Features http://www.guitarworld.com/taxonomy/term/5/0 en 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 Al Jardine Dives Deep Into Beach Boys History, Working with the Wrecking Crew and Touring with Jeff Beck http://www.guitarworld.com/boys-life-al-jardine-discusses-brian-wilsons-genius-touring-jeff-beck-and-working-wrecking-crew <!--paging_filter--><p>Five decades ago, the Beach Boys’ “Help Me, Rhonda,” a Brian Wilson/Mike Love composition sung by Al Jardine, helped itself to the top spot on the U.S. singles charts. </p> <p>It proved that an American band could hold its own during the height of the British Invasion. </p> <p>The hit single was actually a re-recording of the song, which started its life as an unassuming album track from 1965’s <em>The Beach Boys Today!</em> </p> <p>Disc jockeys suddenly started playing it, so Wilson, the band’s multi-tasking leader and producer, re-arranged the song for radio and organized a new recording session—and a hit was born. The single version appeared on the band’s second 1965 album (they released three that year), <em>Summer Days (and Summer Nights!!).</em></p> <p><em>Today!</em> and <em>Summer Days</em> were landmark albums for Wilson and the Beach Boys. The songs’ increasing lyrical depth and Wilson’s sophisticated orchestral “Wall of Sound” approach to production—achieved through the use of a team of L.A. session musicians unofficially known as “The Wrecking Crew”—laid the groundwork for his undisputed masterpiece, 1966’s <em>Pet Sounds</em>. </p> <p>When viewed as a group, these three albums show Wilson at the apex of his creative powers—completely deserving of the “visionary” crown he wore—off and on—for the next 50 years. </p> <p>Fifty summers after <em>Summer Days</em>, Wilson and Jardine—who shared six-string duties with lead guitarist Carl Wilson until Carl’s death in 1998—have hooked up for <a href="http://www.brianwilson.com/tour/">Brian Wilson’s No Pier Pressure Tour,</a> a U.S. trek that also features former Beach Boys guitarist Blondie Chapman. </p> <p>Jardine and Chaplin also appear on Wilson’s new studio album, <em>No Pier Pressure</em>, which was released April 7 through Capitol Records, the Beach Boys’ original label. The album also features guitar work by David Marks, another occasional Beach Boy.</p> <p>With all this Beach Boys mojo in the air, <em>Guitar World</em> invited Jardine to chime in on some of the good, bad and ugly moments in the Beach Boys’ long, storied and sometimes bizarre history. </p> <p>Incidentally, the 72-year-old Jardine still sings “Help Me, Rhonda” in the original key.</p> <p><strong>GUITAR WORLD: It’s become common knowledge that many of the instruments on the Beach Boys’ mid-Sixties albums were played by session musicians, including a gang of L.A. pros later known as the Wrecking Crew. Did that ever bother you—not always playing guitar on your band’s albums?</strong></p> <p>Oh, no, no, no. [laughs] I could go clean the pool, [drummer] Dennis [Wilson] could go surfing. Dennis was the first one to bolt. He was such an outdoor guy; he just liked being out with his cars and boats, surfing and all that. He was thrilled to be able to take some time off. [Wrecking Crew drummer] Hal Blaine and those guys were so good, so it allowed the music to go to another level. </p> <p>You have to remember, we were always gone, always out touring, and we were beat to hell when we got home. And then Brian, who stayed back and worked on the albums in the studio, would be calling us in to do vocals, which was a project in itself. Brian didn’t sleep. He was so impatient for us to be home. But I think Carl attended most of those sessions because he was Brian’s Number One go-to guy.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/cUxMupNEno4" frameborder="0" allowfullscreen></iframe></p> <p><strong>When you listen to the outtakes from the “Good Vibrations” recording sessions, Brian can be heard directing the musicians, very much the man in charge. Was it like that as soon as he started producing, even on 1963’s <em>Little Deuce Coupe</em> and early 1964’s <em>Shut Down Volume 2</em>?</strong> </p> <p>Pretty much, yeah. It was his vision. He was hearing the pattern, the melodies. He knew what he wanted, and that was great. It’s wonderful to have that energy, to have someone in charge. Otherwise, it would be a train wreck. Later on I played bass on a couple of the albums, so it gave Brian the opportunity to be behind the window in the control room. It must’ve been wonderful for him; otherwise he’d have to go back and forth between the studio and the control room. He usually had a little chart made up for us each day. I was impressed with his ability to impart that to the rest of us, even though we didn’t have musical training. Brian and I took music classes, but I think he dropped out, and I got an F. [laughs]</p> <p><strong>Did Brian’s vision extend to Carl’s guitar solos?</strong></p> <p>No, Carl gave that part to the band. He made up the solos. I was always the rhythm guitarist because I never had any guitar training. I just became the anchor behind that. </p> <hr /> <p>Brian would go to Carl because they lived together for a long time; he’d come to Carl first with an idea. He might sketch it out on the keys, like with “California Girls.” I think he told Carl what to play on that one. That was a beautiful session. </p> <p>They had such a great rapport, being brothers. Carl would do anything for him. They could sit in the control room all nice and peaceful and quiet, while the whole damn band was out on the floor, plug directly into the console and work on an intro or riff. </p> <p>And then there’s no bleed in from the other instruments because you’re going direct. That’s why the purity is so beautiful on “California Girls” in particular. That’s one of my favorite intros of all time. It’s so grand and clean, just straight to tape, no extra cables, pure signal.</p> <p><strong>How would you describe or rate Carl as a guitarist?</strong></p> <p>He, like the rest of us, just grew up with this thing, so we weren’t technically very good. But he had exceptional talent, just like his older brother. He had something special about his ear. He had an ear for pitch and alacrity on the fretboard. He wasn’t Jimi Hendrix, but he could play in structured areas. We made songs more as two- or three-minute statements like vignettes, and every eight bars had a reason. It wasn’t like the Grateful Dead. [laughs] It was our mission to make great hit records…and it was fun.</p> <p><strong>In terms of gear, do you still have any of your Sixties-era Beach Boys guitars or basses?</strong></p> <p>The problem is we kept losing them because we toured so much. They’d get stolen right off the back of the truck. We could never keep them in stock. We’d just have to get new ones, so I don’t have a clue where they are. So through the Sixties we’d just keep recycling them. I have a couple of replica Strats that play almost as good as the originals, or as the one I was playing in the Eighties, which is in the Rock and Roll Hall of Fame. I think I’m gonna ask for it back so I can go out and play it. It’s nice to look at, but it should be played. </p> <p><strong>Did you ever attend the Wrecking Crew Beach Boys sessions and mingle or confer with those legendary session guitarists, including Glen Campbell, Tommy Tedesco or Barney Kessel?</strong></p> <p>Oh god, yeah. Glenn even came out on the road with us for about six months. I was able to work up a real great friendship with him and help him out onstage because he wasn’t used to playing out on the road. He replaced Brian [in the touring band] in late 1964. He was going to have to sing Brian’s high parts and play the bass. He’s primarily a guitar player, so I offered to play the bass so he could concentrate on the high parts. That was a lot to ask of him. It was very sudden, just a couple of days’ notice. </p> <p>But yeah, I did meet all the guys and I did attend some tracking sessions. I couldn’t tell you which ones; there were so many. By the way, someone told me Hal Blaine considers me the best rhythm guitarist. I said, “Is he crazy?” [laughs] There are so many better players than me. But there’s a trick to good rhythm guitar, so I take that as high praise.</p> <p><strong>Of course, even if you didn’t always play guitar or bass on a bulk of those mid-Sixties sessions, you’d still have to learn the parts for when you toured behind a new album. Was Brian involved in helping you come up with those live arrangements?</strong></p> <p>Oh, yeah. He actually came out on the road with us when we first performed “Good Vibrations,” and it sounded pretty damn good! That was one we were particularly concerned about. We had to have a Theremin made up, a little slide Theremin, a piece of wood with a ribbon on it, which made a real good sound. So we got that one down in its essential parts. </p> <p>What I’ve found is that all these songs were so well written that it really doesn’t matter if you have all the instruments. It’s wonderful if you can, and in this particular iteration of Brian’s band [on Wilson’s 2015 No Pier Pressure Tour], every part is on there, every instrument is being replicated. But in those days we had only five pieces, five guys singing and playing, but it still sounded good. It’s really all about the melody. If the melodies and harmonies are there, you can have a ukulele in the background. </p> <p><strong>After the cancellation of the doomed <em>Smile</em> album in 1967, Brian started to check out as the band’s sole producer. He struggled with drugs and even checked into a psychiatric hospital. How did the band take it, and how did you guys manage to take over the reigns so smoothly?</strong></p> <p>It was just necessary. He was checking out. He wasn’t always there, so we had to pick up the slack. So that’s when we started to contribute more as a band. I think it was remarkable what we came up with, looking back on it. It wasn’t commercial at the time, but it certainly has had an impact. </p> <p>Decades later, people were starting to appreciate what Dennis and Carl came up with—and me, for that matter. It really goes to show you what we can do when the chips are down. We encouraged Brian to stay involved, but mental illness has a way of having its own way. It’s amazing that we’re back again today doing this. It’s an amazing feat that he’s so accessible and capable of delivering the music with this great band. And we’re having a good time doing it! We should, we deserve it. Damn right, man, after all we’ve been through.</p> <hr /> <p><strong>After the “Wall of Sound”/Wrecking Crew era, when all the Beach Boys took a more hands-on approach to tracking and producing, did you guys ever feel drawn to the sort of thing Jimi Hendrix and Led Zeppelin were doing? </strong></p> <p>Did you want to go out and get some Marshall stacks? And, while I’m at it, did you ever meet Hendrix?</p> <p>No, I never met him. And no, we were minimally able to play our own music, let’s put it that way. We were pretty good, but we weren’t into “big and loud.” We didn’t have that need, because I think it’s a need. </p> <p>Sort of, “If something is louder, it’s better.” But for Carl and me, we were painting a canvas. Jimi was one of the best in the world, but they were more of a performance phenomenon, representing an era. We were more like painters, painting music with our guitars and our productions, and they were blasting it, I guess.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/uigK_hHW-b0" frameborder="0" allowfullscreen></iframe></p> <p><strong>Speaking of blasting it, there are some wild, uncharacteristically “big” guitar solos on some of the post–<em>Smiley Smile</em> albums the band produced as a team. For instance, who’s playing that crazy solo on “Bluebirds Over the Mountain” from 1969’s <em>20/20</em>?</strong></p> <p>Oh, god. That’s Eddie Carter, master of the guitar. He and Jimi were friends. So maybe you’re hearing some Jimi in there. Eddie played bass on all those tracks that Brian or I didn’t play on, and it was Eddie during the living room sessions [Editor’s note: The band often recorded in Brian Wilson’s Bel Air living room from 1967 to 1972]. But Eddie played guitar on “Bluebirds.” </p> <p>It was such a big deal at the time. You had to have a big guitar solo because all those big guitar guys were happening. So, hey, if the Beach Boys have a big guitar solo on their record, that’s really gonna be great! That’s really gonna help out. It didn’t work out as well as we thought it would. </p> <p>We joke with Eddie about it now because it was a really good solo but very out of character with what we were known for, as I mentioned earlier. It was kind of a clash of cultures, an experiment that went somewhat awry. But yeah, it was no big deal for Carl to say, “You play on this.” There were no egos in the band. Everybody has a threshold of what they do best. That’s what’s great about being in a group; if someone’s uncomfortable with something, let someone else do it. It’s always been about the song, the completed project. Get completion, get it done.</p> <p><strong>How about that metallic-sounding heavy-fuzz guitar solo on “Feel Flows” from 1971’s <em>Surf’s Up</em>?</strong></p> <p>That’s Carl. I just love that song. It’s Carl on the Wurlitzer too. That and “Long Promised Road.” He had that knack for playing the Wurlitzer; he got quite a sound on it, and the chorus was beyond real. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/gh1YKIZlXWs" frameborder="0" allowfullscreen></iframe></p> <p><strong>Speaking of great guitarists, what was it like touring with Jeff Beck in 2013?</strong></p> <p>He’s an exhibitionist, man. He’s got that beautiful style. He showed me a couple of riffs and said, “You can do this, it’s really easy. It sounds incredibly complicated, but…” [laughs] He just sees it differently, sees in different colors. He can’t believe I’m still playing with a pick! His hands are like the size of a football; his thumb is doing all the work. It’s hard to believe he can get that great sound, but he’s got it all dialed in. But yeah, we stood right next to each other on that tour. I had the best seat in the house.</p> <p><em>For more about Brian Wilson’s No Pier Pressure Tour featuring Al Jardine and Blondie Chaplin, visit <a href="http://www.brianwilson.com/tour/">brianwilson.com/tour.</a></em></p> <p><em>Photo: (from left) Ricky Fataar and Blondie Chaplin in the studio with Al Jardine, Mike Love and Carl Wilson in the early Seventies. Michael Ochs Archives/Getty Images</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="/jeff-beck">Jeff Beck</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/boys-life-al-jardine-discusses-brian-wilsons-genius-touring-jeff-beck-and-working-wrecking-crew#comments Al Jardine Beach Boys Brian Wilson Damian Fanelli GWLinotte June 2015 Interviews News Features Magazine Thu, 14 May 2015 18:14:16 +0000 Damian Fanelli 24474 at http://www.guitarworld.com Dear Guitar Hero: Noel Gallagher Talks New Album, the Sad State of Rock and Billion-Dollar Oasis Reunion http://www.guitarworld.com/dear-guitar-hero-noel-gallagher-discusses-chasing-yesterday-state-rock-and-possibility-oasis-reunion <!--paging_filter--><p>As the primary songwriter in Oasis, he was responsible for such Nineties mega-hits as “Wonderwall” and “Champagne Supernova,” and occasionally had violent, public fights with his singer brother Liam. </p> <p>But what <em>Guitar World</em> readers really want to know is… </p> <p><strong>You produced the new Noel Gallagher’s High Flying Birds album, <em>Chasing Yesterday</em>, by yourself. It’s the first time you’ve ever done that. Why did you go that route, and what was the experience like? — Scott Ringle</strong></p> <p>Because my producer that I’ve used for the last 10 years, Dave Sardy, has decided to get into the film industry, so he’s not doing records anymore. At least that’s what he told me. He probably thought the demos were shit. [laughs] I found it very fulfilling. I also found it very easy, and I’ve come to the conclusion that producers actually might be the biggest batch of fucking chancers in all of musical history.</p> <p><strong>What gear are you using on your current tour? — Robert Nivelle</strong></p> <p>Amp-wise, I’m using a very special-edition Hiwatt Custom 100 combo that was made as a prototype for me in the late Nineties and was never put into production. I have the only one, and it’s fucking amazing. For just my own stage sound, not in the mix, I use a Fender Blues Jr. </p> <p>My guitars consist of a 1960 Gibson ES-355, two 1960s Gibson ES-345s, a Nash Guitars ’72 Tele-style, plus a Martin D-28 and Gibson J-150. I had a very expensive 1963 off-white Strat stolen from me about three years ago. It was the best Strat I’d ever played. And I thought, I’m not fucking spending that much money to replace it, so I bought a Nash copy of it, and it’s the best guitar I’ve ever owned. Ever. And the Nash Tele is astonishing. I use them both all over my new record.</p> <p><strong>I haven’t been hearing a lot of guitar on your recent albums. Any plans on getting back into guitar in the near future? — John Jellicoe</strong></p> <p>Well, on my previous record [2011’s <em>Noel Gallagher’s High Flying Birds</em>] there was one guitar solo. On this record, there are nine. So, fuck you [laughs]. It’s not something that was thought out in advance; it just depends on the songs I’m working on. These songs have guitar solos in them. The next album I make, if I do make another one, might have no guitars on it whatsoever. I don’t know. I’ll decide when I decide to make a record.</p> <p><strong>What do you listen to at home and in the car? — J. Algernon Hawthorne</strong></p> <p>I listen to pretty much everything apart from heavy metal. There’s no one particular music I prefer. I mean, I guess I prefer Sixties guitar pop above all else, but I listen to all sorts: dance music, jazz, punk…well, maybe not punk. But I listen to everything. That’s why my record’s so good. </p> <p><strong>Do you think popular music can ever be as important as it was in previous decades? — Damien Linotte</strong></p> <p>Clearly, the answer is no. There’s a new generation being born who were born in the modern age. I have a 15-year-old daughter, and the most important thing in her life is her fucking telephone, which just happens to have music on it. When I was growing up, the most important thing was music and television shows that had music in them, and the radio and shit like that. The modern world has a place for music, but it’s not the life-changing force it once was. There’ll never be another John Lennon, let’s put it that way.</p> <p> <strong>How’s your relationship with your brother Liam these days, and what would it take to get Oasis back together? — John Thomas</strong></p> <p>Our relationship is as good or as bad as it ever was, depending on how you perceive it. As for Oasis, it would take half a billion dollars. None of that Canadian shit. American dollars. Half a billion. Not million. Billion, with a B. </p> <p><strong>Do you have any plans for releasing a signature guitar through Gibson or Epiphone? — Trevor French</strong></p> <p>I’ve been asked and I kinda can’t be fucking bothered, do you know what I mean? It’s a funny thing, designing guitars. Because, let’s face it, somebody got it right in about 1956. What’s the point? You can do them in funky colors with funky switches and blah, blah, blah, this, that and the other. But really, if I was to sit down and design a guitar, it would be exactly the same as the one I fucking play. </p> <p>My main guitar, my 355, is in no way unique. It hasn’t got any unique, specific features on it. It’s just a fucking great guitar. It sounds great, has great pickups. I mean, what more could you do to a guitar? The guitar itself is really not important. It’s the fucking player, isn’t it?</p> <p><strong>If there were a fire at your house and you could save only one piece of gear, what would it be? — Luis Diaz</strong></p> <p>My white Nash Strat, considering it’s the only guitar I’ve got at my house. [laughs] But I’d probably regret not saving my big plastic bowl of plectrums. Because really, what the fuck is a guitar without a plectrum? </p> <p><strong>Former Smiths guitarist Johnny Marr appears on “Ballad of the Mighty I” on your new album. Do you think there’s a chance you’ll ever make a full album together? — Gus Bates</strong></p> <p>Let’s just say I could close my eyes and have a wild dream, and it would be for Johnny to be in my band. That would be amazing. But as he’s a solo artist and I’m a solo artist, it’s hardly likely to happen. But I would definitely be up for doing something with him, but a full-length record might be a bit too much.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/jBbyc3t-Ctc" frameborder="0" allowfullscreen></iframe></p> <p><strong>What’s it like when thousands of people, in some cases hundreds of thousands, sing along to “Don’t Look Back in Anger” at your shows? — Leslie Castle</strong></p> <p>You kind of have to detach yourself from it. It’s been that way since the day that record came out [1996]. It’s such an extraordinary song. Not that my part in it was extraordinary in any way, and not that the component parts are extraordinary. They’re not extraordinary chords or lyrics, and there’s not an extraordinary melody or arrangement or anything like that. </p> <p>But for some reason, it’s become this extraordinary piece of music that people…they took it, and it means so much to them, and I don’t know why. I’m just the guy playing the guitar while they’re singing their hearts out. It’s crazy. The song just arrived. Fuck knows why I played those chords or why they came in that order or who the fuck Sally is. Or where she’s going or why she was watching everybody walking on by. It was just a song that was in the air, and I’m glad I was around to write it. Because in the wrong hands, it could be a bit shit, do you know what I mean?</p> <p><strong>What do you think about the current state of rock? — Joe Lee Jr.</strong></p> <p>Oh, it’s dead, no matter what anybody fucking says. There are great bands—U2 and Coldplay and Kasabian and Arctic Monkeys and all that—but all those guys have been going for such a long time. If you’re talking about new rock music…people are going on about Royal Blood, but I’m like, “Really?” I don’t fucking get it. Show me the tunes. Rock has left the building.</p> <p><strong>Is it still easy for you to write songs in 2015? — John Babcock</strong></p> <p>I find it easy to start them, but it’s difficult to finish the bastards off. I could start a thousand songs a week and finish maybe one a month. But I’d rather have 75 songs that are in need of a second verse and an arrangement than finish one shit song. There’s many stages to what I do. There’s the writing, the recording, the mixing, the rehearsing, the gigs and all that. But my favorite thing to do is catch a bit out of the air and develop it into a song that didn’t exist, and a great song that’s gonna mean something to someone. That’s a great thing to be involved in.</p> <p><strong>Do you still hate the guys in Blur? — Damiano Sciancalepore</strong></p> <p>No, no, no. [laughs] Too old for hate now. To be quite honest, I don’t think anybody really hated each other anyway. It was just a very competitive time. Most of us in both bands were either drunk or high when we were doing it. In my case, I was both. When you’re young, you’re full of energy and spunk and you’re up for it. It turns out they’re lovely guys. </p> <p><strong>If you had to choose a single song that best represents your new album, what would it be? — Doyle Barr</strong></p> <p>Ah, this is why it’s a good album. There isn’t one song that really is representative. You could take any two songs; play “Riverman” and “The Right Stuff” to people and they’d think, This is kind of like a groovy, psychedelic jazz album. Then take “Ballad of the Mighty I” and “In the Heat of the Moment” and you’d think it’s like a disco record. You could take “Lock All the Doors” and “The Dying of the Light” and you’d think this is a classic example of what he does. But if I were to choose one track to play to some person who’s not into what I do, let’s call him a fucking square, I’d play them “Riverman.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/fuubqoEb4jE" frameborder="0" allowfullscreen></iframe></p> <p> <strong>Some journalist said “Riverman” sounds like a bit like “Wonderwall.” What are your thoughts on that? — Albert Woolson</strong></p> <p>What the fuck? [laughs] I mean, honest to God, it just goes to prove that the internet has given a voice to every fucking bozo on the planet. I mean, 99.9 percent of people on this planet are fucking dumbasses. And then there’s the 1 percent of the rest of us that are kind of discerning. You read stuff by people and you think, “You fucking morons.” Idiots. There’s only two things that connect that song to “Wonderwall.” One of them is me. The other one is the fact that I’m singing it. That’s it. Other than that, it bears no resemblance to it whatsoever. Oh, hang on a minute: It’s got an acoustic guitar on it, so it must be like fucking “Wonderwall.”</p> <p><strong>Will you be working on a box set anytime soon? — Fred Upham</strong></p> <p>No. I don’t like box sets. They’re too long. You lay all the shit out and you think, Will I ever live long enough to actually fucking listen to all this? Are there enough days in the rest of my life to get through this? But they do look good. I’ve got Pink Floyd box sets, and they look great on a shelf, and they’re great artifacts. But does anybody really listen to them? </p> <p><strong>You used to say you weren’t too fond of Oasis’ <em>Be Here Now</em> [1997]. Has your opinion of that album changed over the years? — Meg Matthews</strong></p> <p>It’s my least favorite of the albums I wrote, for sure. But I won’t take away anybody’s right to like it. I meet people regularly who say, “That’s your best album.” And I say, “Really?” but I think, You fucking moron, you don’t know what you’re talking about. If people like it, that’s great. Don’t expect me to play any of it.</p> <p><em>Photo: Ross Gilmore/Redferns/Getty Images</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="/oasis">Oasis</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/dear-guitar-hero-noel-gallagher-discusses-chasing-yesterday-state-rock-and-possibility-oasis-reunion#comments Damian Fanelli Dear Guitar Hero GWLinotte June 2015 Noel Gallagher Oasis Interviews News Features Magazine Thu, 14 May 2015 17:38:08 +0000 Damian Fanelli 24472 at http://www.guitarworld.com Guitar Strength: 10 Commandments of Playing Guitar in the Style of Dimebag Darrell, Part 1 http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-1 <!--paging_filter--><p>This is a two-part column; part 1 is below, <a href="http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-2">and part 2 is right here.</a></p> <p><strong>Commandment 1: Honor Thy Van Halen</strong></p> <p>... and ZZ Top, Kiss, Judas Priest, Black Sabbath, Ted Nugent, Pat Travers, early Metallica (<em>Kill ‘em All</em>, <em>Ride the Lightning, Master of Puppets</em>) and Randy Rhoads.</p> <p>Van Halen’s impact on Dimebag’s playing is unmistakable. The “vibe” of early Van Halen is by far the most recognizable influence in Dimebag’s playing. From the grooving rhythms played like leads of their own, to the tone, to the phrasing in his lead playing, Dimebag took the inspiration of Edward Van Halen and forged his own identity.</p> <p>Pieces such as “Eruption” and “Spanish Fly” were favorites of Dimebag, who would play them in his unaccompanied guitar solos back in Pantera’s early club days.</p> <p>Dime has been noted as being Texas’ “Van Halen clone,” the local hotshot who could play all of the most impressive licks of his hero. Further, the brotherly bond of the Van Halen brothers (Eddie on guitar and Alex on drums) was mirrored in Pantera (Vinnie on drums and Dime on guitar).</p> <p>Van Halen’s impact is further felt as the words “Van Halen” were actually Dimebag’s last words spoken before he was tragically murdered. “Van Halen” was something Dime would say to his brother Vinnie before a live performance to inspire them both to play a fun, lively, rocking show. Also, Dime was actually buried with the guitar that inspired him most -- Eddie Van Halen’s yellow and black striped guitar featured on the back cover of <em>Van Halen II</em>.</p> <p>To truly understand Dimebag’s playing, it is crucial to absorb the “Van Halen” feel, as well as the techniques and attention to tone that were such a part of the early Van Halen experience.</p> <p><strong>Commandment 2: Thou Shalt Use the Major 3rd</strong></p> <p>Always wearing his Van Halen influence on his sleeve, Dimebag was never one to shy away from using the interval of a major 3rd in his heavy playing. Shunned by most “metal” players, the major 3rd was an essential tool in Dime’s bag of tricks.</p> <p>When playing in E (minor), the major third is G#, which adds a unique feel to riffs and licks that also utilize the minor 3rd (G). Theoretically, this major 3rd lends lines a Mixolydian quality, though it essentially gives a bluesy type of sound and adds tension/dissonance to minor key tonalities (For more information, check out <a href="http://www.guitarstrength.com/">Guitar Strength Volume 1: Mastering the Modes</a>.)</p> <p>Example 1 is a Dimebag-inspired riff using this major 3rd in a minor key.</p> <p><img src="/files/imce-images/Example1_0.jpg" width="620" height="156" alt="Example1_0.jpg" /></p> <p>Notice also how Dime gets extra mileage out of the interval by using it in a pattern that also makes use of the flat 9 (F in E minor). Example 2 is another Dimebag-inspired riff using the same intervals. (For another riff using the major 3rd, which was clearly an influence on Dimebag, check out the end of “Sabbath Bloody Sabbath” by Black Sabbath.)</p> <p><img src="/files/imce-images/Example2.jpg" width="620" height="140" alt="Example2.jpg" /></p> <p>The major 3rd was not just essential to Dimebag’s riffs, it was also extensively used in his lead playing. Example 3 is an E minor fingering of the “Dimebag Scale,” a minor pentatonic scale with the addition of a flat 5, major 6th (omitted on the A string and used only on the B string, 14th fret for ease of fingering), and major 3rd. </p> <p><img src="/files/imce-images/Example3.jpg" width="620" height="141" alt="Example3.jpg" /> </p> <p>Example 4 is a Dimebag-inspired lick using this scale.</p> <p><img src="/files/imce-images/Example4.jpg" width="620" height="161" alt="Example4.jpg" /></p> <p>When attempting to conjure the influence of Dimebag in your own playing, experimentation with the integration of this major 3rd into more “standard” minor phrases is highly encouraged. Don’t be afraid of sounding “happy”; play the note like you mean it and you’ll be amazed at its versatility and its ability to make your playing substantially more interesting.</p> <p><strong>Commandment #3: Embrace Symmetry</strong></p> <p>Another Van Halen-inspired technique employed by Dimebag was the use of symmetrical fingerings. This technique is extremely easy to learn but requires taste and skill for successful implementation. To perform this technique, simply devise a fingering shape on one string and apply it across all six. </p> <p>Example 5 is a Van Halen-esque lick, based on a root, major 3rd, 5th shape in E, continuing down to the A string and resolving on a B string bend from D to E (and back down to D for some minor 7th tension).</p> <p><img src="/files/imce-images/Example5.jpg" width="620" height="300" alt="Example5.jpg" /></p> <p>Clearly inspirational to Dime, example 6 is a variation in the same (12th) position, this time using the minor 3rd (G), 5th (B), and a slide to and from the flat 6th (C). This expanded symmetrical shape still uses a simple 1-2-4 fret hand fingering across all six strings, yet the pinky slide gives it some extra range and movement.</p> <p><img src="/files/imce-images/Example6.jpg" width="620" height="170" alt="Example6.jpg" /></p> <p>Further examples of simple, yet effective symmetrical patterns used by Dimebag can be seen in examples 7 and 8. Example 7 is another shape, this time using the major 7 (Eb in E), the root (E), and the minor 3rd (G) as its basis. In this case, the pattern is an ascending climb combining both picking and legato phrasing, again using the 1-2-4 fingering. </p> <p><img src="/files/imce-images/Example7.jpg" width="620" height="212" alt="Example7.jpg" /></p> <p>In example 8, based on one of Dimebag’s favorite patterns, the shape uses a 4-3-1 fingering in a descending sequence on the top three strings. This shape in this position is a throwback to the playing of Pat Travers, and can be quite effective when playing over rhythms in A minor and E minor. </p> <p><img src="/files/imce-images/Example8.jpg" width="620" height="145" alt="Example8.jpg" /></p> <p>Feel free to transpose it into other keys and use it often, just as Dime did.</p> <p>It is important to notice that though Dimebag possessed astounding picking technique, he tended to favor executing most of his lines in a legato fashion (another homage to Mr. Edward Van Halen). Dimebag’s love of legato gave his lines a fluid, lively quality, and his powerful left hand technique was extremely important when effectively implementing these symmetrical patterns into his lead licks.</p> <p><strong>Commandment 4: Give Chords New Found Power</strong></p> <p>Never content with “standard” guitar techniques, Dimebag was an avid user of the “other” power chords. Instead of relying on normal root-5th and root-4th (inverted 5th) power chords (though he was an obvious master when it came to using them), Dimebag would often come up with and use alternative dyads (two-note chords) in place of standard power chords. These chords were usually major or minor thirds stacked on top of the root. Example 9 is the two basic versions of these chords with 6th and 5th string roots. The first is the “major 3rd” variation and the second is the “minor 3rd” version.</p> <p><img src="/files/imce-images/Example9.jpg" width="620" height="195" alt="Example9.jpg" /></p> <p>Example 10 is a figure using the minor 3rd power chord. Notice how the chords act to add texture and movement to the riff, as they work well when used in the same riff as the more pedestrian root-5th power chords. The chords also add a nice tension, as they are not as “homogenous” and “neutered” sounding as the standard root-5th chords. Also, when used with a rocking distorted tone, these chords have an extremely powerful sonic fingerprint with their unique overtones. </p> <p><img src="/files/imce-images/Example10.jpg" width="620" height="132" alt="Example10.jpg" /></p> <p>These overtones are, in fact, what makes these chords so special and useful. With usual major or minor chords and triads, playing them with distortion often results in a cluttered, un-musical noise. There is just too much information present to allow sonorous, musical sounds when using the standard major or minor chord shapes. However, by just playing the root and 3rd, a vibrant, tense, rich sound is created, really putting the “power” in power chord.</p> <p>Experiment often with substituting these root-3rd power chords for standard root-5th chords in your riffs. Also, try varying your usage of major and minor 3rds, as often times the “wrong” (out of key) 3rd will sound most interesting in a riff. Example 11 is a Dimebag inspired riff using these harmonically “wrong” power chords. </p> <p><img src="/files/imce-images/Example11.jpg" width="620" height="278" alt="Example11.jpg" /></p> <p><strong>Commandment 5: Know your Nodes</strong></p> <p>No discussion of Dimebag would be complete without mentioning his penchant for playing with harmonics. Dimebag’s playing was peppered with any and every type of harmonics: natural, artificial, tapped, etc.</p> <p>Playing with an overtone-rich, distorted sound, harmonics (whether naturally or artificially produced) are an integral component in the beast of electric guitar. Harmonics can occur almost anywhere and can be produced by a myriad of means, and can occur many times as an accidental consequence of playing with a loud, distorted sound.</p> <p>Dimebag, however, excelled at controlling the beast, and was able to skillfully use harmonics as one of the most expressive elements in his playing. To understand how Dime would use harmonics, we’ll first look at the naturally occurring harmonic nodes that occur across the fretboard. Example 12 is a basic depiction of the most common, “easy” harmonics that occur when a fret hand finger is used to lightly touch a plucked string (without actually pushing it down and fretting it) and produce a harmonic. </p> <p><img src="/files/imce-images/Example12.jpg" width="620" height="154" alt="Example12.jpg" /></p> <p>Example 13 shows some more difficult to produce harmonics along the same string, many of which were used extensively by Dime.</p> <p><img src="/files/imce-images/Example13.jpg" width="620" height="159" alt="Example13.jpg" /></p> <p>Dime was never content to just play the harmonics, though, as he would often use a variety of techniques to produce and manipulate them. The most famous of these techniques was Dime’s signature “harmonic scream” technique. The basic maneuver is depicted in example 14. </p> <p><img src="/files/imce-images/Example14.jpg" width="620" height="388" alt="Example14.jpg" /></p> <p>To perform this technique as Dimebag would, a floating tremolo bridge (able to bend a note below and above) is necessary (preferably a locking Floyd Rose or its equivalent). First, get the string moving by “plucking” it with a silent fret hand pull-off while simultaneously dumping / depressing the bar and bending the tremolo down. As the open string is lowered in pitch and its tension is reduced, lightly tap the selected harmonic node with the fret hand “bird”/middle finger. Next, after the harmonic has been sounded, slowly return the bar to pitch, pull it up higher, and apply vibrato with the whammy bar. Note that the actual time the open/dumped string rings is only a fraction of a second, it is only sounded so as to allow the string movement enough to produce the fret hand “tapped” harmonic. </p> <p>Also note the importance of fret hand muting, being sure to use the fret hand thumb (wrapped over the top of the neck) and fret hand fingers to mute any unwanted noise from the unused strings. Experiment with different harmonic nodes, as some will be easier to execute and some will sound more interesting than others. </p> <p>While Dimebag was also quite adept at using Zakk Wylde/John Sykes/George Lynch/Billy F. Gibbons style “pings” (artificial harmonics, A.K.A. pick harmonics) he was especially adept at using multiple, combined harmonics as a way to spice up his rhythm playing. </p> <p>Example 15 shows this technique at play. </p> <p><img src="/files/imce-images/Example15.jpg" width="620" height="164" alt="Example15.jpg" /></p> <p>Notice first that Dime loved using “in-between” harmonics, those that had a particularly shrieking/squealing sound. Also notice that in combining two or more harmonics, an extremely cool set of screaming, dissonant overtones is created. Try any and all combinations of harmonics on various string sets and at various node points, and also experiment with manipulating the combinations with your whammy bar and/or effects pedals. Example 16 is several available combinations.</p> <p><img src="/files/imce-images/Example16.jpg" width="620" height="365" alt="Example16.jpg" /></p> <p>The possibilities are endless. <a href="http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-2">Check out Part 2!</a></p> <p><em>Scott Marano has dedicated his life to the study of the guitar, honing his chops at the Berklee College of Music under the tutelage of Jon Finn and Joe Stump and working as an accomplished guitarist, performer, songwriter and in-demand instructor. In 2007, Scott developed the Guitar Strength program to inspire and provide accelerated education to guitarists of all ages and in all styles through state-of-the-art private guitar lessons in his home state of Rhode Island and globally via Skype. <a href="http://www.guitarstrength.com/">Visit Scott and learn more at www.GuitarStrength.com.</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="/dimebag-darrell">Dimebag Darrell</a> </div> <div class="field-item even"> <a href="/pantera">Pantera</a> </div> <div class="field-item odd"> <a href="/damageplan">Damageplan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-1#comments Damageplan Dimebag Darrell Guitar Strength Pantera Scott Marano Blogs Features Lessons Thu, 14 May 2015 14:33:28 +0000 Scott Marano 13074 at http://www.guitarworld.com