the truth is that I don’t want to be negative. I just want to keep everything light and be happy. </p> <p>Paul has been so goddamn cranky lately. I mean, what’s wrong, Paul, aren’t you happy? I know they must be frustrated because people are always writing about how Ace was the real guy or Ace was the real deal. It’s gotta rub them the wrong way. They would like nothing more than for me to start drinking again, start taking drugs again and end up as a bum on skid row. But that’s not gonna happen.</p> <p>Anybody who says anything bad about me is foolish, because a lot of people like me. You’re gonna make enemies when you put down Ace Frehley. And that’s because I’m a straight shooter—I tell it like it is. Gene is that way too. He’ll sit across from you in a room and say this or that and tell it like it is. Whether you like it or not, he lays it out, right to your face. Paul will tell you one thing, then walk out the door and stab you in the fucking back. That’s Paul Stanley. And now he’s trying to take credit for the fucking Kiss logo? Unbelievable. I designed the logo—all he did was draw straighter lines. </p> <p>And you know, I told Paul to wear the star on his eye. Do you know what his makeup was before he put the star on his eye? It was a round circle. He looked like the dog from the Little Rascals [Pete the Pup, a.k.a. Petey]. It told him it looked kinda silly and that he should put one star on his eye. But do I go around taking credit for that? No. I let him say he designed it. Who cares, you know? Let’s not be petty.</p> <p>You would think that if Gene and Paul had half a brain, they would realize what’s going on and start saying good things about Ace. I mean, keep bad-mouthing me. No one’s gonna show up at your fucking tour this summer.</p> <p><strong>Let’s talk about your upcoming solo album, <em>Space Invader</em>. It’s been five years since <em>Anomaly</em>. Why the delay?</strong></p> <p>I don’t know. [laughs] I’m not disciplined, and I can only create when I’m in the zone. I get preoccupied with other things—moving, family stuff, whatever—and then years go by. I had two record labels courting me, and I decided to go with E1 Music because of their reputation in the business and because they offered me more money. And when someone writes you a check, you gotta make the record! [laughs] The truth is, I work better when there’s a deadline. And I usually have to extend the deadline. But the end result is usually quality.</p> <p><strong>Do you enjoy the whole process of writing and recording?</strong></p> <p>Yes. I’m actually enjoying writing and recording more than ever, because I’ve become a lot more comfortable with Pro Tools, which means I can edit my own solos now. And that’s just fun. I prefer having an engineer there, but if there’s not one around, I can do my own editing and not have to depend on anyone else. Vocals too. I can do it all myself.</p> <p><strong>Which is quite different from recording with Kiss in the early Seventies.</strong></p> <p>With Kiss we used to do a slave reel. We’d mix down on two-inch tape, 24 tracks. [Producer] Eddie Kramer would mix down a stereo track of drums, and he’d give me a whole reel just to do solos. And Eddie was great at editing tape. But the flexibility you get nowadays with Pro Tools is just night and day compared to those days. Digital editing is a dream.</p> <p><strong>What was the songwriting process like for <em>Space Invader</em>?</strong></p> <p>You know, all my life I’ve never had a formula for writing songs. Sometimes it starts with a guitar riff, sometimes it’s a lyrical idea or just a melody. Sometimes I wake up with an idea. There’s no rhyme or reason. Sometimes I write on an acoustic, sometimes on a bass. There’s a song on the new album called “Into the Vortex.” It’s a riff song, but I wrote it on a bass guitar. Why? Because I write differently with a bass guitar in my hand than an acoustic guitar or an electric guitar. When I feel creative, I just sit down and start playing. </p> <p><strong>Did you write differently in the early days of Kiss?</strong></p> <p>Yes. I wasn’t as structured as I am now. Even though I’m not really structured—I’m at least cognizant of what’s going on. [laughs] Back then it was more hit or miss—and when I hit, I hit big. You know, I go back and listen to my 1978 solo record, and it still holds up. My whole body of work that I’ve created over the years has withstood the test of time. I know that I still have the goods. And when this record gets released, everybody’s gonna say, “Well, Ace did it again.” </p> <p><strong>Were there things about <em>Anomaly</em> that you wanted to change with <em>Space Invader</em>?</strong></p> <p>I know that everyone is hoping that this album is heavier than the last one, and it is. I’m also doing an instrumental this time, called “Starship,” that isn’t slow. It’s a departure from the “Fractured Mirror” style. It’s more fast paced and has a lot of transitions in it. </p> <p><strong>You cover the Steve Miller song “The Joker” on the new album. How did that come about?</strong></p> <p>It was the record company’s idea, to be honest. And I was a little resistant when it first came up. But then I thought back to my 1978 solo record, when Eddie Kramer’s assistant said to me, “Why don’t you try this song?” And it was “New York Groove.” At first I said, “I don't want to do that,” and it turned out to be my biggest hit. So maybe history can repeat itself. </p> <p><strong>Where was <em>Space Invader</em> recorded?</strong></p> <p>I did most of the recording at my friend’s studio in Turlock, California, called the Creation Lab. Turlock is in the middle of nowhere—it’s like a farming community—and that’s why I loved it. I have Attention Deficit Disorder, and there are absolutely no distractions when working at this place. You record for eight or 10 or 12 hours, then you go back to the hotel and go to sleep. You wake up and go back to the studio. </p> <p>There’s nothing else to do there, which means it’s the perfect place for me to record. Plus, I like working with the least amount of people, and this studio is great because it’s quiet and there aren’t all kinds of people walking through. I did most of this record with just me and a drummer, Matt Starr. For a couple of songs I brought in Chris Wyse from the Cult to play bass. </p> <p><strong>What guitars and amps are you using on the album?</strong></p> <p>I’m using a big variety of guitars. I have 35 or 40 different guitars hanging on the wall, and I just grab different ones. There’s a seven-string on one song, a Dobro, some 12-string acoustics… Sometimes I get the urge to use the double-neck. I like flexibility. The more variety, to me, the better. As for amps, it’s basically the same stuff I used on Anomaly: Marshalls and Voxes and Fenders. </p> <p><strong>The “Budokan” Les Paul replica guitar you did with Gibson in 2012 was a huge success. Are you planning another signature model?</strong></p> <p>I remember when I first did that deal and I went to the Gibson office to sign a bunch of the guitars, I said to [Gibson senior VP] Rick Gembar, “How are they selling?” And he said, “What do you mean, ‘How are they selling?’ They’re already sold. They were already sold before we put them out. Ace, anything you do turns to gold.” </p> <p>That was a good feeling. I’m trying to figure out what to do next. I keep asking people what they think, and some say to do the three-pickup black Les Paul; some say to do the first one I had, the sunburst Standard. But I don’t have to make that decision today, so I’m not worrying about it. But Gibson does an amazing job with these guitars. I don’t know how they make guitars that look 30 or 40 years old, right down to the screws and scratches and little details.</p> <p>I’m working on a design for a new amp right now that I think is just going to be too cool. I can’t talk about it yet because I haven’t finished the prototype. I also have a prototype guitar in the works that’s gonna be revolutionary. But that deal’s not done, so I can’t talk about that either. Amp and guitar—both completely different from anything else on the market. I’m always coming up with new ideas. I invented an electric guitar, like, 20 years ago. [laughs] My father was an inventor. It’s in my blood. I also have an idea for a really cool clock. But I can’t even talk about it because it’s so brilliant.</p> <p><em>Photo: Jimmy Hubbard</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/ace-frehley">Ace Frehley</a> </div> <div class="field-item even"> <a href="/kiss">Kiss</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/clean-and-sober-ace-frehley-discusses-kiss-rock-and-roll-hall-fame-debacle-and-more#comments Ace Frehley July 2014 Kiss Interviews News Features Magazine Thu, 24 Jul 2014 15:14:02 +0000 Jeff Kitts http://www.guitarworld.com/article/21338 2015 Guitar World Buyer's Guide: Nonstop Gear Plus Playboy Playmates Nikki Leigh, Gemma Lee Farrell and Dani Mathers http://www.guitarworld.com/2015-guitar-world-buyers-guide-nonstop-gear-plus-playboy-playmates-nikki-leigh-gemma-lee-farrell-and-dani-mathers <!--paging_filter--><p><strong>Guitar World Buyer's Guide 2015 is <a href="http://guitarworld.myshopify.com/products/guitar-world-buyers-guide-2015/?&amp;utm_source=facebook&amp;utm_medium=daily_ad&amp;utm_campaign=BuyersGuide15">available NOW at the Guitar World Online Store!</a></strong></p> <p><em>Guitar World's</em> 2015 Buyer's Guide issue features more than 1,000 products and photos. </p> <p>The 2015 Buyer's Guide features more brands and models than any other guide and includes electrics, acoustics, basses, amps, effects and accessories modeled by <em>Playboy</em> Playmates Nikki Leigh, Gemma Lee Farrell and Dani Mathers.</p> <p>The best guitar Buyer's Guide ever — we've got reviews on all the gear:</p> <p> • Electrics<br /> • Acoustics<br /> • Basses<br /> • Amps<br /> • Effects<br /> • Accessories<br /> • and many more!</p> <p><strong><a href="http://guitarworld.myshopify.com/products/guitar-world-buyers-guide-2015/?&amp;utm_source=facebook&amp;utm_medium=daily_ad&amp;utm_campaign=BuyersGuide15">For more information, head to the Guitar World Online Store now!</a></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/MRVRzaQ0I0s" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-07-02%20at%2012.25.57%20PM.png" width="620" height="812" alt="Screen Shot 2014-07-02 at 12.25.57 PM.png" /></p> http://www.guitarworld.com/2015-guitar-world-buyers-guide-nonstop-gear-plus-playboy-playmates-nikki-leigh-gemma-lee-farrell-and-dani-mathers#comments Buyer's Guide News Features Thu, 24 Jul 2014 15:07:46 +0000 Guitar World Staff http://www.guitarworld.com/article/21833 Michael Amott of Arch Enemy Discusses 'Never Mind the Bollocks, Here's the Sex Pistols' — The Record That Changed My Life http://www.guitarworld.com/michael-amott-arch-enemy-discusses-never-mind-bollocks-heres-sex-pistols-record-changed-my-life <!--paging_filter--><p><em>Michael Amott of Arch Enemy chooses (and discusses) the record that changed his life.</em></p> <p><strong>Sex Pistols</strong><br /> <em>Never Mind the Bollocks, Here's the Sex Pistols</em> (1977)</p> <p>“I grew up with my parents’ record collection, and they listened largely to classical, along with some jazz, blues, Motown, Stevie Wonder and David Bowie. </p> <p>"I had a good foundation. When I first found my own music, it was Kiss. They were massive in Scandinavia. I wasn’t playing guitar yet, but I loved their music and image—especially <em>Destroyer</em> and ‘Detroit Rock City,’ with the harmonized guitar. </p> <p>"Later, when I was about 11 and had started playing music, my friend came over one day after school and said, ‘Mike, we’re gonna be punks now.’ And I was like, ‘Okay! What’s that?’ He showed me a magazine with a picture of the Sex Pistols and played me their first album, <em>Never Mind the Bollocks</em>, on cassette tape. I loved it! And we started a band that day.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/ooIz_Di2w3g" 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="/arch-enemy">Arch Enemy</a> </div> <div class="field-item even"> <a href="/sex-pistols">Sex Pistols</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/michael-amott-arch-enemy-discusses-never-mind-bollocks-heres-sex-pistols-record-changed-my-life#comments Arch Enemy July 2014 Michael Amott Never Mind the Bollocks Here's the Sex Pistols Sex Pistols The Record that Changed My Life Interviews News Features Thu, 24 Jul 2014 14:30:18 +0000 Michael Amott http://www.guitarworld.com/article/21901 Orianthi Discusses Santana's 'Sacred Fire: Live in South America' — The Record That Changed My Life http://www.guitarworld.com/orianthi-discusses-santanas-sacred-fire-live-south-america-record-changed-my-life <!--paging_filter--><p><em>Orianthi chooses (and discusses) the record that changed her life.</em></p> <p><strong>Santana</strong><br /> <em>Sacred Fire: Live In South America</em> (1993)</p> <p>“There’s just so much wonderful soloing throughout that entire concert—really inspired soloing—and that inspired me to want to play electric guitar. I had been playing since I was six, but I was studying classical guitar and just strumming at that point. </p> <p>"When I was around 11, my dad took me to see Santana live, and then I got <em>Sacred Fire</em>, and everything changed for me. My dad is actually an amazing guitarist, and he always had an incredible record collection, which is how I discovered things like Jimi Hendrix and Santana. I’ll always be grateful for that.</p> <p>“Everything about that album and the concert, which I had on video tape, changed my life. The band was amazing; the energy of the crowd was incredible. It’s just a really special performance. I actually wore out the video from pausing it so many times because I was trying to learn all of his solos.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/lPekBJ47BnM" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/orianthi">Orianthi</a> </div> <div class="field-item even"> <a href="/carlos-santana">Carlos Santana</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/orianthi-discusses-santanas-sacred-fire-live-south-america-record-changed-my-life#comments July 2014 Orianthi Santana The Record that Changed My Life Interviews News Features Magazine Wed, 23 Jul 2014 18:35:47 +0000 Orianthi http://www.guitarworld.com/article/21890