Features http://www.guitarworld.com/taxonomy/term/5/0 en The 25 Greatest Pantera Songs of All Time http://www.guitarworld.com/25-greatest-pantera-songs <!--paging_filter--><p><em>Guitar World</em> celebrates the heaviest of the heavy—from "Revolution Is My Name" to "This Love" ... from "Cemetery Gates" to "Cowboys from Hell" ... </p> <p>Check out our guide to the 25 greatest Pantera songs of all time!</p> <p>Note: This list is from GW's recent Dimebag Darrell tribute issue. To check out a video of our exclusive tour of Dime's guitar vault, home and recording studio, <a href="http://www.guitarworld.com/tour-dimebag-darrells-guitar-vault-home-and-recording-studio-video">step right this way.</a></p> <p><strong>25. “10’s”</strong><br /> <em>The Great Southern Trendkill</em> (1996)</p> <p>One of Pantera’s most haunting compositions, “10’s” comes into focus slowly, floating in on an ethereal, if crusty-sounding, bent-note Dimebag riff. The warped guitars and slow pacing provide an appropriately uneasy environment for a weary vocal from Phil Anselmo, who documents a man “disgusted with [his] cheapness” and destroying himself from the inside out through addiction. </p> <p>An acoustic guitar interlude and a liquid Dime solo that, for a few bars at least, unexpectedly wanders into major-key territory, allow a few seconds of sunshine to poke through the black clouds. But overall, “10’s” is positively chilling and all-consuming in its atmosphere of impending doom.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/XV_D1Y_YHlA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>24. “Goddamn Electric”</strong><br /> <em>Reinventing the Steel</em> (2000)</p> <p>Pantera’s final studio album didn’t actually reinvent the steel, but thanks to tracks like “Goddamn Electric” they certainly reclaimed their title as the masters of metal heading into the new millennium. This song’s main riff stomps along like Godzilla slowly moshing to “Walk,” and the entire tune wouldn’t have sounded out of place on <em>Vulgar Display of Power</em>. </p> <p>Dimebag’s solo is killer, but the thriller is a guest spot by Slayer’s Kerry King, who delivers a wicked whammy-bar blast to close out the song’s final 45 seconds. Pantera rarely featured guests on their albums, so this appearance by Dime’s blood brother is an unexpected surprise.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/LRiZ_Gy2mxg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>23. “It Makes Them Disappear”</strong><br /> <em>Reinventing the Steel</em></p> <p>“It Makes Them Disappear” kicks off with a psychedelic, cleanly voiced guitar lick, but from there the song quickly descends into a molasses-thick pit of sludge. The downtuned, wobbly guitars and bloated bass, not to mention Anselmo’s raw-throated delivery, suggest a song that could have been tackled just as appropriately by the singer’s doomy southern metal side project, Down. </p> <p>And yet, the final two minutes of the tune are largely a Dimebag showcase, with the guitarist ripping out an incredibly bluesy and melodic solo, albeit one that sounds like it’s being delivered from the depths of a tar pit.</p> <p>“The majority of <em>Reinventing the Steel</em> was recorded with the guitar tuned down a whole step [low to high: D G C F A D],” Dime told <em>Guitar World</em> in early 2000. “The cool thing about this tuning, besides sounding heavy, is that your guitar feels totally different—the strings are real loose and spongy, which means you can get some big-assed bends and killer wide vibrato happening.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/IwHPBTm_Wao" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>22. “P*S*T*88”</strong><br /> <em>Power Metal</em> (1988)</p> <p>Pantera’s pre-<em>Cowboys</em> albums aren’t particularly highly regarded—even by the band members themselves—but out of all of those efforts <em>Power Metal</em> had more than a few worthy moments. “P*S*T*88” (“Pussy Tight”) is particularly noteworthy as it features one of Dimebag’s rare performances as lead vocalist. </p> <p>The overall recording resembles a mash-up of Judas Priest and <em>Kill Em All</em>–era Metallica, and Dimebag even sounds like the mutant offspring of James Hetfield and Rob Halford, proving that he could have been a frontman if he so desired. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/3hGkn03bGXo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>21. “Planet Caravan”/“Hole in the Sky”</strong><br /> <em>Far Beyond Driven &amp; The Best of Pantera (2003)</em></p> <p>The list of Pantera influences is long and includes bands like Judas Priest, Slayer and even King’s X, Kiss and Van Halen, but Black Sabbath were their biggest influence. </p> <p>They name-checked them in the lyrics to “Goddamn Electric,” and of the six cover songs they recorded in the studio during their career, three of them were Black Sabbath tunes. “Planet Caravan” was originally intended for the <em>Nativity in Black</em> tribute album, but when it was cut due to a record company dispute, they added it to the end of <em>Far Beyond Driven</em>. </p> <p>Pantera’s faithful rendition of “Hole in the Sky” debuted on the Japanese 2001 “Revolution Is My Name” EP along with the non-LP track “Immortally Insane.” </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/025mnKFUFw4" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>20. “Floods”</strong><br /> <em>The Great Southern Trendkill</em> <p>Despite the fact that Pantera called the album that “Floods” appeared on <em>The Great Southern Trendkill</em>, this song sounds an awful lot like grunge (particularly Soundgarden), one of the many musical genres at which the cocky album title takes aim. </p> <p>Regardless, it’s still a very good song, which was made great by what many consider to be the finest guitar solo Dimebag ever laid down in the studio. </p> <p>The sweetly melodic main guitar figure in the intro and ending often gets overlooked, but it’s a fine example of Dimebag’s emotional range, proving that there was much more to his playing than his usual blunt-force trauma.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/td-v6vG2Xhs" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>19. “Shedding Skin”</strong><br /> <em>Far Beyond Driven</em> (1994)</p> <p>“Shedding Skin” continues the theme of emotional cleansing that Phil Anselmo began on <em>Far Beyond Driven</em>’s previous track, “25 Years.” </p> <p>Only here the singer’s object of ire is not his father but rather a former girlfriend. The song comes crashing in right out of the gate with a choppy, staircase-like unison riff from Dime and Rex. But then it abruptly shifts gears into a mellow verse punctuated by Dimebag’s gently plucked guitar harmonics, over which Anselmo paints a vivid and disturbing picture of a relationship as a scabrous membrane needing to be excised from his body. </p> <p>By the song’s climactic finale, Anselmo finds the only escape is to shed his own skin “to peel you off of me.” Dimebag then punctuates the singer’s cathartic metamorphosis with an appropriately anguished and squealing solo.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/l3kA04yXVeY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>18. “25 Years”</strong><br /> <em>Far Beyond Driven</em></p> <p>Both this song and the same album’s “Becoming” are said to deal with Phil Anselmo’s difficult relationship with his father. But whereas the latter wraps the singer’s paternal purging in a catchy riff and an almost inspirational lyric, “25 Years” is a dark and twisted descent into the deepest recesses of his pain. </p> <p>Anselmo delivers his lyrics to a “weakling” and a “liar” in a monotone bark, and each syllable he utters is backed by a similarly minimal one-note chord hit. It’s a brilliantly corrosive, almost claustrophobic arrangement that finally breaks four-and-a-half minutes in—Dime, Rex and Vinnie open up the song with a quicker groove and Anselmo turns the tables, announcing himself the bastard father to Pantera’s unwashed and unwanted masses of fans. </p> <p>“We’re fucking you back!” he screams repeatedly, exorcising his demons and finding a little bit of redemption in the almighty power of the riff. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/RmB6OFplI2k" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>17. “Strength Beyond Strength”</strong><br /> <em>Far Beyond Driven</em></p> <p>Hardcore punk and thrash were always closely related, but rarely did the twain meet more effectively than on “Strength Beyond Strength.” Fans who popped new copies of <em>Far Beyond Driven</em> into their CD players in 1994 and were greeted by the initial sonic assault of “Strength Beyond Strength” can be forgiven for thinking that the Exploited’s latest album was mistakenly inserted in the case. </p> <p>When the breakneck pace slows to a grind a little more than a minute into the song, the mood and attitude becomes unmistakably Pantera, especially after Dimebag unleashes an eerie harmonized guitar interlude about another minute later. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ss-SUz3163U" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>16. “War Nerve”</strong><br /> <em>The Great Southern Trendkill</em></p> <p>By the time of <em>The Great Southern Trendkill</em>, Pantera were bona fide rock stars. As such, their music and, in particular, Anselmo’s lyrics and actions as a frontman, had started to be put under a mainstream microscope. </p> <p>Among other things, the band and singer had been hit with charges in the media of racism and homophobia, and “War Nerve” was in a way Anselmo’s response to these and other accusations: “For every fucking second the pathetic media pisses on me,” he rants in the chorus, “Fuck you all.” The band backs him up with one of the leanest and most direct arrangements to be found in their post Vulgar-output. </p> <p>In fact, “War Nerve” is a rare instance in which there’s no Dime solo to be found. That said, his brother Vinnie picks up the slack with a vicious and unusually busy drum performance.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/BWaHfVtnen4" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>15. “Mouth for War”</strong><br /> <em>Vulgar Display of Power</em> (1992) <p>“Mouth for War” is a prime example of Pantera at the height of their early Nineties powers: Vinnie Paul bashes out a machine-gun beat, Dimebag and Rex pair up on a wickedly intricate yet incredibly catchy riff built on sheets of sliding power chords, and Phil Anselmo barks out a self-empowerment lyric with searing rage and intensity. </p> <p>And the music video, which presented the band mostly in stark black-and-white and with plenty of chaotic strobe lighting for effect, only further cemented their status as the new kings of metal. When people think of Pantera, it is most likely this iteration of the band, led by a shaven-headed, bare-chested Anselmo, that comes to mind. By the time they break into a ferocious double-time groove and Anselmo signs off with the line, “No one can piss on this determination,” only a fool would dare to disagree with the sentiment. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/a3JSbOt7CLo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>14. “5 Minutes Alone”</strong><br /> <em>Far Beyond Driven</em></p> <p>When the pissed-off father of a Pantera heckler who was beaten up at a show said that he wanted five minutes alone with Phil Anselmo, the band turned that threat into this song. </p> <p>Of course anyone who knows Anselmo also knows that five minutes alone with him is the last thing anyone would want. The slow, ground-and-pound groove behind this song suggests that Phil would probably take his sweet time delivering the beat down, but while the instigator who influenced this song would probably be screaming for mercy by the song’s end, listeners are begging for more as the riff fades into oblivion.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/7m7njvwB-Ks" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>13. “Domination”</strong><br /> <em>Cowboys from Hell</em> (1990)</p> <p>Pantera are often seen as the progenitors of groove metal, and you’d be hard pressed to find a more defining example of the style than the first 30 seconds of this classic. </p> <p>In fact, from the raging intro/chorus riff, to the stop-start verse, to the brutal breakdown that ends the song, “Domination” is basically one ridiculously savage power-groove after another. Given this fact, the song was also used as the band’s live set opener during shows in 1990 and 1991, as it was guaranteed to immediately whip a crowd into a batshit-crazy frenzy. As for what is screamed at the very beginning of the song? </p> <p>General consensus points to “Fart stinks like a motherfucker!” Which might help to explain the ferocity with which the band then tears into the opening riff.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/lYPFrXvc2rE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>12. “I’m Broken”</strong><br /> <em>Far Beyond Driven</em></p> <p>Pantera wisely placed <em>Far Beyond Driven</em>’s three best songs (“Becoming,” “5 Minutes Alone,” “I’m Broken”) near the album’s beginning. “I’m Broken” was the last of this triple threat, neatly completing the band’s most devastating studio recording hat trick. </p> <p>“I think that ‘I’m Broken’ is the riff of all riffs,” Rex Brown says, and for most Pantera fans it would be hard to disagree. Anselmo compares the song to the blues, but has there ever been a blues song with lyrics as cryptic and critical as “Too young for one’s delusion the lifestyle cost/Venereal mother embrace the loss”?</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/2-V8kYT1pvE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>11. “Becoming”</strong><br /> <em>Far Beyond Driven</em></p> <p>Anyone who went to a Pantera concert between 1994 and 2001 knows why “Becoming” is revered by the band’s fans. The combination of Vinnie Paul’s military drum corps–inspired double-kick rumble and Dimebag’s gut-pummeling riff instantly instigated the most violent mosh pits known to mankind, and the energy that filled the room was so electric that no one would have been surprised if thunder clouds suddenly formed. </p> <p>Dimebag’s solo is the ultimate anti-solo, saying more in an obnoxious burst of noise than most players say in entire careers. The way he uses a Whammy Pedal to make his guitar sound like a howler monkey in a Vitamix is simply brilliant. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/2ht3XGhlfYs" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>10. “The Art of Shredding”</strong><br /> <em>Cowboys from Hell</em> <p>A classic Eighties-style thrasher, “The Art of Shredding” combines the heavily scooped guitar tone and speed-metal attack of bands like Testament and Overkill with the type of meta subject matter and gang-shouted background vocals that have always been Exodus’ stock in trade. </p> <p>In that respect, it’s hardly the most progressive moment on <em>Cowboys from Hell</em>. But with its rollercoaster ride of whiplash riffs and rhythms, it is one of the most enjoyable. Furthermore, Dimebag tops off the proceedings with a gonzo, whammy-filled solo that ably demonstrates that shredding is, in fact, very much an art. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/e97cQYWt314" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>9. “Revolution Is My Name”</strong><br /> <em>Reinventing the Steel</em> <p>While Dimebag’s atonal guitar howls on this song’s intro may be the weirdest sounds ever to grace a Grammy-nominated song, the remainder of this tune wouldn’t have been out of place on an early Black Sabbath album. </p> <p>Anselmo even sounds a bit like Ozzy in a few parts—perhaps after Ozzy woke up hung over and gargled with benzene and razor blades. Beyond the classic metal melodiousness, what makes this song so damn good is the way it seamlessly darts between dramatic tempo and rhythmic shifts and somehow sounds cohesive. </p> <p>After delivering a note-perfect metal solo, complete with harmonies, Dimebag returns to the groove with sounds that defy transcription, proving revolution was <em>his</em> name.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/NKiR4_QgWB8" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>8. “Drag the Waters”</strong><br /> <em>The Great Southern Trendkill</em> <p>As one of the most straightforward and definitively Pantera songs on <em>The Great Southern Trendkill</em>, “Drag the Waters” was the obvious choice to be the album’s first single. </p> <p>While it mostly treads familiar ground, it also finds the band growing in new directions. Dimebag’s guitar tone in particular is more massive than ever, and you don’t need to be Bruce Dickinson to love the cowbell that Vinnie Paul lays down with his drum track. </p> <p>Anyone needing a track to explain what Pantera’s “power groove” means would be wise to choose “Drag the Waters,” as it’s heavy as hell, but you can still shake your ass to it.</p> <p>The solo is particularly tasty, as Dimebag goes for more of a slow burn than his usual balls-to-the-wall explosions of speed. “That lead is kinda like an old Van Halen thing, where the band breaks to feature the solo,” Dimebag said in 1996. “Actually, on this one I ended up keeping a lot of the original guide-track stuff I laid down while we were cutting the drums. Sometimes you record something that you plan on redoing later, but then when you listen back to it you decide to keep it because you realize that it’s gonna be real tough to beat!”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/4hx8TW6sYys" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>7. “Message in Blood”</strong><br /> <em>Cowboys from Hell</em> <p>This deep <em>Cowboys</em> cut comes on like a demented sonic funhouse, replete with eerie atmospherics, detached voices laughing behind Anselmo’s vocal (with lyrics ostensibly about the Charles Manson murders) and constantly changing tempos and attacks. </p> <p>The first half is an all-out creepfest highlighted by Anselmo’s blood-curdling screams. Then the tone abruptly shifts as Dimebag steps up with an intensely layered and textured solo, which only leads into more instrumental twists and turns. </p> <p>A disorienting and disturbing prog-metal death trip.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/XMWLS-D97I0" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>6. “Walk”</strong><br /> <em>Vulgar Display of Power</em> <p>Pantera wasn’t the kind of band that radio warmed up to during the Nineties, but in the rare instances when Pantera did get airplay it was usually this song. </p> <p>Dimebag often described Pantera’s music as “power goove,” and “Walk” may be the best example of what he meant, even though it swaggered along to an unorthodox 12/8 time signature. The chromatic open low E string and first-fret riff seems simpler than it actually is, thanks to Dimebag’s expert string bends, salacious swing and impeccable feel. </p> <p>To match the menace of Phil Anselmo’s Travis Bickle–inspired taunts, he tuned his guitar down a little more than a whole step, until the strings growled through his solid-state Randall amps.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/AkFqg5wAuFk" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>5. “This Love”</strong><br /> <em>Vulgar Display of Power</em> <p>Back in 1992, “This Love” was a staple video on MTV and even climbed to Number 6 on the Billboard Hot 100 singles chart. </p> <p>With a verse consisting of watery guitar arpeggios and Phil Anselmo’s crooned vocals offset by a mammoth, aggro chorus, the song signified Pantera’s big mainstream power-ballad moment—except other power ballads didn’t feature lyrics like, “I’d kill myself for you/I’d kill you for myself,” or a video in which a prostitute murders an overly frisky john in the back of a taxicab. </p> <p>The song also wraps with a breakdown so crushingly slow and heavy that it could make a thousand metalcore bands wet their pants. But these moments still didn’t save the band from ridicule at the hands of the ultimate metalheads of the day, Beavis and Butt-head: “Is that a tear, Pantera?” taunted Beavis while watching the “This Love” video in an episode of the MTV cartoon. “Is daddy’s little girl upset?”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/tymWpEU8wpM" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>4. “Shattered”</strong><br /> <em>Cowboys from Hell</em> (1990) <p>One listen to Phil Anselmo shrieking his way through the verses on “Shattered” might lead you to wonder whether somebody slipped a Judas Priest disc into your Pantera jewel case. </p> <p>But the singer’s histrionics are just one of many ways in which this <em>Cowboys</em> track deviates from the Pantera norm. From Anselmo’s vocals to Dimebag’s nimble, racing riff to his uncharacteristically traditional-sounding shred solo, “Shattered” is three-minutes-and-twenty-one seconds of steroid-injected, Eighties-style Technicolor metal, and one of the few post-major-label nods to Pantera’s “glam era” output. </p> <p>And yet, while the song is miles away in tone and temperament from, say, “Suicide Note Pt. II,” it’s hardly a puff piece. The jackhammer pace and explosive guitar pyrotechnics (both Abbott brothers shine here)—not to mention its sheer “otherness” in relation to the rest of the post–Power Metal Pantera catalog—make “Shattered” something of a hidden and enormously entertaining gem. </p> <p>As an added bonus, the song is spackled with a nice helping of Eighties-metal cheese: Anselmo’s castrato screams on the song’s title (harmonized for our pleasure); Dime’s whiz-bang outro solo; and a finale that climaxes with the sound of—you guessed it—a piece of glass being shattered.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ZqU5wWuv-Po" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>3. “A New Level”</strong><br /> <em>Vulgar Display of Power</em> (1992) <p>Though it was never issued as a single, “A New Level” is arguably as well known as any of the <em>Vulgar Display of Power</em> cuts that were. Its intro riff, built on a slowly ascending barrage of crushing chromatics, is as iconic as the opening of “Walk” or “Mouth for War.” </p> <p>The song also features some subtle shifts in dynamics, such as the chromatic half-step modulation that occurs as Anselmo’s vocal enters at the verse, and the way Dimebag varies his attack on the intro, sometimes playing the chords wide open, at other times with slight palm muting and yet at others with an extremely tight chunk. Of course, subtle is hardly the word to describe “A New Level.” Rather, it’s a classic Pantera rager that finds the band in full-on anthem mode, with Anselmo issuing a call to arms for the shit-, pissed- and spit-on metal masses. But it was Dime’s riffing that also helped the tune reach beyond those metal masses. </p> <p>On the 2008–2009 Sticky &amp; Sweet tour, Madonna ended performances of her retro-disco hit “Hung Up” by leading her band through a few bars of the song’s intro. What’s more, the Material Girl herself even riffed along on a black Les Paul. A new level, indeed.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/jnRP77QN59w" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>2. “Cemetery Gates”</strong><br /> <em>Cowboys from Hell</em> (1990) <p>As far as heavy metal epics go, “Cemetery Gates” belongs in the company of celebrated classics like Black Sabbath’s “War Pigs” and Metallica’s “One.” </p> <p>Clocking in at 7:03, it’s the longest studio song Pantera recorded. It’s also by far the pinnacle songwriting achievement of Dimebag Darrell, Phil Anselmo, Rex Brown and Vinnie Paul when they worked together in Pantera, with a masterfully structured arrangement that seamlessly ebbs and flows to support the eerie mood before it builds to its dramatic conclusion. </p> <p>Dimebag’s virtuoso performance, from his melodic solos to the harmonic whammy-bar screams at the song’s climax, features some of his finest work. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/1OYw7FPB7CE" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>1. “Cowboys from Hell”</strong><br /> <em>Cowboys from Hell</em> (1990) <p>With its razor-sharp riff, pummeling groove and ominous “we’re taking over this town” refrain, “Cowboys from Hell” started life as a rallying cry for the reborn version of Pantera circa 1989. </p> <p>As the first track on Pantera’s major-label debut of the same name, it quickly became the band’s anthem for the rest of its existence. The song proclaimed in no uncertain terms that Pantera meant serious business as the next contenders to metal’s throne, while Dimebag Darrell’s delicious solo boldly announced that a new guitar hero was in town and loaded for bear.</p> <p>Although “Cowboys from Hell” was allegedly the first song that Pantera wrote for the album, by the time Pantera finished recording <em>Cowboys from Hell</em> they contemplated cutting it from the final version. The band felt that the song seemed too tame and commercial compared to the album’s other material, particularly the newer songs they wrote in the studio while recording. </p> <p>Pantera’s manager, Walter O’Brien, convinced them otherwise. “I knew that Pantera were going to be called the Cowboys from Hell from then on,” he says. </p> <p>“Every great band has a nickname. Bruce Springsteen is the Boss. ZZ Top is that Little Ol’ Band from Texas. Cowboys from Hell was perfect for them. I rarely insist on anything creative from a band, but I just knew it was a massive song. Dimebag put the CFH logo on everything, and he lived that persona.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/_7EQlfprV9E" 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="/pantera">Pantera</a> </div> <div class="field-item even"> <a href="/dimebag-darrell">Dimebag Darrell</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/25-greatest-pantera-songs#comments Dimebag Darrell February 2015 Pantera Guitar World Lists News Features Magazine Thu, 28 May 2015 16:10:27 +0000 Richard Bienstock, Chris Gill 24535 at http://www.guitarworld.com July 2015 Guitar World: 25 Greatest Lynyrd Skynyrd Songs, Kirk Hammett, Whitesnake, Slayer and More http://www.guitarworld.com/july-2015-guitar-world-lynyrd-skynyrd-kirk-hammett-whitesnake-slayer-and-more <!--paging_filter--><p><a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-july-15-lynyrd-skynyrd/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWJUL15">The all-new July 2015 issue of Guitar World is available now!</a></p> <p><em>Guitar World</em>’s July 2015 issue features <strong>Lynyrd Skynyrd</strong>. As they gear up to release their latest live record, <em>One More for the Fans!,</em> guitarist <strong>Gary Rossington</strong> reflects on his career as the sole surviving original member of the Southern rock giants. </p> <p>Then, in an excerpt from his new biography on the rise of <strong>Lynyrd Skynyrd</strong>, <em>Whiskey Bottles and Brand-New Cars: The Fast Life and Sudden Death of Lynyrd Skynyrd</em>, author <strong>Mark Ribowsky</strong> provides a harrowing account of the 1977 plane crash that rocked the music world.</p> <p>Also, from "Free Bird" to "That Smell" and "Swamp Music" to "Call Me the Breeze," we pay tribute to the legends of Southern rock by ranking their <strong>25 best tracks</strong>. </p> <p>Also in the issue, <em>Guitar World</em> gets freaky with <strong>Kirk Hammett</strong> as the second annual Kirk Von Hammett's Fear FestEvil, the Metallica guitarist's star-studded celebration of all things metal and horror. </p> <p>Finally, <em>Guitar World</em> presents a selection of 15 of the tastiest <strong>seven- and eight-string axes</strong> on the market today.</p> <p>PLUS: Tune-ups: <strong>Whitesnake play Deep Purple, Slayer in the studio, Mark Tremonti, Kitty, Daisy &amp; Lewis and more,</strong> Soundcheck: <strong>Eventide</strong> H9 Max multi-effect pedal, <strong>EVH</strong> Wolfgang WG Standard electric, <strong>Orange</strong> Rockerverb 100 MKIII amp and much more!</p> <p><strong>Five Songs with Tabs for Guitar and Bass:</strong></p> <p>• Lynyrd Skynyrd - "I Know A Little"<br /> • System of a Down - "Chop Suey!"<br /> • Grateful Dead - "Sugar Magnolia"<br /> • 38 Special - "Hold On Loosely"<br /> • Metallica - "Stone Cold Crazy"</p> <p><strong><a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-july-15-lynyrd-skynyrd/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWJUL15">The all-new July 2015 issue of Guitar World is available now at the Guitar World Online Store!</a></strong></p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-19%20at%201.20.05%20PM_0.png" width="620" height="805" alt="Screen Shot 2015-05-19 at 1.20.05 PM_0.png" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/lynyrd-skynyrd">Lynyrd Skynyrd</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/july-2015-guitar-world-lynyrd-skynyrd-kirk-hammett-whitesnake-slayer-and-more#comments July 2015 Lynyrd Skynyrd News Features Thu, 28 May 2015 16:03:46 +0000 Guitar World Staff 24567 at http://www.guitarworld.com Milk Carton Kids Guitarist Kenneth Pattengale Talks Tone, Playing in a Duo and New Album, 'Monterey' http://www.guitarworld.com/acoustic-nation-milk-carton-kids-guitarist-kenneth-pattengale-tone-playing-duo-new-album-monterey <!--paging_filter--><p>The Milk Carton Kids' Kenneth Pattengale and Joey Ryan are studied craftsmen of the folk tradition. </p> <p>Over the course of their five years together as a band, they have mastered the delicate vocal harmonies, sophisticated songwriting and subtle musical interplay set forth by seminal folk duos such as Simon &amp; Garfunkel or Gillian Welch and David Rawlings. </p> <p>Words like "enchanting" and "haunting" get tossed around when describing this intimate format, but the Milk Carton Kids have more than earned such distinctions.</p> <p>The two singer-songwriters formed the group in 2011 and promptly hit the road, touring the country. </p> <p>Since then, they have earned numerous accolades, including a Grammy nomination for <em>Ash &amp; Clay,</em> the 2014 Group of the Year Award from the Americana Music Association and a spot in the T Bone Burnett and Coen Brothers-produced concert film documentary, <em>Another Day/Another Time: Celebrating the Music of ‘Inside Llewyn Davis’</em>—in which their performance literally moved Marcus Mumford to tears. </p> <p>When first hearing the Milk Carton Kids, Pattengale’s guitar jumps out immediately. His counterpoint accompaniment is tasteful and undeniably impressive, utilizing a mix of cross-kicking, double-stops and single-note lines to create an elegant style that has made him one of the most exciting contemporary voices on the acoustic guitar. </p> <p>I spoke with Kenneth about achieving tone, his sense of harmony, playing in a duo and recording the Milk Carton Kids’ new album, <em>Monterey.</em></p> <p><strong>GUITAR WORLD: You play a very small-bodied acoustic guitar. What model is it?</strong></p> <p>It’s a Martin 0-15 from 1954. Outside of the little turn-of-the-century parlor guitars and the guitars that predate the OM model, it’s the smallest short-scale guitar Martin has made in the modern era. It's funny; yesterday we were doing a thing with Béla Fleck in Nashville and he walked by the guitar and said, “What, did your guitar shrink in the dryer?” </p> <p>So it’s from ’54 and it’s kind of beat to shit. I bought it off a lady on the Internet, sight unseen. I’ve bought a number of guitars that way, but this one just seems to have its own thing. And after touring it for five years with this band, it’s developed a kind of tone that’s hard to replace when I’m swapping guitars in and out. Every time that one’s in the mix, it seems to be saying the right thing.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/wFIzO6mR3-U" frameborder="0" allowfullscreen></iframe></p> <p><strong>You incorporate a ton of single-note lines into your playing while always retaining a very even, full tone. I know the bluegrass guys have a very specific approach to achieving their tone on an acoustic instrument, but you seem to be going after something different.</strong></p> <p>I feel like tone is the most important thing. My impression of the bluegrass thing is really funny. I think those players are really precious about tone, but often times I feel like those guys are relying on their instrument more than their technique in a strange way. That big, clear, open, bell dreadnought sound you hear out of all those guys is such a particular thing. For me, maybe I had access to too many guitars, or maybe I didn’t have an ear for it … to feel comfortable in what I was playing, the only thing I could manipulate or change was just my technique. </p> <p>We’ll see if it hurts me in the end, but I think if there’s anything that sets me apart from other people is that when I know that I like what’s coming out of my instrument, it’s because literally I press down on the fingerboard harder than most players. I’ve always found that to get a really warm, sustained and clear tone that’s still sort of real and gritty, in order to get that out of the instruments I play, I always have to really take that string across the frets. </p> <p>I guess you could compare it to the way you need to make sure joints in woodworking are sound. When you glue two pieces of wood together, the closer you can get them to existing as a fundamental structure, and the more you create that bond, the more structural integrity it has. In a metaphorical way, that holds true in my mind for the guitar. The more you can establish a totally firm intentionally with which you play, and in how that’s represented physically, the truer it sounds. </p> <p>But then again I don’t know … I might be shooting myself in the foot. I might not be able to play the guitar when I’m 60 [laughs].</p> <p><strong>Is that something you’re aware of while playing? I’ve talked before with Julian Lage, whom I know you produced a record with, and he spoke of having a similar intentionality to his playing.</strong></p> <p>I think I’m more aware of it when I’m not playing. If I don’t play the guitar for a few weeks, and then I start to play again, the first four or five days I’m in excruciating pain. My calluses go away and my hand cramps up and feels overused. The opposite is like Joey, who doesn’t have light strings on his guitar, but to get the sound he gets out of his instrument he doesn’t have to press the guitar as hard. He can go months without playing and then do some strumming and it won’t really matter. </p> <p>When I’m actually playing and in the zone and not distracted by anything, I think I’m far enough in where I don’t have to think about technique anymore. When you’re performing, technique probably isn’t a good thing to focus on because you might miss some artistic information. </p> <p>You mentioned Julian; I’ve never had more conversations about technique with anyone than Julian. Not necessarily about playing the guitar but everything that surrounds playing the guitar. He’s given a lot of thought and made a lot of personal choices and corrections based on body posture and breathing and all of these theoretical ideas about what it means physically to play the guitar. Obviously, when you hear that guy play the guitar, anything that’s going into it is valuable information because what’s coming out of it is pretty astounding. </p> <p><strong>You have such an interesting and sophisticated sense of harmony in your playing. I hear half-step moves, close intervals, 9ths and 13ths. How did you develop this sound?</strong></p> <p>I think it comes from having global influences. I spent long stretches listening to Tom Waits recordings, long stretches listening to Duke Ellington recordings—composers that seem not to be afraid to work in the margins. Duke’s a perfect example of where there’s so much intentionally, and clearly composition, but he’s also not afraid to challenge the ear. </p> <p>Secondarily, not to be bashful about it, but I’m not the most consistent guitar player around. I feel like I kind of backed into this job. Joey and I started a band where there are only two guitars and two voices. There are a few ways to arrange those four elements, and to our ear the best way is to really be interesting with those four things. When we’re striving to sing as one with our voices, and Joey’s fundamentally providing rhythm, there’s all this wide-open space for me to play the guitar as counterpoint in and around that. There’s a lot of room to fill there and I guess I was the guy for the job. </p> <p>And I’m not the greatest guitar player, so a lot of that comes from trying to be ambitious on the guitar and then landing in the wrong place and having to find my way out of it while trying to make it musical. In that a lot of discovery happens. Sometimes I’d land in the wrong place but I’d really like how it sounded and what it did for the music. </p> <p>In some ways this feels like a running experiment for me trying to seek out the guitar in the public forum. I’ve also got a band mate and collaborator who can tell me if I sound shitty or if I’ve gone too far. I’m not necessarily stuck in my own world thinking this stuff sounds great or not. There’s always somebody else to tell if it’s working. </p> <p><strong>Even though you play a lot of very defined single note lines, it never sounds like you’re playing “lead guitar." It seems like you always make an effort to accompany the song even while you’re doing all this cool guitar stuff.</strong></p> <p>Yeah and that’s intentional. When we perform we do maybe 20 songs, and of the those 20, there are only ever two or three songs where we get to a point and it feels like, “Oh and now for a guitar solo.”</p> <p>There’s a song of ours, “Girls Gather Round” that has a guitar solo in the middle. But it’s really only there because the structure of the song is so traditional that when you get to that point in the song, everybody knows that it’s time for the guitar solo. </p> <p>We’re conscious of writing parts in our songs, sections that while they’re instrumental, usually have different chord patterns than in the verses and chorus. Sometimes these songs, over the course of a year or two will change from the recorded version to something we feel more comfortable in or something that can be lightly improvised around. Throughout that process we try not to reach points in songs where it’s just time for me to show off on the guitar. </p> <p>First I’m not capable of that, but more importantly, we found to have a clear idea of what the direction of my guitar part is really strengthens the songwriting. Or at least it gives an identity to the song that without it our band doesn’t actually work. It’s never supposed to feel like a guitar solo. It’s exactly like you said, it’s supposed to feel like accompaniment; it’s supposed to feel like it’s contextual and that it’s purposeful and serves the song. </p> <p>If somebody was going to pick guitar solos over our tunes there are plenty of other guys that would do that better. Julian Lage or Elbridge or Rawlins can all play a way better guitar solo than I can. </p> <p><strong>For the new album, I read you recorded it in empty rooms and halls to utilize their natural reverb. Was that the concept for making this record?</strong></p> <p>You know, that’s actually how I thought about the Critter [Chris Eldridge] and Julian album. That duo-guitar thing is a format that’s happened a few times, and my frustration with those recordings is that it seems like those type of players, who are so good and so detailed, the production aesthetics are always … you get this really close-mic’d, precise, pristine sound. It sounds so close and detailed; it’s hard for me to hear the context when I listen to those. </p> <p>I wanted to get them into a room where I could back all the mics off so that the context would be more firmly established before the listener hears it. In fact, we recorded that album in the middle of the tour that Joey and I recorded our album on. It was the same recording rig, and I found a hall in Easton, Maryland, to take them into. What ended up happening, standing on stage in this empty room with all of this reverb, is that all of a sudden everything was different. Just playing guitar sounded different than playing in the studio or sitting on the edge of your bed. You’d strike the guitar and hear the sounds in just an entirely different way. And it seemed to not only make you play differently, but that different context alone painted the whole picture differently.</p> <p>For Joey and me, it was important because we’ve done close to 500 shows, and we’ve only been in the studio eight days over those five years. At this point, he and I are much happier thinking about our accomplishments onstage rather than our accomplishments in the studio. And we’ve spent so much damn time out there; it occurred to us, “Why don’t we just record it here?” We thought it would feel a lot more natural and take away the preciousness of what going into the studio means. Every time you go into the studio, everyone gets emotionally psyched up, and you can’t expect that it’s not going to change what you do. </p> <p>I know that if I sit down at the studio and try to cut a song for three hours, knowing that at end of it I’m going to have to move on and that’s going to be the one, it means that I’m less ambitious playing the guitar and that sometimes I’m thinking about the wrong things—worrying about how the guitar sounds rather than thinking about how to make the guitar sound good.</p> <p>On that tour, I think we played 55 shows. We’d set up the recording studio every day on stage in these halls and play for a few hours and then take it down. We didn’t even listen to anything for about six months. So during that whole time we never thought, “Oh, this has got to be the one,” or “We gotta play this right.” Instead, we’d set up for the day and either we’d play or we wouldn’t. </p> <p>When we went back and listened, we found that the songs sounded totally different than if we were in the studio and precious about it. As a result, I think it’s much more reflective of what we do every day. It captures a side of our music that definitely hasn’t been captured on any of the previous records. But more importantly, it represents what we think we’re good at and how we think we found it. </p> <p><em>For more about the Milk Carton Kids, visit <a href="http://www.themilkcartonkids.com/">themilkcartonkids.com.</a></em></p> <p><em>Ethan Varian is a freelance writer and guitarist based in San Francisco. He has performed with a number of rock, blues, jazz and bluegrass groups in the Bay Area and in Colorado. <a href="https://twitter.com/ervarian">Follow him on Twitter.</a></em></p> http://www.guitarworld.com/acoustic-nation-milk-carton-kids-guitarist-kenneth-pattengale-tone-playing-duo-new-album-monterey#comments Acoustic Nation Kenneth Pattengale The Milk Carton Kids Interviews Blogs Interviews News Features Wed, 27 May 2015 20:51:31 +0000 Ethan Varian 24561 at http://www.guitarworld.com Learn Every Classic Track from Aerosmith's 1975 Masterpiece, 'Toys in the Attic' http://www.guitarworld.com/learn-every-classic-track-aerosmiths-1975-masterpiece-toys-attic <!--paging_filter--><p>Learn every song on Aerosmith's legendary 1975 album, <em>Toys in the Attic</em>, with this tab book by Hal Leonard Publishers. </p> <p>This 88-page book, which is <a href="http://store.guitarworld.com/collections/new-products/products/aerosmith-toys-in-the-attic/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=AerosmithToysAttic">available for $19.99 at the Guitar World Online Store</a>, includes exact transcriptions in notes and tab for all nine tunes off this Aerosmith masterpiece:</p> <p> • "Adam's Apple"<br /> • "Big Ten Inch Record"<br /> • "No More No More"<br /> • "Round and Round"<br /> • "Sweet Emotion"<br /> • "Toys in the Attic"<br /> • "Uncle Salty"<br /> • "Walk This Way"<br /> • "You See Me Cryin'."</p> <p><strong><a href="http://store.guitarworld.com/collections/new-products/products/aerosmith-toys-in-the-attic/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=AerosmithToysAttic">Head to the Guitar World Online Store now.</a></strong></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="/aerosmith">Aerosmith</a> </div> <div class="field-item even"> <a href="/joe-perry">Joe Perry</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/learn-every-classic-track-aerosmiths-1975-masterpiece-toys-attic#comments Aerosmith Features Wed, 27 May 2015 11:07:54 +0000 Guitar World Staff 17570 at http://www.guitarworld.com New Book: Learn to Play '25 Top Classic Rock Songs' http://www.guitarworld.com/new-book-learn-play-25-top-classic-rock-songs <!--paging_filter--><p><em>25 Top Classic Rock Songs</em> is <a href="http://guitarworld.myshopify.com/products/25-top-classic-rock-songs-tab-tone-technique/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=25TopClassicRockSongs">available now at the Guitar World Online Store.</a></p> <p>This series includes performance notes and accurate tab for the greatest songs of every genre. </p> <p>From the essential gear, recording techniques and historical information to the right- and left-hand techniques and other playing tips, it's all here! Learn to play 25 classics note for note.</p> <p>Including: </p> <p> • Addicted to Love<br /> • After Midnight<br /> • Another Brick in the Wall, Part 2<br /> • Beat It<br /> • China Grove<br /> • Dream On<br /> • Fortunate Son<br /> • Go Your Own Way<br /> • Life in the Fast Lane<br /> • Lights<br /> • Message in a Bottle<br /> • Reeling in the Years<br /> • Refugee<br /> • Tom Sawyer<br /> • Wild Night </p> <p><strong><a href="http://guitarworld.myshopify.com/products/25-top-classic-rock-songs-tab-tone-technique/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=25TopClassicRockSongs">Head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/new-book-learn-play-25-top-classic-rock-songs#comments News Features Thu, 21 May 2015 10:16:24 +0000 Guitar World Staff 23539 at http://www.guitarworld.com Jimi Hendrix's Playing Secrets Revealed in New Lesson Series! http://www.guitarworld.com/jimi-hendrixs-playing-secrets-revealed-new-lesson-series <!--paging_filter--><p><em>Jimi Hendrix Playing Secrets</em>, Guitar World's exclusive new lesson series, is now available through the <a href="https://itunes.apple.com/us/app/guitar-world-lessons/id942720009?mt=8">Guitar World Lessons App</a> and <a href="https://guitarworldlessons.com/product/6F34A4B8-95B7-33D2-3CD6-B3710E517B4F?utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=HENDRIX">Webstore</a>. It joins the ranks of the hundreds of lessons already available through Guitar World Lessons.</p> <p>Learn all of Jimi Hendrix’s essential rhythm and lead guitar techniques, including his go-to soloing patterns, extended pentatonic and blues-scale positions, signature phrasing and articulations, string bending, vibrato and whammy bar usage, strummed octaves, thumb fretting and chord embellishments, plus essential gear and how to recreate Jimi’s tone!</p> <p>Right now, you can get 13 <em>Jimi Hendrix Playing Secrets</em> lessons for only $14.99!</p> <p><strong>For more information about <em>Jimi Hendrix Playing Secrets</em>, visit the <a href="https://itunes.apple.com/us/app/guitar-world-lessons/id942720009?mt=8">Guitar World Lessons App</a> and <a href="https://guitarworldlessons.com/product/6F34A4B8-95B7-33D2-3CD6-B3710E517B4F?utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=HENDRIX">Webstore</a> now.</strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/0n85Xj7apEE" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/jimi-hendrix">Jimi Hendrix</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/jimi-hendrixs-playing-secrets-revealed-new-lesson-series#comments Andy Aledort Guitar World Lessons Guitar World Online Store Jimi Hendrix Lesson News Features Wed, 20 May 2015 15:26:27 +0000 Guitar World Staff 24411 at http://www.guitarworld.com Stevie Ray Vaughan's Top Five Studio Guest Appearances http://www.guitarworld.com/top-five-studio-guest-appearances-stevie-ray-vaughan <!--paging_filter--><p>For someone who spent a mere seven years in the spotlight, Stevie Ray Vaughan left behind an impressive amount of recorded material.</p> <p>He released four studio albums, a double live album and a Vaughan Brothers album (recorded with his big brother, Jimmie Vaughan), not to mention enough leftover live and studio material to fill several posthumous albums and a box set or two. </p> <p>He even found time to perform on albums by several other artists—from Teena Marie to Stevie Wonder to Don Johnson to Lonnie Mack—pretty much always with fiery results. </p> <p>With that in mind, here are Vaughan's top five guest appearances as a guest or session guitarist during his "famous" years, 1983 to 1990. We'll discuss his pre-fame session work in another story (maybe).</p> <p>Just so the Vaughanophiles are clear, this list does not take into account Vaughan's 1983 Canadian TV studio appearance with Albert King—or anything recorded in a TV studio, a radio studio or a studio apartment. </p> <p>It also doesn't include his <a href="http://www.guitarworld.com/stevie-ray-vaughan-and-dick-dale-play-pipeline-video-thats-got-it-all">1987 recording of "Pipeline" with Dick Dale</a> because that track is credited to the duo, so neither guitarist is the other's "guest."</p> <p><strong>05. A.C. Reed, "Miami Strut," from <em>I'm In the Wrong Business!</em> (1987)</strong></p> <p>A.C. Reed was a respected Chicago-based sideman who started his lengthy career in the Forties and worked with a host of big names, including Magic Sam, Son Seals, Albert Collins and Buddy Guy.</p> <p>"Miami Strut" is a funky instrumental that features Vaughan playing a Strat through a Leslie cabinet, its revolving speaker providing an exceptionally "wet" sound. Note how he plays around Reed's catchy tenor sax riffs, making his guitar an integral part of the track. Vaughan's guitar solo starts around 1:22.</p> <p>Because the album, which also features Bonnie Raitt, was released in 1987, it represents a lost period in Vaughan's discography, since <em>Soul to Soul</em> came out in 1985 and <em>In Step</em> came out in 1989. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/GZq5akABb9A" frameborder="0" allowfullscreen></iframe></p> <p><strong>WHILE YOU'RE AT IT</strong>: Check out "These Blues Is Killing Me" from the same album. Vaughan's guitar solo starts around 2:06. That's Reed on vocals.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/_YTQLQiNXIE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>04. Bennie Wallace, "All Night Dance," from <em>Twilight Time</em> (1985)</strong></p> <p>Here's Vaughan guesting with another sax player—this time Bennie Wallace (with Dr. John)—on another blues-based instrumental, a lengthy shuffle called "All Night Dance" from Wallace's now-out-of-print 1985 <em>Twilight Time</em> album. The song also was featured on the <em>Bull Durham</em> soundtrack album in 1988—and even that's out of print (Good luck finding it for less than $60 on Amazon Marketplace or eBay!).</p> <p>Stevie's guitar solo starts around 3:24, and he really pours it on, dialing up his <em>Soul to Soul</em> sound and including several signature SRV motifs and bends. </p> <p>Like a great songwriter who sometimes relegates jaw-dropping tunes to the cutting-room floor or non-album B-sides, Vaughan recorded this brilliant guitar solo one random day in his career—and then just moved on to the next gig, never really looking back.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/vfyhbaJ7CpU" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>03. Johnny Copeland, "Don't Stop by the Creek, Son," from <em>Texas Twister</em> (1984)</strong></p> <p>Texas blues guitarist and singer Johnny Copeland (father of blues singer Shemekia Copeland) invited Vaughan to play on two tracks on his <em>Texas Twister</em> album. On "Don't Stop by the Creek, Son," Copeland, a fine player in his own right, stepped aside to let Vaughan handle all the lead work. </p> <p>Although Vaughan's Strat was mixed a little too low in the original vinyl mix (It had to compete with Copeland's acoustic guitar), "Creek" is a fun, engaging, upbeat track with a catchy melody and some nifty guitar work from start to finish.</p> <p>It's worth noting that the original 1984 Black and Blues version of <em>Texas Twister</em> featured two tracks with Vaughan on guitar—"Don't Stop by the Creek, Son" and "When the Rain Stops Fallin'." However, when the album was reissued by Rounder Records in 1986, "When the Rain Stops Fallin'" was gone—and it's still gone. iTunes sells only the <a href="http://itunes.apple.com/us/album/texas-twister/id446039365">1986 version of the album</a></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/nM9-QRPGc_U" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>02. Lonnie Mack, "If You Have to Know," from <em>Strike Like Lightning</em> (1985)</strong></p> <p>Serious Vaughan fans got a nice bonus in 1985: Alligator Records released Lonnie Mack's masterful <em>Strike Like Lightning</em> album, which was co-produced by Vaughan and Mack, one of SRV's many guitar idols (Check out Mack's classic 1964 album, <em><a href="http://itunes.apple.com/us/album/the-wham-of-that-memphis-man!/id285852886">The Wham of That Memphis Man!</a></em>).</p> <p>Vaughan plays on several songs on the album, but he actually plays and sings on "If You Have to Know," making it the closest thing to a straight-ahead bonus SRV track. Check it out below.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/jMj-q5A7MfM" frameborder="0" allowfullscreen></iframe></p> <p><strong>WHILE YOU'RE AT IT</strong>: From the same album, be sure to get a taste of "Oreo Cookie Blues," which features Vaughan on acoustic guitar, predating "Life By the Drop" and his <em>Unplugged</em> appearance by five years ...</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/ZsDcBg4X7fQ" frameborder="0" allowfullscreen></iframe></p> <p>... and don't forget "Double Whammy" (a new recording of Mack's early Sixties instrumental hit "Wham!" featuring Vaughan and Mack duking it out in E), "Hound Dog Man" and "Satisfy Suzie," which you can hear below. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/Snxi6CW42fE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>01. David Bowie, "Cat People (Putting Out the Fire)," from <em>Let's Dance</em> (1983)</strong></p> <p>Come on, you knew something from David Bowie's <em>Let's Dance</em> album had to be No. 1 on this list. </p> <p><em>Let's Dance</em> served as the world's introduction to Vaughan, who, with Bowie, invented something new by adding Texas-style blues guitar to contemporary, dance-based pop music—raising eyebrows, expectations and bank accounts for all involved.</p> <p>Vaughan plays lead guitar on several tracks, including two of the album's many mega-hits ("Let's Dance" and "China Girl"), but guitar-wise, the song that truly kicks collective ass is the less-famous "Cat People (Putting Out the Fire)." It's also got the album's healthiest serving of SRV; he solos in the middle, adds Albert King-style bends throughout and then solos near the end of the song.</p> <p>Note that Bowie recorded two studio versions of this song in the early Eighties; be sure to seek out the <em>Let's Dance</em> version (not that there's anything wrong with the other one).</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/n4xpdaIZyzs" frameborder="0" allowfullscreen></iframe></p> <p><strong>WHILE YOU'RE AT IT</strong>: It just feels wrong to leave out the album's title track—which millions of people can credit as the first time they heard Stevie Ray Vaughan.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Af6jOq0dWqo" frameborder="0" allowfullscreen></iframe></p> <p><strong><a href="http://www.guitarworld.com/top-five-studio-guest-appearances-stevie-ray-vaughan?page=0,5">Click here to read about THREE MORE SONGS featuring SRV!</a></strong></p> <hr /> <p>Welcome to the bonus page! I don't think too many people get this far. Poor them ...</p> <p>Here are three extra tunes that feature Vaughan as the guest guitarist, each interesting in its own way. </p> <p>Please note that we seriously wanted to include "Bumble Bee Blues" from Brian Slawson's 1988 album, <em>Distant Drums</em>, but it's not available on YouTube. You can always track down the CD on eBay for about $5.</p> <p>Anyway, here we go:</p> <p><strong>Stevie Wonder, "Come Let Me Make Your Love Come Down," from <em>Characters</em> (1987)</strong></p> <p>While the Vaughan-heavy video below is promising, it's also misleading. </p> <p>Sadly, the finished studio recording of this 1987 Stevie Wonder track features much less of Vaughan's playing, although he can be heard closer to the end of the song, going head to head with B.B. King. So make the most of this video! </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/6loFxCKwQjE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Don Johnson, "Love Roulette," from <em>Heartbeat</em> (1986)</strong></p> <p>What's interesting about this one? First of all, <em>Miami Vice</em> star Don Johnson released an album in 1986. Second of all, he got Vaughan to play on it. Third of all, the album reached No. 17 on <em>Billboard's</em> Hot 100. </p> <p>The album, <em>Heartbeat</em>, was a star-studded affair that also featured Dickey Betts of the Allman Brothers Band, Ron Wood of the Rolling Stones, Dweezil Zappa and Willie Nelson. Johnson eventually recorded one more album, 1989's <em>Let It Roll</em>.</p> <p>Vaughan's solo on "Love Roulette," which you can check out below, starts around 2:51.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/4bFxjRdzWO4" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>And then there's this thing, which is from a weird late-Eighties commercial filmed in New Zealand. We don't know what to make of it (and we don't really like it), but we figured we'd share:</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/R8S7yIZFa78" frameborder="0" allowfullscreen></iframe></p> <p><em>Photo from </em>Martin Scorsese Presents the Blues: Stevie Ray Vaughan<em> album cover</em></p> <p><em>Damian Fanelli is the online managing editor at </em>Guitar World<em>. Follow him on <a href="https://twitter.com/DamianFanelli">Twitter</a>. Or not. Whatever.</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="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/top-five-studio-guest-appearances-stevie-ray-vaughan#comments Damian Fanelli David Bowie Johnny Copeland list lists Lonnie Mack Stevie Ray Vaughan Stevie Wonder Teena Marie Guitar World Lists Blogs News Features Wed, 20 May 2015 15:20:36 +0000 Damian Fanelli 16097 at http://www.guitarworld.com New Book Explores Stevie Ray Vaughan's Final Years — 'Day by Day, Night by Night' http://www.guitarworld.com/new-book-explores-stevie-ray-vaughans-final-years-day-day-night-night <!--paging_filter--><p><em>Stevie Ray Vaughan: Day by Day, Night After Night</em> is <a href="http://guitarworld.myshopify.com/products/book-stevie-ray-vaughan-day-by-day-night-after-night/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=SRVDayNight">available now at the Guitar World Online Store.</a></p> <p>Vaughan tightly grips a place in music history as an unmatched blues man and guitar legend. </p> <p>His unique style is unmistakable and has never been repeated. His otherworldly talent and relentless drive took him from humble beginnings in Texas bars to world tours and superstar status. </p> <p>His bustling career and steady stream of inspiring music came to an abrupt end all too soon at the age of 35, immediately following his triumph over the demons of addiction that followed him for years. Finally free and ready for bigger, better things, Vaughan was killed in a helicopter crash in 1990, leaving his many fans to mourn the musician they had grown to love and wonder what could have been. </p> <p>In a day-by-day format, author Craig Hopkins presents an unprecedented celebration of this artist. This book is the second installment of a two-volume account of Vaughan's life. </p> <p>With this work, Hopkins delivers one of the most detailed biographies of any musician. <em>His Final Years</em> covers Stevie Ray Vaughan and Double Trouble's recording career, from their debut release through their rise to stardom, an exciting journey with its fair share of glory and controversy. </p> <p>Filled with testimonials from those who knew him best and from fans everywhere, along with facts about tour dates and recordings, and a lavish gallery of rare photographs, this illustrated book (along with its companion, <em>His Early Years, 1954-1982</em>) is the ultimate collector's item for any Stevie Ray Vaughan fan. </p> <p><strong><a href="http://guitarworld.myshopify.com/products/book-stevie-ray-vaughan-day-by-day-night-after-night/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=SRVDayNight">Head to the Guitar World Online Store now.</a></strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/3uN--H-L808" 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="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/new-book-explores-stevie-ray-vaughans-final-years-day-day-night-night#comments Stevie Ray Vaughan News Features Wed, 20 May 2015 13:45:53 +0000 Guitar World Staff 24527 at http://www.guitarworld.com Top 10 Covers of Songs by The Who http://www.guitarworld.com/next-generation-top-10-covers-songs-who <!--paging_filter--><p>In a semi-recent issue of <a href="http://store.guitarworld.com/collections/new-products/products/guitar-world-feb-13-the-who/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=WhoCovers">Guitar World</a>, we paid tribute to the high-flying genius of Pete Townshend by taking a look back at the Who's most creative—and most volatile—years. </p> <p>It's difficult to understate the importance of Townshend as a composer and a guitarist, and no shortage of great bands have taken a cue or two from the Who's songwriting wizard over the years. </p> <p>Several have even tipped their hats to the band by putting their own spin on one of the many classic cuts in the Who's back catalog.</p> <p>As a bonus, we've rounded up our 10 favorite Who covers of all time. What a bargain!</p> <p><span style="font-size:18px;font-weight:bold;margin-bottom:20px;">10. Iron Maiden — "My Generation”</span></p> <p>If ever there was a bassist who could pay fitting tribute to the nimble four-string work of the late John Entwistle, it's Iron Maiden's Steve Harris. This deep cut from Maiden—who were just named 2012's best live act in our annual readers poll—features Blaze Bayley on vocals and was originally released as a B-side to their 1995 single, "Lord of the Flies." The song would re-appear in 2002 on the somewhat rare <em>Best of the B-Sides</em> compilation.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/lVmkUr3kf6s" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;margin-bottom:20px;">09. Elton John — "Pinball Wizard"</span></p> <p>Yes, we just went from Iron Maiden to Elton John. But it just so happens that Elton's version of "Pinball Wizard" is one of the highlights of the 1975 <em>Tommy</em> film soundtrack, which also features performances by Ann-Margret and a berobed Eric Clapton. Besides its powerful vocals and spirited performance, Elton's version of the song, a hit in its own right, is noted for its undeniable "Seventies-ness," from its instrumentation to its glam feel to those gigantic shoes in the clip below. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/ePiGVI2Hs-g" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;margin-bottom:20px;">08. Green Day — "A Quick One While He's Away”</span></p> <p>Green Day have always had a thing for this multi-part song, which can be considered Townshend's first—albeit mini—rock "opera." They like to perform bits of it at soundchecks, and the song has been a Green Day concert highlight on more than one occasion. The band finally got around to recording this spine-tingling studio version of the tune, which was released as a bonus track on their 2009 album, <em>21st Century Breakdown</em>. They are "forgiven" for waiting so long! </p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/HFTH5QzxEvQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;margin-bottom:20px;">07. The Jam — "So Sad About Us”</span></p> <p>The Jam — Paul Weller, <a href="http://www.guitarworld.com/jams-paul-weller-gets-back-room-bruce-foxton">Bruce Foxton</a> and Rick Buckler—would often make half-hearted attempts at covering the songs that inspired them (case in point: their weak version of the Beatles' "And Your Bird Can Sing"), but they gave it their all when it came time to record this tune from <em>A Quick One</em>. This version, originally released as the B-side to "Down in the Tube Station at Midnight" in 1978, sounds polished off and updated (at least by '78 standards) and stars Foxton's expert often-overlooked bass playing. </p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/a2pxfqU_lwA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;margin-bottom:20px;">06. David Bowie — "I Can't Explain" </span></p> <p>One of two Who covers on 1973's <em>Pin Ups</em>, this laid-back, almost parochial take on "I Can't Explain" brings an unmistakable cool to the band's first hit single. Bowie's vocals on this album have been infamously maligned by critics over the years, but factor in Ken Fordham's baritone sax and Mick Ronson's saturated guitar licks and you have a more-than-fitting tribute to Townshend and crew. </p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/Ja6BQrIDVCE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><span style="font-size:18px;font-weight:bold;margin-bottom:20px;">05. Rush — "The Seeker"</span></p> <p>In 2004, Rush honored some of the bands that inspired them by releasing <em>Feedback,</em> an eight-song EP packed with covers of songs by the Yardbirds, Buffalo Springfield and Cream. </p> <p>The EP also featured a cover of "The Seeker," which was originally released as a single by the Who in 1970. </p> <p>Although the track doesn't give these three master prog-rockers a chance to "spread out," they put the emphasis on the song's strong, steady beat and high-flying vocals, which are handled rather nicely by Geddy Lee. </p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/ILbDCAcnRF4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;margin-bottom:20px;">04. Sex Pistols — "Substitute" </span></p> <p>While this song may seem like an oddball cover for a band that made a short career of toppling rock and roll dinosaurs, frontman Johnny Rotten has never had anything but positive things to say about the musical and personal influence of Pete Townshend. </p> <p>"Every now and then, when you feel down and despondent, a fellow like him can really put a good word in your ear, and it's unfortunate that that side of his character hasn't really come through in the media," he said in a 2012 <a href="http://www.guitarworld.com/interview-john-lydon-public-image-ltd"><em>Guitar World</em> interview</a>. "He's a very important person for us, and let's not for forget that. And he wrote some bloody excellent songs along the way!"</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/cP3x2jdGzmk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;margin-bottom:20px;">03. Oasis — "My Generation" </span></p> <p>If any modern rocker has the die-young persona to pull off Roger Daltrey's lyrics in "My Generation," it would have to be Liam Gallagher. Oasis were as combustible a group of musicians as any in the last two decades, but when they pulled it together, they could put distorted guitars and debauched lyrics together as well as anyone, making them an ideal candidate to take on this Who classic. Four-string enthusiasts may find the bass solo a bit lacking, but one thing's undeniable: Liam means every word.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/k0XrfSSNm0o" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;margin-bottom:20px;">02. Van Halen — "Won't Get Fooled Again" (Live)</span></p> <p>It takes a powerful band to <em>truly</em> do justice to what some consider The Who's greatest song—1971's "Won't Get Fooled Again"—but the Sammy Hagar-fronted Van Halen take no prisoners. Their live version of the song, which is featured on 1993's <em>Live: Right Here, Right Now</em>, is noteworthy for its spot-on performances by all involved, especially Eddie Van Halen, who covers the iconic keyboard parts on his guitar. The video below shows them rehearsing the tune in a studio, but the energy is there. </p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/JYUKtW8ayhA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;margin-bottom:20px;">01. Pearl Jam — "Love, Reign O'er Me"</span></p> <p>Few bands carry on the spirit of the Who quite like Pearl Jam. In 2008, when VH1 assembled a cadre of modern-day rockers to pay tribute to the Who, there was no doubt that Pearl Jam—whose cover of "Baba O'Riley" has been a staple of their live shows since 1992—would be providing the climax of the evening. </p> <p>As predicted, Eddie Vedder put everything he had into a medley of "Love, Reign O'er Me" and "The Real Me." The former was released in 2007 as part of the soundtrack to the film <em>Reign Over Me</em>, as well as on the band's 2006 fan club Christmas single. According to lore, Vedder would only agree to cover the song after getting Roger Daltrey's blessing. </p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/d7yEqPMlQH0" 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="/who">The Who</a> </div> <div class="field-item even"> <a href="/green-day">Green Day</a> </div> <div class="field-item odd"> <a href="/pearl-jam">Pearl Jam</a> </div> <div class="field-item even"> <a href="/pete-townshend">Pete Townshend</a> </div> <div class="field-item odd"> <a href="/oasis">Oasis</a> </div> <div class="field-item even"> <a href="/iron-maiden">Iron Maiden</a> </div> <div class="field-item odd"> <a href="/rush">Rush</a> </div> <div class="field-item even"> <a href="/sex-pistols">Sex Pistols</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/next-generation-top-10-covers-songs-who#comments Elton John Green Day Oasis Pearl Jam Pete Townshend Rush Sex Pistols The Jam The Who Van Halen Guitar World Lists News Features Tue, 19 May 2015 14:32:37 +0000 Damian Fanelli, Josh Hart 17507 at http://www.guitarworld.com Richard Lloyd: 'Alchemical Guitarist' Guitar Lesson DVD http://www.guitarworld.com/richard-lloyd-alchemical-guitarist-guitar-lesson-dvd <!--paging_filter--><p><em>The Alchemical Guitarist: Fretboard Secrets Unlocked</em> presents the 12 best videos and accompanying columns from <em>Guitar World</em> columnist Richard Lloyd. </p> <p>In this insightful instructional DVD, Lloyd gives viewers a new and comprehensive way to understand the fretboard, one that unlocks the mysteries that so often confuse and frustrate guitarists, whether they are beginners or advanced players. One of <em>Guitar World</em>'s most popular instructors, Lloyd presents lessons on topics that include hexatonic blues scales, emphasizing minor thirds in pentatonic patterns, the cycle of fourths and fifths, and much more. </p> <p>With more than two hours of lessons, <em>The Alchemical Guitarist</em> will give you the power to transform your guitar playing into pure gold.</p> <p><strong>The Alchemical Guitarist DVD contains these lessons:</strong></p> <p>• Magic Circles: The cycle of fourths and fifths<br /> • Skeleton Key: Unlocking the modes with the mystical major-scale diagram<br /> • Call Me: Two telephone numbers and an introduction to vertical knowledge<br /> • Five Chords &amp; the Truth: The five-chord cycle<br /> • The Dark Stuff: The modes in order of descending brightness<br /> • The 48-Step Program: The modal step-down practice method<br /> • Box Cutters: Breaking free with pentatonic trees<br /> • Diagonal Diatonics: Another way out of the boxes<br /> • Back in the Box: Positional play and the pentatonic boxes<br /> • Minor Issues: Emphasizing minor thirds in and out of the boxes<br /> • Opening Your Third Eye: Three maps for moving in and out of the boxes<br /> • The Hexatonic Blues Scale: Inviting the devil back to the party</p> <p><a href="http://store.guitarworld.com/collections/dvds/products/the-alchemical-guitarist-dvd/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=AlchemicalDVD">The Alchemical Guitarist: Fretboard Secrets Unlocked DVD is a Guitar World Online Store EXCLUSIVE. You won't find this product anywhere else! It's available now at the Guitar World Online Store.</a></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/mNmEq-cP9Oo" 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="/richard-lloyd">Richard Lloyd</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/richard-lloyd-alchemical-guitarist-guitar-lesson-dvd#comments Richard Lloyd News Features Tue, 19 May 2015 14:26:54 +0000 Guitar World Staff 16693 at http://www.guitarworld.com Adelitas Way Guitarist Robert Zakaryan Talks 'Deserve This' EP, Gear and More http://www.guitarworld.com/adelitas-way-guitarist-robert-zakaryan-talks-deserve-ep-gear-and-more <!--paging_filter--><p>Las Vegas-based hard rock band Adelitas Way first tasted success after the release of their 2009 self-titled debut album. That album's premiere single, “Invincible,” became an instant top-five Active Rock smash.</p> <p>Their sophomore effort, 2011's <em>Home School Valedictorian,</em> spawned four more singles, including two Number 1 rock radio hits.</p> <p>The band's new EP, <em>Deserve This,</em> which was released in March, continues the band's mission of delivering hard-hitting ear candy, including “Filthy Heart," “Harbor the Fugitive,” “I Get Around” and the powerful title track.</p> <p>Adelitas Way—Rick DeJesus (vocals), Trevor Stafford (drums), Andrew Cushing (bass) and Robert Zakaryan (guitar)—have completed a successful Pledge Music funding campaign for their next studio album and are about to hit the road with Red and Bad Seed Rising, followed by a headlining tour of their own.</p> <p>I recently spoke to Zakaryan about the band’s new EP, his gear and more.</p> <p><strong>GUITAR WORLD: What can you tell me about the band’s new EP, <em>Deserve This</em>?</strong></p> <p>Up until this point, we had always had input from a lot of other people with our albums. It was always a case of we had our ideas and they had theirs. We were never able to do what we really wanted to do. For this album there was no agenda and it was the first time we really had a chance to be ourselves. Everything came naturally. It was a liberating, creative experience. </p> <p><strong>What’s the band’s songwriting process like?</strong></p> <p>Many of the songs on the EP began with a riff, and then everyone got together and started jamming on it. Sometimes Rick may have an idea for a song and I’ll try to think of the message he’s trying to convey and play that feeling. But most of the writing is done in the same room with all of our energies having input. </p> <p><strong>What are some of your favorite songs from the new EP?</strong></p> <p>I really love playing “Sometimes You’re Meant to Get Used” and “Filthy Heart." I really love the solos in those two songs, and it was fun recording them. Those are my favorites, but I love the whole EP. </p> <p><strong>What can you tell me about the band’s successful Pledge Music campaign?</strong></p> <p>Our fans are beyond amazing. It’s incredible when things like that can happen. We’re building something that’s more true to ourselves, and the fans have really connected with it. It’s a pure fan/band relationship!</p> <p><strong>How did your affection for Gibson Les Pauls begin?</strong></p> <p>The way I started playing them was a completely natural thing. The more I turned my ear to the way my favorite records sounded and the things I wanted to hear, the more I knew I had to play a Les Paul through a Marshall. When you play the right guitar through the right amp, it’s larger than life.</p> <p><strong>What’s your current setup like?</strong></p> <p>I use a Marshall JCM800 and just got a 50-watt Plexi that I used on the song “Harbor the Fugitive." It has a cleaner sound but has a really good bite. It’s almost like clean sustain, and it's the coolest thing. I usually run both heads straight with just a few pedals. </p> <p><strong>What’s been the biggest highlight of your career so far?</strong></p> <p>Honestly, the thing that’s excites me the most is when we go on tour and people come out to see us. The energy transfer between us and the audience is just incredible, and the more passionate we are the more people connect. I know what it’s like to go to a show and be inspired by seeing a band, so when people come up to me after a show and tell me the same thing, it’s the coolest feeling in the world. It’s those full-circle moments that make it extra special. The relationship of transferring the metaphysical in us is the most exciting thing.</p> <p><em>For more about Adelitas Way, visit <a href="http://www.adelitaswaymusic.com/">adelitaswaymusic.com.</a></em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/sfWXf8m1xU0" frameborder="0" allowfullscreen></iframe></p> <p><strong>ADELITAS WAY TOUR DATES</strong></p> <p>May 29th: Diamond Ballroom - Oklahoma City, OK<br /> May 30th: Bourbon Theater -Lincoln, NE<br /> May 31st: Aggie Theater - Ft Collins, CO<br /> June 1st: Summit Music Hall - Denver, CO<br /> June 3rd: Top Deck - Farmington, NM<br /> June 4th: Marquee Theater - Phoenix, AZ<br /> June 5th: Rialto - Tucson, AZ<br /> June 6th: Brooklyn Bowl - Las Vegas, NV<br /> June 7th: In The Venue - Salt Lake City, UT<br /> June 9th: The Whisky - Los Angeles, CA<br /> June 11th: House Of Blues - Anaheim, CA<br /> June 13th: Ace Of Spades - Sacramento, CA<br /> June 17th: DNA - San Francisco, CA<br /> June 19th: Bossanova Ballroom - Portland, OR<br /> June 23rd: Knitting Factory - Boise, ID<br /> June 24th: Knitting Factory - Reno, NV</p> http://www.guitarworld.com/adelitas-way-guitarist-robert-zakaryan-talks-deserve-ep-gear-and-more#comments Adelitas Way James Wood Robert Zakaryan Interviews News Features Mon, 18 May 2015 21:30:32 +0000 James Wood 24505 at http://www.guitarworld.com New Guitar World DVD: Learn the Basics of Classical Guitar http://www.guitarworld.com/new-guitar-world-dvd-learn-basics-classical-guitar <!--paging_filter--><p>Classical guitar songs and techniques have inspired modern artists ranging from the Doors to Metallica. </p> <p>In this new DVD, <em>20 Essential Classical Licks</em>, you'll develop the essential skills required to play fingerstyle on a nylon-string acoustic guitar, such as arpeggio patterns and techniques, rolling triplets and sextuplets, natural and artificial harmonics, grace-note embellishments, tremolo picking and much more. </p> <p>You'll also learn how to play eight vital classical guitar compositions, including "Spanish Ballad," "Malorca," "La Catedral" and Bach's "Jesu, Joy of Man's Desiring."</p> <p>Over 60 minutes of instruction!</p> <p>Learn eight songs and these vital techniques:</p> <p> Arpeggio Patterns<br /> Tremolo Picking<br /> Rolling and 16 Note Triplets<br /> Natural and Artificial Harmonics<br /> ... and much more!</p> <p><strong><a href="http://store.guitarworld.com/collections/dvds/products/20-essential-classical-licks/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=20ClassicalLicks">The '20 Essential Classical Licks' DVD is available now at the Guitar World Online Store!</a></strong></p> http://www.guitarworld.com/new-guitar-world-dvd-learn-basics-classical-guitar#comments News Features Mon, 18 May 2015 14:27:56 +0000 Guitar World Staff 18157 at http://www.guitarworld.com Guitarist Joel Hoekstra Talks 'Purple,' Whitesnake's New Deep Purple Tribute Album http://www.guitarworld.com/guitarist-joel-hoekstra-talks-purple-whitesnakes-new-deep-purple-tribute-album <!--paging_filter--><p>Shortly after Deep Purple keyboardist Jon Lord died in 2012, Whitesnake vocalist—and former Deep Purple frontman—David Coverdale reached out to guitarist Ritchie Blackmore about the possibility of working on a project together in Lord’s honor. </p> <p>Although both musicians were on different pages creatively at the time and couldn’t come to an agreement, the two former Deep Purple members were able to find closure, bury the hatchet on past grievances and move on.</p> <p>Then Coverdale’s wife, Cindy, suggested that David pay tribute to Lord with Whitesnake. Now Whitesnake is about to unveil <em>Purple,</em> a new studio album that puts insanely good spins on Mark 3 and 4 Deep Purple classics and tastefully pays tribute to one of the pioneers of progressive rock.</p> <p><em>Purple</em>, which will be released May 19, also marks the debut of Whitesnake's new guitarist, Joel Hoekstra, who recently replaced Doug Aldrich. Hoekstra’s resume includes Night Ranger, Trans Siberian Orchestra and Broadway's <em>Rock of Ages.</em></p> <p>These days, Whitesnake includes Coverdale (lead vocals), Reb Beach (guitar), Hoekstra (guitar), Michael Devin (bass) and Tommy Aldridge (drums).</p> <p>I recently spoke to Hoekstra about <em>Purple</em> and what it’s like being a part of Whitesnake.</p> <p><strong>What’s it been like to work with David Coverdale?</strong></p> <p>Working with David has been great! He’s rock royalty with all of these great stories about working with Jimmy Page and Ritchie Blackmore. He really understands music and was very gracious in the studio in allowing us to play what we wanted to play. Now, we’re gearing up for the other aspect—playing these songs live. You talk about songs that lend themselves well to live performance? These songs were written in live performance. It’s going to be exciting.</p> <p><strong>How did the <em>Purple</em> project begin?</strong></p> <p>The project actually began before I was even in Whitesnake. Shortly after Jon Lord passed away in 2012, David reached out to Ritchie. He just wanted to touch base with Ritchie and thank him for helping to jump-start his career. The two of them then went into discussions about doing something together in memory of Jon, but [as I hear it] they were on different pages. It was David’s wife, Cindy who then suggested that David do it with Whitesnake. It was a great concept and a total honor for me to be a part of.</p> <p><strong>Let’s discuss a few tracks from <em>Purple</em>, starting with “Lady Double Dealer."</strong></p> <p>That was actually my audition for Whitesnake. I remember when I went out to Reno to meet the guys, that was the song they pulled up. They asked me what I would do for a solo. So I laid down a solo and then in the next section they started taking about a harmony solo and asked me to come up with something. So I wrote the solo that actually ended up making the record. Afterwards, they pretty much said, “Well, dude, come jam with us! Let’s do this!”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/z69sxDq3Ybc" frameborder="0" allowfullscreen></iframe></p> <p><strong>"Soldier of Fortune."</strong></p> <p>I actually got to track that one with David, which was super cool. We had set up an acoustic guitar with a mic. Then David came down and it was just he and I playing. It was a surreal moment.</p> <p><strong>You’ve been part of a two-guitar attack in many bands [Night Ranger, Rock of Ages]. What’s it like sharing those duties with someone like Reb Beach?</strong></p> <p>It’s been great. Reb has such great chops and we get along so well together. We’ve actually had a rapport for a long while. We first met in 2007 when he was working with Night Ranger while they were looking for players. I have great respect for him as a player and it feels very natural to be in a band with him.</p> <p><strong>What can you tell me about the new Whitesnake tour?</strong></p> <p>It going to be a one-of-a-kind tour, and we’re super psyched about it. Not only are we going to play all of the great Whitesnake hits but also a lot of the <em>Purple</em> album, which is ideal for live performance. We’ll have some great jams on these classic songs. I can’t wait to get out there and put the rock on everyone! [laughs].</p> <p><strong>Tell me a little about your gear set-up for Whitesnake.</strong></p> <p>I decided to ride the wave of enthusiasm by talking to my favorite gear companies and getting some customized stuff for the tour. I’ve been a Les Paul guy for quite a while, so I reached out to Gibson, and Steve Christmas from the Custom Shop was cool enough to take on the project of making two custom Les Pauls for the tour—a black one and a white one. I had the idea of having the Whitesnake medallions set in the body behind the tailpiece, and they came up with the snake stencil graphic on top of the guitars. </p> <p>Because I’m also a big fan of Fender Strats, and they’re a necessity for the <em>Purple</em> tour, I wanted to do the same thing with them. So I reached out to Mike Tempesta, who has helped me out for years. He really hit it out of the park too with two great U.S. Strats (black and white) with medallions set behind the bridge. </p> <p>Finally, I spoke to my friends at Atomic Guitars Works. They had made a guitar for each of my gigs—Rock of Ages, TSO and the American flag-style Les Paul I used in Night Ranger. This time, they made a purple crystal Les Paul-style guitar that’s just over-the-top cool. I had Doug Aldrich pickups put in there from Suhr as a nod to my predecessor.</p> <p>Of course, for acoustics, I’ll be taking out Taylors. They always look and play great. I’ll be using a combination for Friedman BE100 heads and my standby EVH III heads that I’ve been using for years. </p> <p><strong>You're also working on another project. What can you tell me about that?</strong></p> <p>It’s been a bit of a challenge with everyone’s schedules, but it’s going to be coming out in October and the project is called Joel Hoekstra's 13. It'll have two great lead singers in Russell Allen and Jeff Scott Soto. I also have Tony Franklin on bass, Vinny Appice on drums and Derek Sherinian as a special guest on keyboards. Growing up in the hard rock scene, I liked everything from Dio at its heaviest to Foreigner at its lightest, and that’s the style I wrote for on this project.</p> <p><strong>What excites you the most about what’s been happening these last few months?</strong></p> <p>It’s all been great. There are a lot of great players out there and for me to be fortunate enough to play with one of my heroes is incredible. Whether it’s playing live or working in the studio, just being out there doing what I love is what excites me. I consider myself to be one lucky guy!</p> <p><em>For more about Whitesnake, visit <a href="http://www.whitesnake.com/">whitesnake.com.</a></em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Xk9wWj8Wh30" frameborder="0" allowfullscreen></iframe></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href="http://gojimmygo.net/">GoJimmyGo.net</a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="https://twitter.com/JimEWood">Twitter @JimEWood.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/deep-purple">Deep Purple</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guitarist-joel-hoekstra-talks-purple-whitesnakes-new-deep-purple-tribute-album#comments Deep Purple James Wood Joel Hoekstra Whitesnake Interviews News Features Fri, 15 May 2015 17:14:46 +0000 James Wood 24488 at http://www.guitarworld.com New DVD: Learn to Play Blues Guitar Like the Master, Albert King http://www.guitarworld.com/new-dvd-learn-play-blues-guitar-master-albert-king <!--paging_filter--><p><strong>Enjoy this sale at the <a href="http://store.guitarworld.com/collections/dvds/products/how-to-play-blues-albert-king/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=AlbertKingDVD">Guitar World Online Store!</a></strong></p> <p>With his distinctive bends, rapid-fire phrasing and sweet vibrato, Albert King is considered one of the greatest guitarists in blues history. </p> <p>He's influenced Eric Clapton, Stevie Ray Vaughan and countless others, and this amazing instructional DVD — <em>How to Play Blues: Albert King</em> — will teach you everything you need to know to unlock the secrets of his indelible style. </p> <p>Learn his licks, patterns and tricks, and transform your blues playing overnight!</p> <p>More than 45 minutes of instruction!</p> <p> • Essential Licks &amp; Phrases<br /> • Uptempo &amp; Slow Blues<br /> • Fast 6/8th Grooves<br /> • Wide String Bends &amp; Vibrato<br /> • Combining Positions</p> <p><a href="http://store.guitarworld.com/collections/dvds/products/how-to-play-blues-albert-king/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=AlbertKingDVD">It's available now at the Guitar World Online Store for $9.99.</a></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/LVtYKVaz9xY" 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="/albert-king">Albert King</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/new-dvd-learn-play-blues-guitar-master-albert-king#comments Albert King News Features Fri, 15 May 2015 14:51:09 +0000 Guitar World Staff 17253 at http://www.guitarworld.com 100 Greatest Guitar Solos: No. 33 "The Thrill is Gone" (B.B. King) http://www.guitarworld.com/100-greatest-guitar-solos-no-33-thrill-gone-bb-king <!--paging_filter--><p>“I carried this song around in my head for seven or eight years,” B.B. King recalls about “The Thrill Is Gone,” which had been an r&amp;b hit for its author, pianist Roy Hawkins, in 1950. </p> <p>“It was a different kind of blues ballad. I’d been arranging it in my head and had even tried a couple of different versions that didn’t work. </p> <p>"But when I walked in to record on this night at the Hit Factory in New York, all the ideas came together. I changed the tune around to fit my style, and [producer] Bill Szymczyk set up the sound nice and mellow. </p> <p>"We got through around 3 a.m. I was thrilled, but Bill wasn’t, so I just went home. Two hours later, Bill called and woke me up and said, ‘I think “The Thrill Is Gone” is a smash hit, and it would be even more of a hit if I added on strings. What do you think?’ I said, ‘Let’s do it.’ ”</p> <p>Strings in place, the song rose to Number 15 on the Billboard chart, becoming King’s first and only pop hit and earning him his first Grammy Award. “I felt especially proud because the song was true to me, and because Lucille is as much a part of it as me,” King says. “She starts off singing and stays with me all the way until she takes the final bow. </p> <p>"People ask why I don’t sing and play at the same time, I’ve answered that I can’t, but the deeper answer is that Lucille is one voice and I’m another. I hear those voices as distinct. One voice is coming through my throat, while the other is coming through my fingers. When one is singing, the other wants to listen.”</p> <p><a href="http://www.guitarworld.com/article/100_greatest_guitar_solos_32_quotmachine_gunquot_jimi_hendrix">Next: 32) "Machine Gun"</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/pC4DDkye8FU" 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="/bb-king">B.B. King</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/100-greatest-guitar-solos-no-33-thrill-gone-bb-king#comments 100 Greatest Guitar Solos 100 Greatest Guitar Solos B.B. King News Features Fri, 15 May 2015 10:36:18 +0000 Guitar World Staff 1652 at http://www.guitarworld.com