Features http://www.guitarworld.com/taxonomy/term/5/all/%22/at%20http%3A/.../alison-richter en The 10 Greatest Metallica Songs of All Time http://www.guitarworld.com/10-greatest-metallica-songs-all-time/25393 <!--paging_filter--><p>Metallica are undeniably the most influential rock band of the past 30-plus years. That fact can be perceived simply by looking at the numbers. </p> <p>They are on the exclusive list of music artists who have sold more than 100 million records, and each of their albums has enjoyed multi-Platinum status, an achievement that even AC/DC, the Rolling Stones and U2 haven’t matched. </p> <p>And while they’ve never really had a bona fide pop hit, dozens of Metallica songs—including “Seek and Destroy,” “Master of Puppets” and “Enter Sandman”—have become vital landmarks on the vast landscape of music history, inspiring new generations of music fans and aspiring guitarists much the same way “Johnny B. Goode,” “(I Can’t Get No) Satisfaction” and “Stairway to Heaven” inspired previous generations.</p> <p>In that respect, Metallica’s influence can be observed simply by tuning into the very culture of modern music. To put it simply, Metallica redefined metal music. During the early Eighties, bands like Iron Maiden and Judas Priest were considered heavy metal. But after Metallica burst out of the underground and into mainstream awareness, the terms heavy and metal didn’t quite seem to fit those bands any more. </p> <p>Metallica’s sonic signatures—extreme high-gain distortion, rapid-fire down-picked riffs and jackhammer double–bass drum rhythms—became the new vernacular for metal. Since Metallica’s arrival in 1983, thousands of bands—including industrial groups like Ministry, nu-metal newcomers like Korn and unabashed Metallica clones like Trivium—have adopted those characteristics as their own. </p> <p>Having deep influences has certainly helped Metallica hone their craft. Drummer Lars Ulrich’s vast collection of Seventies Euro metal, punk rock and NWOBHM records provided a bottomless well of inspiration during Metallica’s early days, when the band consisted of Ulrich, guitarist/vocalist James Hetfield, lead guitarist Kirk Hammett (who replaced founding guitarist Dave Mustaine) and bassist Cliff Burton. </p> <p>The band members never stopped searching for new inspirations, discovering unlikely muses like Ennio Morricone’s spaghetti western scores, Tom Waits’ lowlife junkyard blues and Nick Cave’s gothic post-punk swamp rock. Along the way they lost members: Burton died in 1986 and was replaced by Jason Newsted, who left in 2001 and was later replaced by Robert Trujillo. But even as Metallica evolved from progressive thrash epics in the Eighties to shorter and more melodic songs in the Nineties, they never lost the essence of their personality—an indefinable intensity that makes Metallica songs as recognizable as any classic from the Beatles or Led Zeppelin catalogs.</p> <p>Considering the band’s lasting and ever-growing influence, we felt an examination of its contributions was long overdue. The following 10 songs are significant mileposts that have shaped and defined much of the hard rock and metal music made today, and they’re also the source of some of the coolest riffs ever written for the guitar. No wonder Metallica remain a powerful force to be reckoned with.</p> <p>If you'd like to explore this topic further, we strongly suggest <a href="http://www.guitarworld.com/100-greatest-songs-by-metallica">The 100 Greatest Metallica Songs of All Time.</a> Enjoy!</p> <p><strong>10. “Fade to Black”</strong><br /> <em>Ride the Lightning</em><br /> Writers: James Hetfield, Lars Ulrich, Cliff Burton, Kirk Hammett<br /> Length: 6:57</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/tZF79pTfZYo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. “All Nightmare Long”</strong><br /> <em>Death Magnetic</em><br /> Writers: James Hetfield, Lars Ulrich,Kirk Hammett, Robert Trujillo<br /> Length: 7:58</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/NWP9daDpkzc" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. “Welcome Home (Sanitarium)”</strong><br /> <em>Master of Puppets</em><br /> Writers: James Hetfield, Lars Ulrich, Kirk Hammett<br /> Length: 6:28</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/zOHfxHZO2BY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. “The Four Horsemen”</strong><br /> <em>Kill ’Em All </em><br /> Writers: James Hetfield, Lars Ulrich, Dave Mustaine<br /> Length: 7:13</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/DbiN9mdZRk0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. “Battery”</strong><br /> <em>Master of Puppets</em><br /> Writers: James Hetfield, Lars Ulrich<br /> Length: 5:10</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/OtT25wLLfJA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>05. “One”</strong><br /> <em>…And Justice for All</em><br /> Writers: James Hetfield, Lars Ulrich<br /> Length: 7:24</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/sYBMhJt1WCY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. “Ride the Lightning”</strong><br /> <em>Ride the Lightning</em><br /> Writers: James Hetfield, Lars Ulrich, Cliff Burton, Dave Mustaine<br /> Length: 6:36</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/IBKJMZUIuKA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. “Seek &amp; Destroy”</strong><br /> <em>Kill ’Em All</em><br /> Writers: James Hetfield, Lars Ulrich<br /> Length: 6:55</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/NJzoBmVPeYw" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. “Master of Puppets”</strong><br /> <em>Master of Puppets</em><br /> Writers: James Hetfield, Lars Ulrich, Cliff Burton, Kirk Hammett<br /> Length: 8:38</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ujwiWjJLwBg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. “Creeping Death” </strong><br /> <em>Ride the Lightning</em><br /> Writers: James Hetfield, Lars Ulrich, Cliff Burton, Kirk Hammett<br /> Length: 6:36</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/3j6_EyAhim8" 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="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/10-greatest-metallica-songs-all-time/25393#comments Metallica Guitar World Lists News Features Wed, 02 Sep 2015 16:00:35 +0000 Guitar World Staff 25393 at http://www.guitarworld.com Fastest Guitars in the Country: 10 Essential Country Shred Guitar Songs http://www.guitarworld.com/fastest-guitars-country-10-essential-country-shred-guitar-songs <!--paging_filter--><p>Below, <em>Guitar World</em> picks the 10 essential country shred guitar songs. </p> <p>Enjoy!</p> <p><strong>Joe Maphis, “Flying Fingers”</strong><br /> <strong><em>Flying Fingers</em></strong></p> <p>The link between blazing acoustic bluegrass and electrified country shred began with Joe Maphis and his furious flatpicking on songs like “Flying Fingers,” which he recorded in 1956. </p> <p>Maphis played both the six-string track and overdubbed octave-guitar unison track using both necks of his custom Mosrite double-neck guitar. During the Fifties, Maphis frequently performed on the <em>Town Hall/Ranch Party</em> television program, shredding the strings along with guests that included Ricky Nelson and a 12-year-old Larry Collins.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/AXarnqkkpPk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Phil Baugh, “Country Guitar”</strong><br /> <strong><em>Live Wire</em></strong></p> <p>Phil Baugh’s original <em>Country Guitar</em> album released in 1965 features numerous dazzling instrumentals, like “The Finger,” but the centerpiece is the title track where he performs uncanny imitations of several guitarists, including Chet Atkins, Billy Byrd, Hank Garland, Les Paul and Merle Travis, who all are worthy of inclusion on this list. </p> <p>Baugh played on Merle Haggard’s early Bakersfield singles during the Sixties and during the Seventies moved to Nashville, where he played on sessions for countless hit records.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/nwws6XPZ1JM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Jimmy Bryant, “Down Yonder”</strong><br /> <strong><em>Fastest Guitar in the Country</em></strong></p> <p>Jimmy Bryant (guitar) and Speedy West (pedal steel) recorded incredible instrumental duets during the Fifties that still sound amazing, but Bryant also released some great, overlooked albums on his own during the Sixties. </p> <p>“Down Yonder” from the aptly titled <em>Fastest Guitar in the Country</em> album downplays his usual jazzy flourishes in favor of genuine country twang played in Bryant’s inimitable lightning fast style. Bonus points for the ultra-cool Voxmobile on the cover, which Batmobile and Dragula designer George Barris built for Bryant. </p> <p>Note: Since “Down Yonder” isn't available on YouTube at the moment, we've provided a clip of Bryant and West's "Frettin' Fingers" instead. Enjoy!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Ysuei7pagTw" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Albert Lee, “Fun Ranch Boogie”</strong><br /> <strong><em>Gagged But Not Bound</em></strong></p> <p>“Country Boy,” which Lee first recorded with Head Hands &amp; Feet in 1971, has become his signature tune, but this song also provides fine examples of Lee’s ultra-precise banjo-style hybrid picking and tasteful melodic sensibilities. </p> <p>“Albert Lee always sounds like Albert Lee,” Brad Paisley says in the May 2013 issue of <em>Guitar World</em>. “His style has evolved into more of a Strat-based sound using the bridge and middle pickup than the twangy Tele tone he used to play.”</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/iywt3tbGbSE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Steve Morse, “John Deere Letter”</strong><br /> <strong><em>Out Standing in Their Field</em></strong></p> <p>Morse has usually included at least one bona fide country shred tune on his albums going all the way back to his recordings with the Dixie Dregs in the Seventies (“Gina Lola Breakdown” and “Pride O’ the Farm” being great examples). </p> <p>This song from his latest Steve Morse Band effort proves that his hyperspeed chicken pickin’ keeps getting better.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/EG9R0JFJECo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Hellecasters, “Orange Blossom Special”</strong><br /> <strong><em>The Return of the Hellecasters</em></strong></p> <p>Emerging toward the tail end of the shred phenomenon in the early Nineties, this all-star guitar trio consisting of Jerry Donahue, John Jorgenson and Will Ray showed that country boys could not only play as well as the rockers, but they could also do it with a lot more style, originality, humor and panache. </p> <p>“It’s hard to beat the Hellecasters,” Paisley says. “John Jorgenson is my number-one favorite guitarist. He’s what I’m trying to be.”</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/snS4u6K5NbY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Michael Lee Firkins, “Big Red”</strong><br /> <strong><em>Chapter Eleven</em></strong></p> <p>Most of the tracks that Firkins recorded in the Nineties fit perfectly with the Shrapnel label’s then-current roster of metal/fusion players, but this Nebraska born-and-bred player couldn’t resist revealing his country and bluegrass chops on occasion. </p> <p>This track is one of his more straight-up country jams, with clean tone as sharp as a Bowie knife.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/kuUJkdiV_Z8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Johnny Hiland, “Barnyard Breakdown”</strong><br /> <strong><em>All Fired Up</em></strong></p> <p>One of the most impressive guitarists to emerge on the Nashville scene in recent years, Hiland can be heard tearing it up with Hank Williams III, on sessions with Toby Keith, Randy Travis and others, and even in downtown Nashville’s Lower Broadway honky-tonks.</p> <p>Hiland can play any style of music better than most, but when it comes to country he’s simply untouchable.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/U5t2ivu2qb8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Brad Paisley, “Cluster Pluck”</strong><br /> <strong><em>Play—The Guitar Album</em></strong></p> <p>This instrumental jam featuring Paisley, James Burton, Vince Gill, Albert Lee, John Jorgenson, Brent Mason, Redd Volkaert and Steve Wariner provides a great introduction to almost every current country shredder you should know. </p> <p>“Those guys are all my influences,” Paisley says. “Nobody really outplays anybody else, but when James put on his fingerpicks and did all those bends, double bends and weird arpeggios, I knew that everybody in the room wanted to be him.”</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/A6BJ2E8eKww" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Marty Stuart, “Hollywood Boogie”</strong><br /> <strong><em>Nashville, Volume 1: Tear the Woodpile Down</em></strong></p> <p>The incredible Kenny Vaughan and legendary Marty Stuart go head-to-head on this blazing instrumental that pays tribute to the Fifties recordings of Joe Maphis and Jimmy Bryant while adding their own modern flourishes. </p> <p>Playing Clarence White’s iconic Telecaster, Stuart’s tone remains the ultimate definition of “twang.”</p> <p><strong>NOTE: In the video below, the action begins around 1:10, so you might want to skip ahead.</strong></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/r0SDGYSWq_M" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/fastest-guitars-country-10-essential-country-shred-guitar-songs#comments Articles Brad Paisley GW Archive Jimmy Bryant Joe Maphis Johnny Hiland May 2013 Michael Lee Firkins Guitar World Lists News Features Magazine Wed, 02 Sep 2015 15:24:55 +0000 Chris Gill 18495 at http://www.guitarworld.com Top 20 Hair Metal Albums of the Eighties http://www.guitarworld.com/top-20-hair-metal-albums-eighties <!--paging_filter--><p>Yeah, they dressed funny and their lyrics often lacked the angst and agonized self-awareness that we’ve come to expect in this decade of the rock and roll sissy-band, but the pop metal acts of the Eighties produced some top-shelf albums during their short reign. </p> <p>In chronological order, these are the 20 best records woven, steamed and blow-dried by the most esteemed members of rock and roll’s Hair Club for Men before they were abruptly given the hook.</p> <p>Check out the photo gallery below—and be sure to join the conversation in the comments section below the story.</p> http://www.guitarworld.com/top-20-hair-metal-albums-eighties#comments Articles Bon Jovi Cinderella GW Archive Kix Motley Crue The Cult Warrant Winger Guitar World Lists Galleries Features Wed, 02 Sep 2015 14:45:58 +0000 Guitar World Staff 1805 at http://www.guitarworld.com George Lynch Talks Inspiration and the New Lynch Mob Album, 'Rebel' http://www.guitarworld.com/george-lynch-talks-inspiration-and-new-lynch-mob-album-rebel/25387 <!--paging_filter--><p>It sure has been a busy year for George Lynch. </p> <p>In January, he teamed up with Stryper guitarist Michael Sweet for a new project called Sweet &amp; Lynch. This summer, he released “Shadow Train,” the musical project for his forthcoming documentary, <em>Shadow Nation.</em> </p> <p>On August 21, Lynch—along with vocalist Oni Logan—released a new Lynch Mob album called <em>Rebel.</em> It comes 25 years after the band's debut album, <em>Wicked Sensation.</em> </p> <p><em>Rebel</em> features strong performances by Lynch’s former Dokken bandmate—and current Foreigner bassist—Jeff Pilson, plus drummer Brian Tichy (Whitesnake, Slash). </p> <p>Whether it’s the infectious qualities s of the triplet-paced “Automatic Fix," the tasty goodness of “Jelly Roll” or the vintage, in-your-face sound of the Mu-Tron octave divider heard on “Testify," Lynch proves once again that he’s at the ready whenever the cosmos want to send down riffs that stick in your head long after the song is over.</p> <p>I recently spoke with Lynch about <em>Rebel,</em> his career and a few of his other projects.</p> <p><strong>GUITAR WORLD: What was the genesis of <em>Rebel</em>?</strong></p> <p>Inspiration. It’s almost like a cyclical thing. Like, you’re subconsciously trained to start thinking about a new album every year or so. When inspiration strikes, you’ve got to be ready to respond, and Oni and I felt the need to relieve ourselves of these creative impulses. We’ve put our hearts and souls into this album and have been getting a lot of positive feedback about it.</p> <p><strong>What was the songwriting process like for <em>Rebel</em>?</strong></p> <p>It’s very similar to working on a Sweet &amp; Lynch album or with Jeff Pilson. For <em>Rebel,</em> pre-production was done with just Oni, myself and an engineer. Unlike being in a band, fleshing things out in a rehearsal room, this was a very closed situation that was very intense and self-contained. Usually I’ll come up with the primary architecture of a song and then I’ll look for feedback and ideas. That’s when Oni might make a suggestion or and ask me to try something. From there, I’ll find something and flesh it out. The musical/instrumental inspiration usually comes from me, and the lion’s share of melodies and lyrics come from Oni.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/deJdCFQ76BA" frameborder="0" allowfullscreen></iframe></p> <p><strong>What does the band's touring schedule look like?</strong></p> <p>We’ve done about 50 dates so far this year. We’ll be playing the western part of the country and the mountain states, which includes hitting California pretty hard.</p> <p><strong>What made you decide to start wanting to playing guitar?</strong></p> <p>I’m really not sure. I just had an urgency to play. I remember being 10 and listening to the music my father had. It was really just something I wanted to do. </p> <p><strong>Is it true that you auditioned for Ozzy’s band after he left Black Sabbath?</strong></p> <p>"Audition" is kind of a weird word for it. I was actually up for the gig on three different occasions, including prior to Randy [Rhoads]. I was already in Dokken at the time and took a short hiatus to pursue the Ozzy thing and then came back. Even though I didn’t get the gig, it worked out OK for everyone.</p> <p><strong>This year marks the 30th anniversary of Dokken’s <em>Under Lock and Key.</em> When you look back to that time, what comes to mind?</strong></p> <p>At that point, we had really matured as a band. You could really see the evolution of our writing from <em>Breaking the Chains<em> and <em>Tooth and Nail. Under Lock and Key</em> sounded better than our previous albums. We were really polished and at the top of our game. </em></em></p> <p><strong>What’s your live setup like these days?</strong></p> <p>I’m always mixing it up. My days off on the road are usually spent crawling around pawn shops and mom-and-pop music stores looking for jewels. Right now, I’m playing through my Randall Headhunter, which is my new signature head that'll be coming out soon. We’ve been working on it for about three years now. It’s an amazing amp.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/BbBNCj-XaQE" frameborder="0" allowfullscreen></iframe></p> <p><strong>What other projects are you working on?</strong></p> <p>Other than this new album, the project I’m deeply involved in right now is the Infidels. It started out with myself and Pancho Tomaselli from Tower of Power. We’ve also got Angelo Moore on vocals and Chris Moore on drums. It’s a very unorthodox record and has really expanded my abilities as a player. We’re very excited about it.</p> <p><strong>Do you have any advice for up-and-coming guitarists?</strong></p> <p>Everyone goes through phases. When you’re young, you’re full of testosterone and want to rule the world by chasing the dragon and being the fastest and best guitarist and creating the soundtrack that’s in your head, and that’s great. As a player, you should always want to try certain things and learn from others. But eventually, try to develop your own style and create a space for yourself. Because now you’re no longer competing against anyone else. Now you’re only competing with yourself. </p> <p><em>For more about Lynch, visit <a href="http://georgelynch.com/wordpress/">georgelynch.com.</a></em></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href="http://gojimmygo.net/">GoJimmyGo.net</a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="https://twitter.com/JimEWood">Twitter @JimEWood.</a></em></p> <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="/george-lynch">George Lynch</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/george-lynch-talks-inspiration-and-new-lynch-mob-album-rebel/25387#comments George Lynch James Wood Lynch Mob Interviews News Features Tue, 01 Sep 2015 19:25:49 +0000 James Wood 25387 at http://www.guitarworld.com How to Construct Classic Eighties-Style Metal Guitar Parts http://www.guitarworld.com/metal-life-metal-mike-how-construct-classic-eighties-style-metal-guitar-parts-video <!--paging_filter--><p>Back in the Eighties, during the heyday of metal, bands like Van Halen, Judas Priest and the Scorpions were releasing incredible, killer albums packed with amazing guitar playing. </p> <p>Today, I feel that the majority of metal is more focused on rhythmic parts with less harmonic movement than what I think of as the approach representative of Eighties-style metal. It is from that perspective that I put together the three “classic” metal-style riffs.</p> <p>During the NWOBHM (New Wave of British Heavy Metal) days of the late Seventies and early Eighties, bands like Iron Maiden and Judas Priest were forging blazing, melodic metal earmarked by powerful and memorable song riffs. </p> <p><strong>FIGURE 1</strong> is indicative of Iron Maiden’s style: above the progression of three different pedal tones, shifting two- and three-note chord shapes create the melodic content that keeps this part interesting and moving forward. </p> <p>I begin with an open D5 power chord, using the D string as a repeating pedal tone, and by simply changing the note on the G string, I can move from D5 to Bb/D to G5/D. Be sure to palm-mute all of the open D pedal tones while allowing the higher strings to ring clearly. In bar 3 into bar 4, I shift to an F5 power chord followed by C/F, sounded by lowering the high F on the B string one fret to E, played in unison with the open high E string. </p> <p>After the second ending (bar 5), I transition to the key of A minor, with sliding two-note power chord shapes fretted on the D and G strings, supported by an open A-string pedal tone that is picked in consecutive 16th notes. In bar 8, I move down two whole steps to F5 and use the fretted F note as the pedal tone, followed at the end of bar 9 with a shift from F5 to C5, performed by simply moving from F to G on the D string while keeping the C note on top.</p> <p><strong>FIGURE 2</strong> is played at a slower tempo, and, as with <strong>FIGURE 1</strong>, the melodic content in this riff is provided by the simple movement of two-note chord shapes sounded above a pedal tone. In bars 1–3, the open A string provides the pedal tone, over which I play a sequence of double-stops that imply Bm, Am, G and F chords. In this example, the melodic element comes from the highest note in each double-stop. </p> <p>Let’s wrap up with a lick reminiscent of George Lynch with Dokken or Queensrÿche, specifically from the latter band’s <em>Operation: Mindcrime</em> period, in terms of the overall approach to the riffs and the feel of the rhythms. </p> <p>In <strong>FIGURE 3</strong>, I begin with an A5 power chord followed by a repeating open A-string pedal tone, and at the end of bar 1 I use sliding two-note power chords to transition to F5, followed by D7/A, which I sound by moving from F up one fret to F# on the D string. In bar 4, I use the opposite movement, shifting down one fret from D to C# on the A string to change from D5 to A/C#. At the end of the riff, I use pull-offs on the A string to set up the two-note C5 and D5 power chords. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/a3BpNvJ9rgI" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/May2015.jpg" width="620" height="763" alt="May2015.jpg" /></p> http://www.guitarworld.com/metal-life-metal-mike-how-construct-classic-eighties-style-metal-guitar-parts-video#comments May 2015 Metal For Life Metal Mike Chlasciak Videos Blogs Features Lessons Magazine Tue, 01 Sep 2015 15:38:39 +0000 Metal Mike Chlasciak 23801 at http://www.guitarworld.com The Byrds' 10 Greatest Guitar Moments http://www.guitarworld.com/byrds-10-greatest-guitar-moments/25374 <!--paging_filter--><p>From 1965 until their breakup in 1973, the Byrds were a bona-fide electric-guitar powerhouse.</p> <p>During the California band's initial—and most popular—incarnation, Jim McGuinn turned the 12-string Rickenbacker 360 guitar into an institution.</p> <p>Its glorious trademark "chiming" sound actually became <em>the band's</em> trademark sound—a sound that even influenced the almighty Beatles.</p> <p>As the years went by and the hits piled up—"Turn! Turn! Turn!," "Eight Miles High," "My Back Pages" and "Chestnut Mare" among them—the band's original lineup—<a href="http://www.ibiblio.org/jimmy/mcguinn/index.html">Jim McGuinn,</a> <a href="http://www.davidcrosby.com/">David Crosby,</a> <a href="http://www.geneclark.com/">Gene Clark,</a> <a href="http://www.chrishillman.com/">Chris Hillman</a> and Michael Clarke—went their separate ways, leaving McGuinn to pilot the plane with a host of new musicians.</p> <p>Luckily, a true guitar legend was waiting in the wings: Clarence White.</p> <p>A master of chops-busting bluegrass guitar, White, who initially recorded with the band as a session guitarist but became a full member in mid-1968, intertwined his formidable fingerpicking, flatpicking and hybrid-picking technique on his Tele with the use of a device he helped invent (with Gene Parsons), the <a href="http://www.stringbender.com/bender/classic.php">Parsons-White StringBender (also known as a B-bender),</a> which allowed him to recreate pedal steel guitar licks with stunning accuracy.</p> <p>It also should be noted that three members of the Byrds—White, McGuinn and <a href="http://guildguitars.com/g/chris-hillman-signature-byrds-bass/">Hillman</a>—have (or have had) their own signature-model guitars or basses. This, I assure you, is uncommon.</p> <p>If you'd like to find out more about White, who was killed by a drunk driver in 1973, be sure to check out my <a href="http://www.guitaraficionado.com/playlist-clarence-white.html">Ode to the Original B-Bender, Clarence White of The Byrds and Kentucky Colonels.</a></p> <p>Below, we revisit 10 of the band's greatest guitar moments, taking their entire official output—including recently released archival live albums—into consideration. The songs are presented in no particular order. </p> <p><em>Editor's Note: Even though Roger McGuinn went by his birth name, Jim McGuinn, prior to 1967, we will refer to him as Roger for the remainder of this story.</em></p> <p><strong>For more about the Byrds, visit <a href="http://www.thebyrds.com/">their official website.</a> To catch up with McGuinn and his current projects, visit <a href="http://www.ibiblio.org/jimmy/mcguinn/index.html">mcguinn.com.</a></strong></p> <p><span style="font-size:18px;font-weight:bold;">"Chestnut Mare"</span><br /> <strong><em>(Untitled)</em></strong> | 1970 | <strong>Main Guitarists:</strong> Roger McGuinn, Clarence White</p> <p>Although it's not the first track that comes to mind when considering a list of the Byrds' finest guitar tracks, "Chestnut Mare," an epic song about one tenacious man's quest to capture a very special horse (so special that "she'll be just like a wife"), is actually a perfect choice. </p> <p>It combines McGuinn's trademark electric 12-string picking with White's top-notch acoustic work—with a bit of White's electric B-bender Tele thrown in for good measure. </p> <p>The guitars, which—let's face it—are <em>everywhere</em> on this track, are the canvas on which the song's story is so vibrantly painted; perhaps the guitar high point is the fine interplay between McGuinn's Rickenbacker and White's Martin during the song's emotional breakdown section.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/-olDjUy4540" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <p><span style="font-size:18px;font-weight:bold;">"Turn! Turn! Turn! (To Everything There Is a Season)"</span><br /> <strong><em>Turn! Turn! Turn!</em></strong> | 1965 | <strong>Main Guitarist:</strong> Roger McGuinn</p> <p>No other song—including "Mr. Tambourine Man" (which did not make this list)—sums up the Byrds' early, "America's Answer to the Beatles" period quite like "Turn! Turn! Turn! (To Everything There Is a Season)." McGuinn's playing on the track is—for lack of a better word—sublime. Note that he's hybrid picking, playing the melody with downstrokes while providing his own rhythm part in the form of ringing or droning notes and banjo rolls. As always, his 12-string Rickenbacker is front and center.</p> <p>Since you've probably heard the original Byrds version of this song 43,747 times, we've decided to include a more recent video that shows McGuinn playing the song alone, complete with close-up shots of his fingering, finger picks and all. It's from an instructional video McGuinn made several years ago. Enjoy!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ZAejkh4rTjs" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">"Buckaroo"</span><br /> <strong><em>Live at the Fillmore—February 1969</em></strong> | 2000 | <strong>Main Guitarist:</strong> Clarence White</p> <p>Feel free to argue, but if you had to choose one album that best demonstrates White's electric-guitar prowess, it'd be <em>Live at the Fillmore—February 1969.</em> The musicians on the album are McGuinn on his 12-string Rickenbacker 360, Gene Parsons on drums, John York on bass and White on his B-Bender Tele. He never puts it down, so there's no escaping it.</p> <p>The most impressive guitar track on the album is the band's cover of Buck Owens' killer-catchy instrumental, "Buckaroo," which finally exists on YouTube. White rips open his bag of B-bender licks—and never closes it. Even his mistakes sound good, like the random open string he hits at :32. Play this one good and loud, people.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/HgJLpNd2-wY" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <p><span style="font-size:18px;font-weight:bold;">"The Bells of Rhymney"</span><br /> <strong><em>Mr. Tambourine Man</em></strong> | 1965 | <strong>Main Guitarist:</strong> Roger McGuinn</p> <p>Although the Beatles were rock’s foremost trendsetters, they still were influenced by other artists. Case in point: George Harrison’s 12-string riff on “If I Needed Someone.” Played in a second-position D-chord shape with a capo on the seventh fret, the line was based on McGuinn’s shimmering guitar work in the mesmerizing 1965 track “The Bells of Rhymney,” which you can hear below.</p> <p>All McGuinn really had to go on was Pete Seeger's acoustic version of the song, which was based on a poem by Welshman Idris Davies. While Seeger also played the song on a 12-string, and even embellished the solo portion with brilliant, out-of-nowhere minor chords, McGuinn and the Byrds simply took it to new heights—something they did often, especially when it came to Bob Dylan songs.</p> <p>In the mid-Sixties, Harrison and McGuinn had formed a mutual-admiration society: “If I Needed Someone” featured Harrison’s second Rickenbacker 360/12, a rounded-off 1965 model that resembled McGuinn’s 1964 Rickenbacker 360/12, which McGuinn bought after seeing Harrison’s first Rick in <em>A Hard Day’s Night.</em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/u6JhTSzZXzg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">"You Ain't Goin' Nowhere"</span><br /> <strong><em>Sweetheart of the Rodeo</em></strong> | 1968 | <strong>Main Guitarists:</strong> Lloyd Green, Clarence White</p> <p>Yes, we're bending (that's a play on words, folks) the rules and including a pedal steel guitar performance on this list. The studio version of "You Ain't Goin' Nowhere," a cover of a <em>Basement Tapes</em>-era Dylan tune, features a stunning performance by Nashville pedal steel legend Lloyd Green. His tone is actually a bit confusing because it sounds like a guitar (I thought it was a guitar for years when I was a young'n).</p> <p>Listen to Green's note choices; it's a lesson on guitar solo composition, regardless of what instrument he's playing. </p> <p>“I was young and open to any new music if the steel fit, and [the Byrds] were gonna let me be a part of it," <a href="http://www.vintageguitar.com/3683/lloyd-green/">Green told Vintage Guitar in 2008.</a> "I thought it was the most wonderful thing. The first song was gonna be ‘You Ain’t Goin’ Nowhere,’ the Bob Dylan song. I said, ‘Where do you guys want me to fill?’ And they said, almost in unison, ‘Everywhere!’ I said, ‘Say no more!’ And if you listen to that song, almost from the first note to the end there’s steel guitar. I play too much, in retrospect—certainly not the way I would play it today."</p> <p>We've also included a live version of the song (second video) featuring White's B-bender spin on Green's original pedal steel guitar part. This 1968 TV appearance puts the emphasis on White, his still-Nudie-sticker-free Telecaster and his Parsons/White StringBender (not to mention some fine-looking Sixties women). </p> <p>Random side note: Be sure to check out Green's pedal steel playing on Paul McCartney's 1974 tune, "Sally G."</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/s2JnDKvuNzw" frameborder="0" allowfullscreen></iframe><br /> <iframe width="620" height="365" src="https://www.youtube.com/embed/Q21BF38W3Gs" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <p><span style="font-size:18px;font-weight:bold;">"Black Mountain Rag"/"Soldier's Joy"</span><br /> <strong><em>Live at Royal Albert Hall 1971</em></strong> | 2008 | <strong>Main Guitarist:</strong> Clarence White</p> <p>Meet Clarence White, the bluegrass shredder. Before joining the Byrds, White was blowing minds (including the mind of the great Doc Watson) as a member of the Kentucky Colonels. His brilliant acoustic flatpicking, which incorporated lightning-fast fiddle lines played on a vintage Martin D-28, helped the bluegrass world recognize the guitar as a lead instrument. Several masters of the genre, including Tony Rice and Norman Blake, even site him as a key influence.</p> <p>After the Colonels, White became a session player in Los Angeles (even playing on several Byrds albums before officially joining the band). Through his time with the Byrds, this high-octane bluegrass medley stood out as a high point of the band's live shows.</p> <p>Note that the version below is <em>not</em> the recommended <em>Live at Royal Albert Hall 1971</em> performance (which isn't available on YouTube), but it's pretty much just as good—and it even shows White and the gang in action, which is a rarity.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/qq6vGonWlLY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">"Lover of the Bayou"</span><br /> <strong><em>(Untitled)</em></strong> | 1970 | <strong>Main Guitarist:</strong> Clarence White</p> <p>This live selection sums up the best of White's rare "fuzzed out" guitar attacks. Kudos to White—a former bluegrass picker (as we've mentioned 40 times already)—for coming up with creative and unique rock solos in a time when Eric Clapton, Alvin Lee and Jimi Hendrix were competing for the listening public's attention (and money).</p> <p>Honorable mention to McGuinn, who continued to showcase his Rickenbacker 360 in 1970 and beyond, even though its jingly-jangly "season" (1965 to '66) had temporarily passed.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/myLTgLqFaj8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">"Eight Miles High"</span><br /> <strong><em>Fifth Dimension</em></strong> | 1966 | <strong>Main Guitarist:</strong> Roger McGuinn</p> <p>"Eight Miles High" starts off like a train—a massive, chugging steam locomotive that stops for absolutely no one. Its cargo? McGuinn's relentless jumble of dark and spider-like notes—all furiously played on his 12-string Rick.</p> <p>The song, which strikes modern ears as an early stab at psychedelia, is actually nothing of the sort.</p> <p>"We started out with the folky thing, mixing Dylan and Pete Seeger with the Beatles, then we dabbled in a bit of jazz fusion with 'Eight Miles High,' which was misconstrued as psychedelic." McGuinn told <a href="http://www.uncut.co.uk/features/the-byrds-20-best-songs-69126">Uncut earlier this year.</a> "It wasn’t meant to be, but it was branded that way."</p> <p>"'Eight Miles High' is out there," McGuinn adds. "It’s spatial. I was trying to emulate Coltrane’s saxophone with my Rickenbacker. It’s got a lot of what Coltrane was going for on <em>India,</em> which was to capture the elephants in India with his wails, and there’s that tabla beat. He was trying to incorporate Indian music into jazz, and we were trying to incorporate his attempts to do that into a rock’n’roll song. So there’s a lot of things going on."</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/J74ttSR8lEg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">"Sing Me Back Home"</span><br /> <strong><em>Live at the Fillmore—February 1969</em></strong> | 2000 | <strong>Main Guitarist:</strong> Clarence White</p> <p>If you read the "Buckaroo" entry above, you already know about <em>Live at the Fillmore—February 1969,</em> which gets my vote as White's go-to "guitar album" (in terms of his electric-guitar playing). A few years ago, it even made <em>Guitar World's</em> list of the <a href="http://www.guitarworld.com/30-greatest-shred-albums-all-time">30 best shred-guitar albums of all time.</a> </p> <p>Although I don't think of White as a shredder (except for when he played bluegrass), he certainly works his way toward "shred country" on the Fillmore version of this Merle Haggard tune, which also was a favorite of former Byrd Gram Parsons.</p> <p>It's another B-bender masterpiece that shows off White's bouncy, psychedelic-cowboy style, complete with a brilliant turnaround at 1:24. It's cool to hear the Fillmore crowd show their appreciation after the solo at 1:43, while McGuinn is already singing the song's next verse.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Y_Qs2F3nOts" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <p><span style="font-size:18px;font-weight:bold;">"She Don't Care About Time"</span><br /> <strong>Non-album B-side of "Turn! Turn! Turn!," now included on <em>Turn! Turn! Turn!</em></strong> | 1965 | <strong>Main Guitarist:</strong> Roger McGuinn</p> <p>"She Don't Care About Time," one of many brilliant compositions by the Byrds' Gene Clark, is known for its very early incorporation of classical music into popular music (Take that, Yngwie Malmsteen). Notice how McGuinn cleverly inserts a heaping helping of Bach's "Jesu, Joy of Man's Desiring" into his 12-string Rickenbacker guitar solo.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/B4eMoFpWFgU" frameborder="0" allowfullscreen></iframe></p> <p><em><a href="https://soundcloud.com/damian-fanelli/mister-neutron-comanchero-1">Damian Fanelli</a> is the online managing editor at </em>Guitar World<em> and </em><a href="http://www.guitaraficionado.com/">Guitar Aficionado</a><em>. His New York-based band, <a href="https://www.facebook.com/pages/The-Blue-Meanies/226938220688464?fref=ts">the Blue Meanies,</a> has toured the world and elsewhere. Fanelli, a former member of Brooklyn jump-blues/swing/rockabilly band <a href="http://www.thegashousegorillas.com/">the Gas House Gorillas</a> and New York City instrumental surf-rock band <a href="http://www.cdbaby.com/Artist/MisterNeutron">Mister Neutron,</a> also <a href="https://www.youtube.com/watch?v=NsQ9pIkLXiA">composes</a> and <a href="https://www.youtube.com/watch?v=w7ICimc774Y">records film soundtracks.</a> He writes GuitarWorld.com's <a href="http://www.guitarworld.com/next-bend-clarence-white-inspired-country-b-bender-lick-video">The Next Bend</a> column, which is dedicated to <a href="http://www.guitarworld.com/next-bend-10-essential-b-bender-guitar-songs-damian-fanelli">B-bender guitars and guitarists.</a> His latest liner notes can be found in Sony/Legacy's </em><a href="http://www.amazon.com/The-Complete-Epic-Recordings-Collection/dp/B00MJFQ24W">Stevie Ray Vaughan: The Complete Epic Recordings Collection.</a><em> Follow him on <a href="https://www.facebook.com/damianfanelliguitar">Facebook,</a> <a href="https://twitter.com/damianfanelli">Twitter</a> and/or <a href="https://instagram.com/damianfanelligw/">Instagram.</a></em></p> http://www.guitarworld.com/byrds-10-greatest-guitar-moments/25374#comments 10 Best Songs Byrds Clarence White Damian Fanelli Lloyd Green Roger McGuinn The Byrds Top 10 Guitar World Lists Blogs News Features Tue, 01 Sep 2015 12:06:11 +0000 Damian Fanelli 25374 at http://www.guitarworld.com 10 Essential Heavy Metal Documentaries You Need to Watch Now — Video http://www.guitarworld.com/10-essential-heavy-metal-documentaries-you-need-watch-now-video/25372 <!--paging_filter--><p>The recent success of the N.W.A. biopic, <em>Straight Outta Compton,</em> demonstrated that extreme music can be of extreme interest to audiences. </p> <p>And so, we've opted to take a look at some great metal movies. </p> <p>Of course, there aren’t too many heavy metal biopics out there (other than maybe this one), so instead, here are 10 artist-specific documentaries that are definitely worth your precious time. Grab the popcorn.<br /> <br /><br /> <strong>10. Ozzy Osbourne: <em>God Bless Ozzy Osbourne</em></strong></p> <p>Despite being co-produced by Ozzy’s son Jack, this film takes a surprisingly candid look at the Prince of Darkness. The stories recounted by former band mates like Bill Ward and former tour mates like Motley Crue’s Tommy Lee are, as would be expected, hilarious and often debased. But it’s the interactions between Ozzy and his family, and the examination of his decades-long battle with drugs and alcohol, that are the heart of the movie.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/16_7P6TmeJ8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>9. Anvil: <em>Anvil! The Story of Anvil</em></strong></p> <p>Even people who aren’t into metal fell hard for this hard-luck story about an early Eighties Canadian act who became almost-famous, only to spend the next two decades slogging it out in virtual obscurity. Fittingly, since the release of the film Anvil have enjoyed more success than they ever did in their prime, releasing new albums, touring extensively and playing shows with the likes of AC/DC.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/FF4H8lB2Y_o" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>8. Motley Crue: <em>Uncensored</em></strong></p> <p>A promo-video-plus-behind-the-scenes footage collection, ‘Uncensored’ stands as a gloriously decadent documentation of glam metal in its mid-Eighties heyday. Wanna know what the Sunset Strip scene was like? Look no further than one Vince Neil being interviewed half-naked…as he’s surrounded by well-endowed women…and having a drink…in a pool…that’s in the back of a limousine.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/2r9J3jbKFUI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>7. Lemmy Kilmister: <em>Lemmy: 49% Motherf**ker, 51% Son of a Bitch</em></strong></p> <p>Lemmy, as they say, is God. This documentary shows you why.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/mOmcIf8Io9M" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>6. Metallica: <em>Some Kind of Monster</em></strong></p> <p>Metallica has been maligned and even ridiculed over the years for their employment of a “performance-enhancing coach” to work out issues between band mates—a situation that forms the crux of much of this movie. But the fact remains that ‘Some Kind of Monster’ is a brave pulling back of the curtain by the world’s biggest metal band, who expose all their messy insides for the whole world to see.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/eE4wmmnahnk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>5. Alice Cooper: <em>Super Duper Alice Cooper</em></strong></p> <p>Alice Cooper might not be metal, per se, but his musical offspring—everyone from Marilyn Manson to Rammstein to Rob Zombie—certainly are. What’s more, this excellent 2014 documentary, which features amazing archival footage of the ‘Coop in action, demonstrates that, in his prime, he just may have been the scariest of them all. Just ask the poor chicken who had the misfortune of encountering him onstage…</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/wQEh9ZaiJqs" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>4. Cannibal Corpse: <em>Centuries of Torment: The First 20 Years</em></strong></p> <p>This three-hour-plus documentary of the seminal death metal act’s first two decades is shockingly inclusive, with home-video footage of seemingly every step in their long, trailblazing and often disgusting career. As Ice-T aptly puts it in one of the many talking-head appearances, “Yo! This is some crazy shit right here!”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/-5q4wi_hYx8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>3. Pantera: <em>3: Watch It Go</em></strong></p> <p>The Cowboys from Hell certainly raised plenty of it onstage. But as their home videos attest—and none more so than ’3′—the insanity continued basically everywhere else. Among other antics, witness the band members, along with crew and friends, destroy dressing rooms and cars, play of juvenile pranks on one another, and do plenty of drinking and puking—and in one case, even shitting in the woods.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/AwvcNl5oyHc" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>2. Iron Maiden: <em>Flight 666</em></strong></p> <p>Iron Maiden’s 1985 ‘Live After Death’ concert film stands among the greatest live metal videos of all time. So how to top it? By producing another onstage doc that not only includes incredible live performances, but also footage of your singer flying the entire band from massive show to massive show on their own private plane—cheekily dubbed Ed Force One.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/6yY4vrpb3rM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>1. Celtic Frost: <em>A Dying God</em></strong></p> <p>This 2008 doc, directed by Swiss journalist Adrian Winkler, follows Celtic Frost on their 2006-2007 reunion tour in support of their final studio album, ‘Monotheist.’ In addition to capturing the rejuvenated band live onstage across Europe, Japan and the U.S., there’s also plenty of interview segments with Thomas Gabriel Fischer and Martin Ain about the history and then-present state of the influential group. </p> <p>But the real bonus is awesome archival footage of Hellhammer and Celtic Frost in their early days, including an entertaining interview/live performance segment from Swiss television in 1985.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/6HN8kGB4urg" 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="/ozzy-osbourne">Ozzy Osbourne</a> </div> <div class="field-item even"> <a href="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/10-essential-heavy-metal-documentaries-you-need-watch-now-video/25372#comments Anvil Metallica Ozzy Osbourne Guitar World Lists Videos News Features Fri, 28 Aug 2015 14:09:23 +0000 Richard Bienstock 25372 at http://www.guitarworld.com Labor Day Sale: Save 25 Percent at the Guitar World Online Store http://www.guitarworld.com/labor-day-sale-save-25-percent-guitar-world-online-store/25371 <!--paging_filter--><p>In celebration of Labor Day 2015, the <a href="http://guitarworld.myshopify.com/collections/dvds/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=LaborDay2015">Guitar World Online Store</a> invites you to save 25 percent on anything and everything!</p> <p>Just be sure to use code <strong>LABORDAY2015</strong> at checkout.</p> <p>Once again, that's <strong>LABORDAY2015</strong>!</p> <p>The sale includes every item at the store, including DVDs, books, T-shirts and more.</p> <p>NOTE: This sale ends 11:59 p.m. September 8, 2015.</p> <p><strong><a href="http://guitarworld.myshopify.com/collections/dvds/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=LaborDay2015">Head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/labor-day-sale-save-25-percent-guitar-world-online-store/25371#comments Guitar World Online Store labor day sale News Features Fri, 28 Aug 2015 12:40:40 +0000 Guitar World Staff 25371 at http://www.guitarworld.com Lamb of God's Mark Morton, Willie Adler and Randy Blythe Talk Turmoil and Their Vibrant New Album, 'VII: Sturm Und Drang' http://www.guitarworld.com/storm-survivors-lamb-god-talks-working-through-turmoil-recording-new-album/25184 <!--paging_filter--><p>Nearly 15 minutes into a phone call with Lamb of God guitarist Mark Morton about events that took place between the release of 2012’s <em>Resolution</em> and the band’s new album <em>VII: Sturm Und Drang</em>, the normally ultra-mellow musician adopts a slightly defensive tone. </p> <p>“This thing really broadsided us,” Morton says from his daughter’s bedroom, the only place in his house where he can get any privacy. </p> <p>“When Randy was arrested, we weren’t aware there had even been any sort of incident, and suddenly he’s being hauled off to jail. It’s hard to describe what we went through because, ultimately, the reason that it happened is so tragic.”</p> <p>Morton is talking about the subject he’s least interested in addressing, but knew would come up—the 2012 arrest of vocalist Randy Blythe in Prague for allegedly committing manslaughter. </p> <p>In summary, at a concert in 2010, 19-year-old Daniel Nosek clambered onstage and Blythe allegedly shoved him back into the crowd. Nosek landed on his head, suffering brain injuries, which he died from two weeks later. When Lamb of God returned to Prague in 2012, a team of armed policemen surrounded them at the airport and arrested Blythe, who spent five weeks in jail before he was released on bail. </p> <p>Blythe returned to Prague in February 2013 to stand trial, even though he faced up to 10 years behind bars. After six days of testimony he was acquitted by the court, which determined he was morally, but not criminally, responsible for Nosek’s death.</p> <p>“The whole time he was in there I wasn’t worried about what might happen to the band, I was worried about my friend Randy,” Morton says. “It was a super-heavy and depressing thing to go through, and those feelings don’t just go away because it’s over now.” </p> <p>When asked if he was elated when he learned Blythe was exonerated, Morton pauses, then responds, “How can you be stoked about a situation in which someone died? I never thought Randy did anything wrong, but knowing that justice was served after this long period of time went along with the knowledge that this family lost their son. How does someone cope with that? There’s nothing about this situation to celebrate.”</p> <p>A few long moments of silence later, it becomes clear that the phone connection has been severed. It seems Morton has hung up. <em>Guitar World</em> leaves messages on his manager’s phone and publicist’s cell voicemail. Five excruciating minutes pass. Then six. With interviews already conducted with co-guitarist Willie Adler and Blythe, it would be a shame if Morton is through talking.</p> <p>Then the phone rings. “Hey, man. I know it must totally seem like I hung up on you, but I swear I didn’t,” he explains. “I’m out here in Virginia and my cell service is terrible. But I’m back. Ask me anything.”</p> <p>It’s a huge relief to know Morton didn’t get pissed off and bail on the interview. Even without touching on Blythe’s incarceration, which had a major impact on the songwriting process, sound and spirit of the new album, there’s still plenty to talk about. And Morton played a major role in the creation of <em>VII: Sturm Und Drang</em>, which features some of Lamb of God’s most trenchant thrash and tech-metal riffs, satisfying accompanying lines, creative production techniques and insightful lyrics. </p> <p>There’s a new resilience, enthusiasm and creativity throughout the songwriting and playing, as if the realization that they could have lost their vocalist for 10 years gave Lamb of God fresh life.<br /> Mentioning Morton’s skill as a songwriter and soloist doesn’t downplay the considerable talents or contributions of rhythm guitarist Willie Adler, who was actually the first one in the band to start writing for the follow-up to <em>Resolution</em>. </p> <p>“When Randy was in jail, for some reason I just wanted to dive into writing,” Adler says. “I had to make that my priority. I became obsessive. Not that my thoughts weren’t with Randy or the family that was going through all of this, but my therapy was to continue pushing myself and continue writing. And that’s kind of all I could think about. It was hard not to keep in the back of my mind that the music I was writing might not even be for Lamb of God. That thought was ever-present and I don’t know if that filled me with the drive to keep going or if my drive was to distract myself from that thought.”</p> <p>With few exceptions, the songs on <em>Sturm Und Drang</em> are more adventurous and the performances more cohesive than most of Lamb of God’s past output. “Embers” starts with a clattering industrial beat over a slow, moody down-picked melody before igniting into a series of chugging riffs and rapid-fire licks. “Engage the Fear Machine” couples queasy guitars with a martial beat, and leaves space between chords for swinging southern rock guitar lines and haunting arpeggios. And “Delusion Pandemic” is built around swift, complex rhythms that shift throughout the song, intermingled with guitar earworms that overshadow the abundant twists and turns. </p> <p>“If anything, the whole situation with Randy in jail really put this whole band situation in a very different light and context,” Morton says. “Now, three years later, we’ve come out far stronger and bonded closer as a band because of what we all went through, as horrible as it was.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/qoM6qDXw9Dw" frameborder="0" allowfullscreen></iframe></p> <hr /> One could surmise that <em>VII: Sturm Und Drang</em> sounds so vibrant and vital because Adler, Morton, bassist John Campbell and drummer Chris Adler were stoked to be making music together again. Even if that’s the case, Blythe sounds furious for an entirely different reason. <p>The last place he wanted to be was in the studio.</p> <p>“Seriously, I was like, ‘Fuck, I don’t wanna go back in there,’ ” he says, sitting on the outdoor porch of his home in Richmond, Virginia, on a 90-degree day, bare-chested and dressed in a pair of $14 black Target shorts. </p> <p>“The sessions went well and all and I’m very happy with the songs, but I’m bummed out every time we have to make another record because I hate recording. Some guys are studio dudes. Mark loves the studio. He’s not such a big fan of touring. I like touring. I do not enjoy the recording process. It drives me fucking nuts. But it’s a necessary evil when you’re in a band.”</p> <p><em>Sturm Und Drang</em>, which translates in English to Storm and Stress, was an 18th Century German romantic literary movement that valued individuality, awareness of nature and spontaneous emotional expression. Morton, who co-wrote some of the lyrics, suggested the title to Blythe, who loved it. </p> <p>“Mark and I were texting one day and talking about this theme that had developed in the record about how people react when placed in extreme situations,” Blythe says. “So we were like, ‘We need a title that reflects this.’ We were trying to think of a single English word or phrase that encapsulates it and we were beating our heads against the wall. Then Mark got back to me and said, “Do you know what Sturm Und Drang is?” I said, ‘Yes, of course I do.’ I know it because I read a lot. And I knew a bit about [the scene’s founder] Goethe and the development of literature. But I also knew it from the general context it has taken on, and I said, ‘Yup, that’s perfect.’ </p> <p>We had to argue for it a bit because everyone else was not as convinced that it was so perfect. But it really encapsulates what the record is about and where the band has been over the past few years.”</p> <p>As the group’s main songwriters, Morton and Adler naturally had the most impact on the eclectic sound of <em>VII: Sturm Und Drang</em>. Having gotten a jumpstart on his co-guitarist, Adler spent more time writing than usual and penned some of his favorite riffs during the time between Blythe’s incarceration and the continuation of the <em>Resolution</em> tour. </p> <p>Morton, meanwhile was less ambitious in advance than usual. Instead of writing complete songs and demoing them with lead guitar, bass and a guide vocal, he cobbled together a batch of riffs and segues, and in late 2013 brought them to practice to figure out where they would work best.</p> <p>“We presented our ideas to each other, and almost immediately all these lightbulbs started to go off,” Adler says. “Any time Mark had a riff, it seemed like I had a part that fit together with it and that hadn’t happened in a long time.” </p> <p>The songs on <em>Sturm Und Drang</em> benefited from the guitarists’ collaborative energy. Simple and complex passages clicked like Lego blocks, and the counter-melodies sounded equally spot-on. “After all this time in Lamb of God, we know how each other plays,” Adler says. “So when we’re working on our own, it’s almost like we’re writing for the other guy’s part even when that wasn’t the original intention.”</p> <p>In the spring of 2014, Morton and Adler presented their song ideas to bassist John Campbell and drummer Chris Adler, and the four musicians fine-tuned and sometimes revamped the material as a full band. That’s when politics entered the equation. The band members voted on every idea and majority ruled. It’s the way Lamb of God have always worked, only in the past there were fewer parts to vote on since more of the songs came in complete. Having such a democratic writing process has sometimes caused tempers to flare, so to prevent blowouts each member of Lamb of God has the power to veto anything egregiously objectionable. </p> <p>“Say four guys want a particular song to be called ‘Candyland’ and one guy’s totally against it (I’m using that as an example because I’m looking at that game right now),” Morton explains. “I could say, ‘You know what? I don’t care if it’s four to one. I cannot live with that title. I hate it, I’m gonna hate it forever and I’m gonna be so pissed off about this that it’ll always bother me.’ Then, you can use your veto. But you really only get to throw that card when it really counts. I’m not sure I’ve ever even thrown mine.”</p> <p>The first couple songs the band wrote for <em>VII: Sturm Und Drang</em> didn’t make the grade, so they were dissected and the best parts were used in other tunes. Song number three was the charm. With the propulsive “Still Echoes,” which features a blood pressure–raising, off-time opening riff before leveling off a tad, Lamb of God hit full stride and never looked back.</p> <p>“I had been farming a little bit on my laptop at home between tours and I came up with this high-energy part that demanded a reaction,” Morton says. “Everyone loved it, and when we could play ‘Still Echoes’ in rehearsal, or at least a version of it, that, to me, was a big moment. It was the first time in the session that we all went, ‘Okay, we’re on to something. That song’s bad-ass.’ ”</p> <p>“When Mark first played that opening riff, it reminded me of old Burn the Priest [the band’s former name under which they released one self-titled album in 1999], and when Chris put the blast beats over it, a lot of memories of those days flooded back,” Adler says. </p> <p>Producer Josh Wilbur, who produced <em>Resolution</em> and has also worked with All That Remains, Hatebreed and others, flew to Lamb of God’s practice space in August 2014 and spent a month working with the band to narrow down the best ideas and help tie together loose ends. At that point, Lamb of God had 15 completed songs and 24 unfinished ideas, many of which had been sewn together in various configurations. </p> <p>“Even the complete songs were absolutely torn apart,” Adler says. “In some cases, we stole riffs from finished songs and added them to unfinished songs, and this was way before any of them had titles.”<br /> Lamb of God continued tweaking and revising, and Blythe frantically wrote lyrics once he heard the material. Then in January 2015 Lamb of God flew to Suburban Soul Studios in Torrance, California, and tracked for two weeks with Wilbur before heading to Australia for a short tour. Instead of recording the drums first, as they had done in the past, Morton, Adler and Campbell played to basic MIDI beats, which gave them more flexibility when it came to the final recording. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/OCmBWOF1A0g" frameborder="0" allowfullscreen></iframe></p> <hr /> “That was Josh’s idea,” Morton says. “He discovered that when you track drums first there is very little room for the song structures to change, and he wanted us to have the freedom to be able to change a vocal part or extend or shorten a rhythm. Once the drums are done, you’re committed. It was a little less fun to do it that way, but the strategy seems pretty smart to me.” <p>Wilbur had other, more subtle ideas that added to the diversity of <em>VII: Sturm Und Drang</em>. These included adding talk box guitar to the ripping “Erase This.” </p> <p>“One day I was driving our rental car to the store to get a drink, and Bon Jovi’s ‘Livin’ on a Prayer’ came on the radio,” recalls Morton. “I got back to the studio, handed Josh a drink and asked, ‘Hey, who produced “Livin’ on a Prayer”? And Josh said, ‘I don’t know, but it’s funny you brought that up because I was just thinking it would be really cool if you put talk box guitar in the middle of the song. And now that you brought up Bon Jovi, we have to do it. I think it’s a sign!’ I was like, ‘Okay, fuck it, but if we’re gonna do the talk box we better make sure this is where we want it because we’re never going to do it again.’ ” </p> <p>“I had never used a talk box before, so our friend from Dunlop came in with a couple for us to try,” adds Adler. “Josh was stoked on the idea, but in my mind I’m just thinking about Peter Frampton and Joe Walsh, and I was like, ‘Uhh, I don’t know about this.’ But it came out awesome.”</p> <p>In addition to experimenting with new guitar techniques, Lamb of God took liberties with vocals. Instead of screaming his way through the entire album, Blythe only roared and howled for about 80 percent of the songs. Elsewhere, he talked, ranted, half-sang and even crooned; the song “Overlord” is probably the closest Lamb of God will likely ever get to Metallica’s “One.”</p> <p>“I started writing ‘Overlord’ two years ago, and I would play little bits here and there on the road for Mark,” Adler says. “But I never envisioned it as a Lamb tune until it came back up in rehearsal and I brought it in. At that point it was still in a really skeletal phase. But once everybody gave their input it started to form into this really rad song.”</p> <p>“It’s not the first time Randy’s sung clean,” Morton clarifies. “There was a deep cut on <em>Resolution</em>, ‘Insurrection,’ where he did the fourth verse clean. And it served a really great purpose because we kind of set the stage with that song. So it wasn’t a completely foreign idea when we went to do ‘Overlord.’ ”</p> <p>For Blythe, adding melodic vocals to his plate was neither daunting nor enthralling, it was just…necessary. “Honestly, I didn’t think much about it,” Blythe says. “It all happened very organically. Willie sent me some riffs. I started singing in my truck and I went with my instincts. It happened naturally. I did a bunch of takes for it in the studio, but it was actually easier for me than screaming. And it’s not auto-tuned. That’s my real voice.”</p> <p>Contrary to what some media outlets have reported, <em>VII: Sturm Und Drang</em> isn’t a concept record about life behind bars. Nor is it a treatise about being back on the outside. And despite the intensity of Blythe’s vocals, writing and recording wasn’t particularly therapeutic for him and didn’t provide any sort of closure to his ordeal in Prague.</p> <p>“I don’t need to write a prison record for closure, so this is not a prison record,” Blythe insists. “People constantly want to call it that and they want to put me in that state of post-traumatic stress disorder. They’ll say, ‘Do you have nightmares? Are you depressed?’ I’m not a fucking fragile egg. Sometimes shit sucks and you man up and deal with it. Maybe people are too fucking fragile now or something because this term ‘PTSD’ always pops up. That one should be reserved for combat vets. Those motherfuckers have to face life and death situations all the fucking time. I don’t get PTSD when I have an argument with my wife or when someone cuts me off in traffic. I’m not that soft.”</p> <p>Blythe started writing two songs, “Still Echoes” and “512,” in his journal while he was in prison, and each reflects a different aspect of his experience there. The former is a tribute to the Misfits’ “London Dungeon,” which was about the time the band spent two nights in a jail in Brixton, England, after frontman Glenn Danzig and guitarist Bobby Steele got into a fight with skinheads while waiting to see the Jam. “I kept singing that song to myself for inspiration while I was in jail, along with Bad Brains’ ‘Attitude’ and Black Flag’s ‘Rise Above,’ ” Blythe says. “Those were my jams.”</p> <p>“512” is a more serious track about the psychological change prisoners go through when they’re locked up. “If you want to last in there, you can’t think and behave like you do when you go to the grocery store because it’s not a normal place,” Blythe says. “So I was thinking about that and reading through the journals that I kept. I was like, Man, I was having some crazy thought processes. And then I thought about other people put in extreme situations and how they behave.”</p> <p>The theme of “people in extreme situations” resurfaces throughout <em>VII: Sturm Und Drang</em>. The closing cut “Torches,” which features guest vocals by the Dillinger Escape Plan’s Greg Puciato, is about self-immolation. It’s one of two numbers that feature a cameo; the other is “Embers,” in which Deftones’ Chino Moreno lends his unmistakable pained wail to the cinematic outro.</p> <p>But back to protesters setting themselves ablaze…</p> <p>“Everyone has seen the image on the first Rage Against the Machine album cover with the monk burning,” Blythe says. “At that point in time, that was a valid response to an extreme situation. There’s a guy named Jan Pallach in the Czech Republic, who I learned about while I was waiting for my trial. He immolated in protest over the Warsaw Pact invasion of 1968." </p> <p>"The Czechs had been occupied for so long and the people were getting beaten down and apathetic after having been occupied by the Nazis. Then they had a bit of freedom and then they became Communists. Finally they said, ‘No, we’re not going to become communists anymore.’ So Russia and the rest of the Warsaw Pact said, ‘Okay, fuck you,’ and invaded and the Czechs were beaten down.” </p> <p>Much happier discussing the content of his lyrics and what he learned since he returned home than he is talking about his boring experiences in the studio, Blythe eagerly continues. “In protest, this guy Jan Pallach immolated right there in Wenceslas Square, and he became a symbol of free talk and dissidence during the Communist era. That was a valid choice he made. He wasn’t mentally ill. And there are Tibetans who do it to this day over the treatment of them by China." </p> <p>"Sadly enough, because we live in this gore-saturated internet mass-media world, people are barely noticing people setting themselves on fire in protest of something. Now that’s an extreme situation. I did a lot of research on immolations and the whole time I was thinking, Fuck man, how upset do you have to be about something to set yourself on fire?</p> <p>Other songs are less historical. “Delusion Pandemic” confronts the “generation of mockingbirds” that has become so reliant on technology it has shut itself off from the real world. “This is the rise of our demise!” roars Blythe, between elongated guitar chugs and off-kilter riffs. </p> <p>“What’s terrifying to me is that kids being raised in this environment don’t know anything else,” he says. “We were in Australia on the Soundwave tour recently, and I had a talk with this band whose members were all in their mid-to-late twenties. They weren’t 12. We were talking about the old days of touring, and they were astonished that anyone could tour in a van without a cell phone or a GPS.</p> <p>“One of them said, ‘Well, how did you know where you were going?’ ‘Umm, I got a fucking map.’ And they went, ‘Well, how did you get directions to the club?’ And I said, ‘I called them and asked them for an address and they gave me directions.’ There was no Mapquest at that point. The fact that these people can’t even conceive of that scares me. Soon, they’re going to make a machine that wipes your butt for you, and what’s going to happen when the system fails? These kids are all going to be walking around with shitty drawers.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/dulxbKkj9Wg" frameborder="0" allowfullscreen></iframe></p> <p><em>Photos: Travis Shinn</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="/lamb-god">Lamb of God</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/storm-survivors-lamb-god-talks-working-through-turmoil-recording-new-album/25184#comments Lamb of God Mark Morton October 2015 Randy Blythe Willie Adler Interviews News Features Magazine Thu, 27 Aug 2015 21:17:25 +0000 Jon Wiederhorn 25184 at http://www.guitarworld.com August 27, 1990: The Day Stevie Ray Vaughan Died http://www.guitarworld.com/august-1990-how-stevie-ray-vaughan-died <!--paging_filter--><p>Stevie Ray Vaughan was 35 when he died in a helicopter crash outside East Troy, Wisconsin, August 27, 1990. </p> <p>The previous day, Vaughan had relayed to his bandmates a disturbing dream he had where he witnessed his own funeral. That evening, the guitarist, with his band Double Trouble, joined as special guests for a concert at the Alpine Valley Musical Theater, along with Eric Clapton, Buddy Guy, Robert Cray and Vaughan’s big brother, Jimmie. </p> <p>After the show, four helicopters, owned and operated by Omniflight Helicopters Inc., were reserved to fly the artists and their crews back to Chicago. One helicopter was reserved for Stevie, Jimmie and Jimmie's wife Connie. Members of Clapton’s crew, however, had already taken seats on the helicopter when the Vaughans arrived to board. Eager to return to Chicago, Stevie asked Jimmie and Connie for the last seat.</p> <p>With dense fog settling in, the helicopters began departing at 1 a.m. Jeff Brown, the pilot of Vaughan’s helicopter, banked sharply to the left about a half-mile after take off. The helicopter collided into a ski slope; everyone on board was killed instantly. </p> <p>Reports of the accident didn't begin surfacing until the morning when the helicopter failed to reach its destination of Meigs Field in Chicago. Double Trouble members Tommy Shannon and Chris Layton began thinking the worst when Vaughan’s hotel room in Chicago was found empty. Shortly after 7 a.m. Jimmie was called to identify his brother’s body.</p> <p>That afternoon, radio and television broadcasts confirmed Vaughan had died aboard the ill-fated helicopter. Fans sought refuge at Zilker Park in Austin, Texas, to mourn the city’s favorite son. Many expressed the tragic senselessness of Vaughan’s death in light of his recovery from a public battle with drugs and alcohol a few years prior.</p> <p>Stevie Ray Vaughan was buried at Laurel Land Memorial Park in Dallas, Texas. More than 1,500 people, including Jimmie and fellow musicians Stevie Wonder, Bonnie Raitt, Dr. John, Buddy Guy and Jackson Browne, among others, attended the funeral. A Stevie Ray Vaughan Memorial Statue was dedicated at Auditorium Shores on Lady Bird Lake, where Vaughan played a number of shows throughout his career.</p> <p>The cause of the helicopter accident was attributed to pilot negligence. Jeff Brown, a veteran airplane pilot, had little experience operating a helicopter in inclement weather. In 1995 Jimmie and his mother Martha Vaughan sued Omniflight for negligence. The family was awarded an undisclosed sum.</p> <p>Below, you'll find some audio from Vaughan's final show. Amazingly, the person who posted the performance actually spelled "Vaughan" and "Jimmie" correctly. That never happens.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/QMFb6T4rMeY" 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/august-1990-how-stevie-ray-vaughan-died#comments SRV Stevie Ray Vaughan Videos Features Thu, 27 Aug 2015 15:18:45 +0000 Tony Grassi 11195 at http://www.guitarworld.com Alex Lifeson Dissects 11 Key Rush Songs, from "Anthem" to "Test For Echo" http://www.guitarworld.com/interview-alex-lifeson-dissects-11-key-rush-songs-anthem-test-echo <!--paging_filter--><p><em>Here's one from the </em>Guitar World<em> archive.</em></p> <p>In 2008, <em>Guitar World</em> asked Rush guitarist Alex Lifeson to dissect several key songs from the band's past. </p> <p>Starting with "Fly By Night" (1975) and ending with "Test for Echo" (1996), he discussed his guitars, amps and effects.</p> <p>Here's how it went.</p> <p><strong>“ANTHEM”</strong><br /> <em>Fly by Night</em> (1975)</p> <p>“We were trying to be quite individual with <em>Fly by Night</em>, which was the first record that Neil, Geddy and I did together. That song was the signature for that album. Coincidentally, the name of our record company, which is Anthem Records in Canada, came from this song. </p> <p>"Neil [Peart, drummer] was in an Ayn Rand [author of "The Fountainhead"] period, so he wrote the song about being very individual. We thought we were doing something that was different from everybody else.</p> <p>“I was using a Gibson ES-335 then, and I had a Fender Twin and a Marshall 50-watt with a single 4x12 cabinet. An Echoplex was my only effect.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/N5gg9ObM8uU" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>“2112”</strong><br /> <em>2112</em> (1976)</p> <p>“We started writing the song while on the road. We wrote on the road quite often in those days. ‘The Fountain of Lamneth,’ on <em>Caress of Steel</em>, was really our first full concept song, and 2112 was an extension of it. That was a tough period for Rush because <em>Caress of Steel</em> didn’t do that well commercially, but we were really happy with it and wanted to develop that style. </p> <p>"Because there was so much negative feeling from the record company and our management was worried, we came back full force with <em>2112</em>. There was a lot of passion and anger on that record. It was about one person standing up against everybody else.</p> <p>“I used the ES-335 again and a Strat, which I borrowed for the session; I couldn’t afford one at the time. I used a Marshall 50-watt and the Fender Twin as well. I may have had a Hiwatt in the studio at that time, too, but I think it came a little later. My effects were a Maestro phase shifter and a good old Echoplex. There were a limited number of effects available back then. The Echoplex and wah-wah were staples in those days.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/YYSW73GWRUw" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“LA VILLA STRANGIATO”</strong><br /> <em>Hemispheres</em> (1978)</p> <p>“We wrote this one on the road. We used our soundchecks to run through songs that we were going to record; then, when we would have a few days off we’d start recording. </p> <p>"This song was recorded in one take, with all of us in the same room. We had baffles up around the guitar, bass and drums, and we would look at each other for the cues. My solo in the middle section was overdubbed after we recorded the basic tracks. </p> <p>"I played a solo while we did the first take and rerecorded it later. If you listen very carefully, you can hear the other solo ghosted in the background. That was a fun exercise in developing a lot of different sections in an instrumental. It gave everyone the chance to stretch out.</p> <p>“By that time I had my ES-355, and my acoustics were a Gibson Dove, J-55 and a B-45 12-string. I had my Marshall in the studio. I had the Twin and two Hiwatts, which I was also using live, but the Marshall was my real workhorse. The Boss Chorus unit had just come out at that time, but I think I used a Roland JC-120 for the chorus sound here. <em>Hemispheres</em> was the first of many ‘chorus’ albums.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Zc6CMWpxS24" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“THE SPIRIT OF RADIO”</strong><br /> <em>Permanent Waves</em> (1979)</p> <p>“There was a radio station here in Toronto—it’s an alternative station now—and ‘the spirit of radio’ was the station’s catch phrase. The song was about the freedom of music and how commercialized radio was becoming. FM radio in the late Sixties and early Seventies was a bastion of free music, where you got to hear a lot of things that you wouldn’t have heard otherwise. </p> <p>"It was much like MTV was in the beginning, before it became another big network that feeds a large but very specific segment of the viewing audience. Radio has become a lot more commercialized since then. Now, the station that we wrote that song about won’t play our music.</p> <p>“By the time we cut this, I was using mainly a Strat that I had modified by putting humbuckers in the bridge position. I also used the 355, which I used in the studio for the next couple of records. My amps were Hiwatts, the Marshall and the Twin. I also had a Sixties Bassman head and cabinet. The flanger on that song was an Electro-Harmonix Electric Mistress, which I still have. I used the Boss Chorus Ensemble, and I had graduated to the Roland Space Echo, which replaced my Echoplex.”</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/5Tq-UsaRchI" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“LIMELIGHT”</strong><br /> <em>Moving Pictures</em> (1980)</p> <p>“‘Limelight’ is about being under the microscopic scrutiny of the public, and the need for privacy—trying to separate the two and not always being successful at it. Because we’ve never been a high-profile band, we’ve managed to retain a lot of our privacy. But we’ve had to work at it. Neil’s very militant about his privacy.</p> <p>“My guitar was a different modified Strat with a heavier and denser body. We set up a couple of amps outside of the studio as well as inside, so we got a nice long repeat from the sound echoing in the mountains. </p> <p>"The approach on that solo was to try to make it as fluid as possible. There was a lot of bending with lots of long delay repeats and reverb, so notes falling off would overlap with notes coming up. I spent a fair amount of time on that to get the character, but once we locked in on the sound, it came easily.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ZiRuj2_czzw" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“NEW WORLD MAN”</strong><br /> <em>Signals</em> (1982)</p> <p>“Most of <em>Signals</em> was completed, but we wanted to add one more song. Neil had been fooling around with the lyrics, so we wrote and recorded ‘New World Man’ in the studio within one day. It has a very direct feel. Doing that in one day was a lot of fun. The pressure was on but off at the same time.</p> <p>“It was almost compulsory to do solos at that time, but I didn’t want to feel that every song had to have that kind of structure. I wanted to get away from that, and to this day I feel that way. I enjoy playing solos and I feel that my soloing is quite unique to my style, but I’m bored with that structure.</p> <p>“I used a Tele for the whole song. I played it through the Hiwatts with a little bit of reverb and chorus.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/sQRShD0xuAk" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“THE BIG MONEY”</strong><br /> <em>Power Windows</em> (1985)</p> <p>“That was a tough one that took a long time to complete. It was recorded in Montserrat. The guitar was tuned up a whole step with the E string at Fs, and I played a lot of open chords. I did a lot of drop-ins where I hit a chord and let it ring, then dropped in the next chord and let it ring and so on. When we started recording the song, it sounded too ordinary, so we tried dropping in those chords during the verses as an experiment.</p> <p>“I remember doing the solo in this studio in England, SARM East, which is in the East End of London. We set aside a week for solos, last-minute vocals and mixing. The control room was tiny; there was barely enough room for me to turn my body around when I was playing, but I got a really great sound with the repeats and lots of reverb. I loved to be soaked in that kind of effect at the time.</p> <p>“I used a white modified Fender Strat that I called the ‘Hentor Sportscaster.’ The name came from Peter Henderson, who co-produced Grace Under Pressure [Rush’s 1984 album]. The amp setup was a couple of Dean Markley 2x12 combos, two Marshall 2x12 combos, two Marshall 100-watt JCM800 heads and two 4x12 cabinets. I also ran a direct signal. By that time I had a pretty comprehensive rack with two TC Electronic 2290s and a 1210 that I used for phasing, and I had a Roland DEP-5.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/WQgu0MpnKq8" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“TIME STAND STILL”</strong><br /> <em>Hold Your Fire</em> (1987)</p> <p>“We were in a bit of a reflective period at that time. Everything seemed to be moving by very quickly. Aimee Mann [then bassist and singer with pop group ’Til Tuesday] came up and did vocals in the chorus of that song. It was a lot of fun to work with her. She was very nervous. </p> <p>"I don’t think she had done that sort of thing very often, especially with a band like us. We weren’t necessarily playing the kind of music that she was into or listening to, but she liked the band. We made her feel relaxed very quickly, turning the whole session into a fun thing.</p> <p>“That was the year that I got the Signature guitars with single-coil active pickups. It’s very apparent on that song. The guitar has a clear, metallic sound to it that really sings. I got into that bright tone, and my sound was still very chorusy. I had gotten rid of all my Hiwatts and the Dean Markleys and was using primarily Marshalls again. I used 2x12 combos as well as the JCM800.”</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/KGsQ5n9Qu0A" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“SHOW DON’T TELL”</strong><br /> <em>Presto</em> (1989)</p> <p>“By then we were working with Rupert Hine as our producer. Oddly enough, I had been working on the basic ideas of that song at home and brought it to the studio when we started writing the record. We developed it from there. It was much heavier in the early version; the tempo had come up a little bit. </p> <p>"Rupert’s approach to the guitar sound was a little lighter than I wanted. That was partly my fault, because I was still using the Signature a lot, which didn’t lend itself to a very thick sound. That amp lineup stayed the same as before, and effects would come and go. I was fiddling around with whatever was new at the time, as I’ve always done.</p> <p>“We’d taken a seven-month break, which at that time had been our longest hiatus. We needed to clear the cobwebs and get away. We came into Presto feeling a lot more enthusiastic about working. The change to Atlantic Records was good because we felt like we needed a change all around. We were going into the Nineties, and it made everything fresher.”</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/tiIPe9ow-BI" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“STICK IT OUT”</strong><br /> <em>Counterparts</em> (1993)</p> <p>“I used a Peavey 5150 and a 100-watt Marshall JCM800. I had a [Roland] JC-120 as well that I used for some clean things, but primarily everything was done on the Peavey and the Marshall. The guitar was a ’72 Les Paul Standard that I had used on certain songs in the past. I used a dropped-D tuning and ran the guitar straight into the amp with no effects.</p> <p>“We had gone back to working with Peter Collins, who produced Hold Your Fire. We used a much more direct approach to recording, moving back toward the essence of what Rush was about as a three-piece. In retrospect, <em>Counterparts</em> didn’t work as well as we’d hoped, but it led us in the right direction. We’re much more satisfied with Test for Echo, which we view as a progression from Presto.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/GgzNbPVb3zs" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“TEST FOR ECHO”</strong><br /> <em>Test for Echo</em> (1996)</p> <p>“There’s a lot of different stuff on there. I tuned the entire guitar down a whole step to a D standard tuning. I got a new Les Paul Custom with beautiful sustain, a heavy tone and a compact, but not too small, sound. In the choruses I used a Godin Acousti-Caster, which has a really interesting sound that is at the same time almost acoustic but definitely electric. </p> <p>"I used primarily Marshalls—50-watt and 100-watt JCM800 heads and two 30th Anniversary models—with four cabinets: two vintage 4x12s and two 1950 cabinets with Celestion 25-watt speakers. I used a DigiTech 2101 to knit everything together. The important thing with that is to use it through a good speaker simulator, like the Palmer. The compensated outputs on the 2101 don’t quite do it for me, but through the Palmer it has nice body and width.</p> <p>“I feel like we arrived with this record. There’s a particular feel that I don’t think we had before—a nice groove and a lot of really good Rush songs. I feel like we were all really together on this album. Although we strive for that all the time, it’s not always achievable. The mood was so good in the studio, and we were so unified in direction.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/deUirMqTV6A" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/rush">Rush</a> </div> <div class="field-item even"> <a href="/geddy-lee">Geddy Lee</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/interview-alex-lifeson-dissects-11-key-rush-songs-anthem-test-echo#comments Alex Lifeson Geddy lee GW Archive Rush Interviews News Features Magazine Thu, 27 Aug 2015 14:15:02 +0000 Chris Gill 14609 at http://www.guitarworld.com New Book/CD: Step-by-Step Breakdown of Jeff Beck's Guitar Styles and Techniques http://www.guitarworld.com/new-bookcd-step-step-breakdown-jeff-becks-guitar-styles-and-techniques <!--paging_filter--><p><a href="http://guitarworld.myshopify.com/products/jeff-beck-a-step-by-step-breakdown-of-his-guitar-styles-and-techniques/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=JeffBeckStepbystep">Take a deep breath and jump into the guitar adventure that is Jeff Beck.</a> </p> <p><em>Jeff Beck: A Step-by-Step Breakdown of His Guitar Styles and Techniques</em> is an exclusive book/CD pack that features in-depth analysis of the songs and solos that highlight Beck's career, from the Yardbirds to his landmark jazz-fusion albums of the Seventies to the present day.</p> <p><strong>Ten songs are analyzed, including:</strong></p> <p>• Beck's Bolero<br /> • Big Block<br /> • Cause We've Ended as Lovers<br /> • A Day in the Life<br /> • El Becko<br /> • Freeway Jam<br /> • Goodbye Pork Pie Hat<br /> • Led Boots<br /> • Over Under Sideways Down<br /> • Rock My Plimsoul</p> <p><strong><a href="http://guitarworld.myshopify.com/products/jeff-beck-a-step-by-step-breakdown-of-his-guitar-styles-and-techniques/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=JeffBeckStepbystep">This book/CD package is available now at the Guitar World Online Store for $22.99.</a></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/oPBqk-0gWfQ" 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="/jeff-beck">Jeff Beck</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/new-bookcd-step-step-breakdown-jeff-becks-guitar-styles-and-techniques#comments Jeff Beck News Features Thu, 27 Aug 2015 14:07:11 +0000 Guitar World Staff 19170 at http://www.guitarworld.com The 10 Greatest Led Zeppelin Songs http://www.guitarworld.com/10-greatest-led-zeppelin-songs/25353 <!--paging_filter--><p><strong>From “Dazed and Confused” to “Achilles Last Stand” … from “Heartbreaker” to “Ten Years Gone” … <em>Guitar World</em> presents a critical analysis of the classic-rock group’s 10 best tracks.</strong></p> <p>With the recent-ish release of <em>Celebration Day</em>, the concert film immortalizing Led Zeppelin’s historic and most likely final reunion concert at London’s O2 Arena on December 10, 2007, guitarist-producer Jimmy Page reminded the world just how profoundly great and enduring his band’s music is. </p> <p>In homage to what is arguably hard rock’s most innovative group (and certainly its most influential), what follows is a tour of 10 of the most celebrated Led Zeppelin songs, with a focus on the guitar playing, songwriting and arranging genius of the quartet’s visionary founder. </p> <p>If you'd like to explore this topic further, be sure to check out <a href="http://www.guitarworld.com/50-greatest-led-zeppelin-songs">The 50 Greatest Led Zeppelin Songs,</a> which also was written by Jimmy Brown. Enjoy!<br /> <br /><br /> <strong>10. “Heartbreaker” (<em>Led Zeppelin II</em>)</strong></p> <p>With its menacing, octave-doubled blues-scale riffs and sexy string bends, this song epitomizes the “Led Zeppelin swagger.” Interestingly, the verse riff features Jones strumming root-fifth power chords on bass, treated with overdrive and tremolo, while Page alternately lays back on decidedly thinner-sounding thumb-fretted octaves—a signature technique heard in his and Jimi Hendrix’s rhythm guitar styles—and punches barre-chord accents together with the bass and drums. </p> <p>Page recorded the song with his 1959 Gibson Les Paul Standard, which he had recently bought from Joe Walsh, playing the guitar through his newly acquired 100-watt Marshall amplifier. The song also showcases some of Jimmy’s most aggressive, inspired soloing, including a free-form, tantrum-like a capella breakdown section. </p> <p>Page recorded the breakdown while the band was touring the U.S., using a studio different from the one where the rest of the song’s tracks were cut. He was unaware that his guitar on that particular section was tuned slightly sharp of the rest of the tracks, which are at concert pitch. The discrepancy goes unnoticed to most listeners and only becomes obvious if one goes to play along with the entire recording.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/BZ7CZ7nLWZ4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. "The Rain Song" (<em>Houses of the Holy</em>)</strong></p> <p>Performed in an unusual tuning (low to high, D G C G C D) with lots of ringing open strings and unison-doubled notes, this beautiful song features a sophisticated chord progression that was initially inspired by Beatle George Harrison, who challenged Page to write a ballad. </p> <p>After playfully evoking the verse section of Harrison’s “Something” on the first three chords of “The Rain Song,” Page veers off into an ultimately more ambitious and original progression. Particularly inventive and cool sounding is the Hawaiian-flavored dominant-ninth chord slide that precedes the first lyric line of each verse.</p> <p>When asked to explain why the studio version of “The Rain Song” is in the key of G while the live version, as heard in the film <em>The Song Remains the Same</em>, is in A, Page replied, “It surprises me to hear you say that, because I thought they were both in A. Okay, the [live] tuning is [low to high] E A D A D E. </p> <p>The only two strings that change are the G, which goes up to A, and the B, which goes up to D.” Page explained how he arrived at this unusual tuning. “I altered the strings around so that I’d have an octave on the A notes and an octave on the D notes, and still have the two E#,” he said. “Then I just went to see what finger positions would work.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/CxEu0QN6nzk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. “Ten Years Gone” (<em>Physical Graffiti</em>)</strong></p> <p>Like “The Rain Song,” this heart-warming yet heavy ballad demonstrates Page’s intuitive harmonic depth and sophistication, as he employs jazzy, “expensive”-sounding maj7, maj13, min9, dim7 and maj6/9 chords as effortlessly as Burt Bacharach, minus the associated schmaltz. </p> <p>The song’s instrumental interlude, which begins at 2:31, is particularly sweet and rich sounding. It features a laid-back, phaser-treated lead guitar melody with soulful double-stops over a bass, drums and clean, jangly rhythm guitar accompaniment. Also noteworthy is Page’s doubling of the chorus riff, first heard at 0:32, with an electric sitar.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/o2AEnLAP9XY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. “Communication Breakdown” (<em>Led Zeppelin</em>)</strong></p> <p>With its down-picked “pumping” eighth notes and syncopated power-chord stabs, this song’s urgent verse riff embodies the spirit of Chuck Berry–style rock and roll. Not surprisingly, it served as the quintessential prototype for both heavy metal and punk rhythm guitar. </p> <p>Page’s piercing, well-crafted solo, with its climactic, chromatically ascending unison bends, is like Berry on steroids and demonstrates that Page, on his new band’s freshman outing, was already thinking “outside the box,” both figuratively and literally (the physical “box” being a pentatonic fretboard shape).</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/n5PvAi8PTsI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. “Since I’ve Been Loving You” (<em>Led Zeppelin III</em>)</strong></p> <p>Jimmy’s impassioned guitar solo in this highly dramatic Chicago-style slow blues song is among his most inspired and emotive. </p> <p>The song’s chord changes and structure are truly original, and in his rhythm guitar part Page plays an inventively slick turnaround phrase at the end of each chorus (initially from 1:06–1:12) that mimics a steel guitar, with a bent note woven into and placed on top of two successive chord voicings. </p> <p>What makes this phrase so interesting and enigmatic is how, over the second chord, Dbmaj7 (played on organ by John Paul Jones) Page bends a C note up to D natural—the flat nine of Dbmaj7—and manages to make it sound “right.” It’s something few musicians apart from Miles Davis would have the guts to do.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/8RfOaAj7E5g" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>05. “Whole Lotta Love” (<em>Led Zeppelin II</em>)</strong></p> <p>This song has one of the coolest intro and verse riffs ever written. Not content to play it “straight,” as his blues-rock contemporaries might have done, Page inserts a subtle, secret ingredient into this part, giving it that x factor and a spine-tingling quality. </p> <p>Instead of playing the riff’s second and fourth note—D, on the A string’s fifth fret—by itself, he doubles it with the open D string (akin to the way one would go about tuning the guitar using the traditional “fifth-fret” method), then proceeds to bend the fretted D note approximately a quarter step sharp by pushing it sideways with his index finger. </p> <p>The harmonic turbulence created by the two pitches drifting slightly out of tune with each other is abrasive to the sensibilities and musically haunting, but the tension is short-lived and soon relieved, as Page quickly moves on to a rock-solid E5 power chord. “I used to do that sort of thing all over the place,” said Page. “I did it during the main riff to ‘Four Sticks’ too.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/uiLKT5rPHBA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. “The Song Remains the Same” (<em>Houses of the Holy</em>)</strong></p> <p>Like a getaway chase on a stolen horse, this ambitiously arranged song, with its galloping rhythms and fleet-footed solos, is guaranteed to give you an adrenaline rush. Particularly noteworthy is Page’s decision to overlay two electric 12-string guitars during the song’s opening chord punches, each playing different and seemingly irreconcilable triads, such as the pairing of C major and A major. </p> <p>“I’m just moving the open D chord shape up into different positions,” Page told <em>Guitar World</em> in 1993. “There actually are two guitars on this section. Each is playing basically the same thing, except the second guitar is substituting different chords on some of the hits.”</p> <p>He adds, “ ‘The Song Remains the Same’ was originally going to be an instrumental, like an overture to ‘The Rain Song,’ but Robert [Plant] had some other ideas about it! I do remember taking the guitar all the way through it, like an instrumental. It really didn’t take that long to put together—it was probably constructed in a day. And then of course I worked out a few overdubs.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/4m2FhRv8xF0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. “Stairway to Heaven” (<em>Led Zeppelin IV</em>)</strong></p> <p>Jimmy Page trampled over two rules of pop music with this masterpiece: it’s more than eight minutes long, a previously prohibitive length for pop radio formats, and the tempo speeds up as the song unfolds. </p> <p>“Stairway” is the epitome of Page’s brilliance as not only a guitarist, but also as a composer and arranger, as he layers six-string acoustic and 12-string electric guitars throughout the song in a gradual crescendo that culminates in what many consider to be the perfect rock guitar solo, performed on his trusty 1959 Fender “Dragon” Telecaster (his go-to guitar in the early days of Led Zeppelin).</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/9Q7Vr3yQYWQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. “Dazed and Confused” (live version, <em>The Song Remains the Same</em>)</strong></p> <p>Clocking in at more than 28 minutes, this marathon performance marks the apex of this song’s evolution and showcases some of Led Zeppelin’s most intense jamming and collective improvisation in a variety of styles. Page is at the height of his powers here, in terms of both chops and creative vision, never at a loss for a worthwhile musical idea. </p> <p>The otherworldly violin-bow interlude, beginning in earnest at 9:10 and spanning nearly seven minutes, is particularly inspired, and Page’s use of tape echo and wah effects in conjunction with the bow is absolutely brilliant.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/ZQgYn23Xvck" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. “Achilles Last Stand” (<em>Presence</em>)</strong></p> <p>This epic, 10-minute song is Page’s crowning achievement in guitar orchestration. </p> <p>The ensemble arrangement, bookended by a swirling, unresolved arpeggio loop, really begins to blossom at 1:57, and from this point on, Page spins numerous melodic variations over top of the jangly, plaintive Em-Cadd9#11 chord progression that underpins most of the composition. </p> <p>Interestingly, Page previewed this chord vamp in the 1973 live version of “Dazed and Confused” that appears on <em>The Soundtrack to The Song Remains the Same</em>, beginning at 5:52.</p> <p>Thoughtful consideration was put into the stereo image of each guitar track, which keeps the entire recording crisp despite the dense arrangement. The song also features one of Page’s most lyrical guitar solos (and one of his personal favorites).</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/YWOuzYvksRw" 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="/led-zeppelin">Led Zeppelin</a> </div> <div class="field-item even"> <a href="/jimmy-page">Jimmy Page</a> </div> <div class="field-item odd"> <a href="/robert-plant">Robert Plant</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/10-greatest-led-zeppelin-songs/25353#comments 10 Best 10 Best Songs January 2013 Jimmy Brown Jimmy Page John Paul Jones Led Zeppelin Robert Plant Top 10 Guitar World Lists News Features Magazine Wed, 26 Aug 2015 17:32:49 +0000 Jimmy Brown 25353 at http://www.guitarworld.com October 2015 Guitar World: Lamb of God, 20 Best Gig-Ready Combo Amps, Guide to Cry Baby Wahs and More http://www.guitarworld.com/october-2015-guitar-world-lamb-god-20-best-gig-ready-combo-amps-guide-crybaby-wahs-and-more/25313 <!--paging_filter--><p><strong><a href="http://guitarworld.myshopify.com/products/guitar-world-october-15/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWOCT15">The all-new October 2015 issue of Guitar World is available now!</a></strong></p> <p><em>Guitar World’s</em> October 2015 issue features <strong>Lamb of God</strong> front and center.</p> <p>Guitarist Mark Morton touches on the subject he’s least interested in addressing. The 2012 arrest of vocalist Randy Blythe in Prague for allegedly committing manslaughter.</p> <p>It was super-heavy and a depressing thing to go through. Those feeling just don’t go away because now it’s over. He also introduces the band’s latest album, <em>VII: Sturm Und Drand.</em></p> <p>Then it's on to <em>Pop Evil. With their popularity surging, the hard rocking quintet from Michigan are up and have every reason to be.</em></p> <p><strong>Dunlop Cry Baby Wah:</strong> They can be classed into three general categories: Vintage, Multifunctional and Signature. For 35 years Dunlop has been the major players in the wah-wah game. We round up nine of the company’s current offerings to help you decide wah is right for you.</p> <p><strong>Five Songs with Tabs for Guitar and Bass:</strong></p> <p>• YES, "Roundabout"<br /> • LAMB OF GOD, ''RUIN"<br /> • METALLICA, "The Four Horsemen"<br /> • RED HOT CHILI PEPPERS, "Higher Ground"<br /> • SLEEPING WITH SIRENS, "Kick Me"</p> <p><strong><a href="http://guitarworld.myshopify.com/products/guitar-world-october-15/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWOCT15">The all-new October 2015 issue of Guitar World is available at the Guitar World Online Store!</a></strong></p> <p><img src="/files/imce-images/Screen%20Shot%202015-08-12%20at%201.01.33%20PM_1.png" width="620" height="809" /></p> http://www.guitarworld.com/october-2015-guitar-world-lamb-god-20-best-gig-ready-combo-amps-guide-crybaby-wahs-and-more/25313#comments October 2015 News Features Wed, 26 Aug 2015 14:44:34 +0000 Guitar World Staff 25313 at http://www.guitarworld.com Midnight McCartney: John Pizzarelli Discusses Reinterpreting Paul McCartney’s Solo Catalog http://www.guitarworld.com/midnight-mccartney-guitarist-john-pizzarelli-discusses-new-album-reinterpreting-paul-mccartney-s-solo-catalog/25336 <!--paging_filter--><p>Back in 2014, Paul McCartney had a great idea for an album. He just needed a world-renowned guitarist and singer to make it happen. </p> <p>Enter John Pizzarelli, whose musical interpretations of such legendary artists as Frank Sinatra, James Taylor and McCartney’s former band, the Beatles, have received critical acclaim. Pizzarelli even worked with McCartney on his 2012 album, <em>Kisses on the Bottom.</em></p> <p>McCartney invited Pizzarelli to delve into his deep catalog of post-Beatles material and take some of his lesser-known tunes and reinterpret them in a mellow jazz style. </p> <p>The resulting album, <em>Midnight McCartney</em> (which will be released September 11), features “Silly Love Songs,” “Maybe I’m Amazed,” “Coming Up” and other tunes from McCartney’s 45-year-long solo career—all tastefully done in Pizzarelli’s trademark style.</p> <p>I recently spoke with Pizzarelli about the new album, his work with Paul McCartney, guitars and more.</p> <p><strong>GUITAR WORLD: How did this project begin?</strong></p> <p>I had worked on <em>Kisses on the Bottom</em> with Paul in 2012, and we promoted it the following year. We played “My Valentine” on the Grammys and he did a MusiCares event and a live iTunes concert. Then in May of 2014, I got this letter from Paul out of the clear blue sky. He said, “I have this crazy idea to run by you.” </p> <p>The idea was that maybe I would do a record of some of his post-Beatles catalog as well as some lesser-known songs like “Junk," “Warm and Beautiful” and “My Valentine." He said if I liked the idea maybe I could call the record <em>Midnight McCartney</em> and include a dishy little picture of me against the Manhattan skyline [laughs]. </p> <p>I was like, “OK! Whatever you want to call it. Let’s go!” So I went in, did some demos, recorded the record at the beginning of this year and now here we are—<em>Midnight McCartney</em>!</p> <p><strong>For those of us who have never had the pleasure of meeting him, what’s Paul McCartney like?</strong></p> <p>I remember my sisters watching <em>The Ed Sullivan Show,</em> getting <em>Abbey Road</em> in the late Sixties and listening to all of the records and then following him through the Seventies and Eighties as well as the new stuff. Then meeting him and going, “OK. Now this all makes perfect sense!” </p> <p>He’s a fine musician with amazing musical instincts and has done pretty much everything you could possibly imagine. I remember being in my twenties and going to William Paterson College. When he was in his twenties, he was getting off of a plane and there were 50,000 people screaming! Then he played Shea Stadium when he was 23. </p> <p>To have all of that happen in his lifetime and then find out that not only is he a really great musician but he’s also a very down-to-earth guy—that’s what really stuck with me. There’s no mistaking that he’s Paul McCartney.</p> <p><strong>Let’s discuss a few tracks from <em>Midnight McCartney</em>, starting with "Coming Up."</strong></p> <p>That was one that I really knew well from the early Eighties [1980]. I heard that all the time on the radio. I looked at the lyric and the chords set themselves up to be a sort of blues shuffle. So then we came up with the groove. That’s when we realized it would be something cool for Michael McDonald to do. So he came in and did his thing and really put it over the top!</p> <p><strong>"Maybe I’m Amazed"</strong></p> <p>That was one I remember playing in rock bands back in high school. It was about trying to get the groove and figuring out what to play under the A section. Then it was about coming up a really good guitar part. </p> <p><strong>"With a Little Luck"</strong></p> <p>That song was my wife’s idea and was the very last thing we did. I wasn’t really sure about it, but the more I thought about it I knew we needed one more mid-tempo thing. That’s when I thought, “You know? 'With a little luck I might be able to make it work!” [laughs]. It just plays itself as a shuffle and worked out well. </p> <p><strong>Was there any extra pressure during the recording sessions knowing that Paul was going to hear the final product?</strong></p> <p>I think so. The best part was being locked in this little studio in New York and really making sure everything was right. Every time someone was asked to do something they really stepped up to the plate. There was something about saying the word “McCartney” that put a little extra magic into the process and that’s what really made it fun. You knew where you were headed so you wanted to put your best foot forward.</p> <p><strong>What did you take away from the process of diving deep into Paul’s catalog?</strong></p> <p>The material is still very good. Paul is such a smart songwriter and these songs are so well written. It was nice to put the songs in different clothes and then realize they’re still fun to listen to. When you have strong hooks and great melodies that are really pliable, you’re able to reinterpret them in an interesting way.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/WyIILQeryyc" frameborder="0" allowfullscreen></iframe><br /> <strong>Do you have plans to tour this new album?</strong></p> <p>We recently did a week in New York City with a string quartet and horns and presented the whole package. We hope to do more of that in the coming year. We have it for quartet all the way up to orchestra and have gotten nothing but great reaction, so we’re very excited.</p> <p><strong>Your father, Bucky Pizzarelli, is a guitar legend. What was it like for you growing up around him and being immersed in his music?</strong></p> <p>It’s interesting to think about all of the things he’s done. He’s 89 now and has played pretty much everywhere; he even played on <em>Kisses on the Bottom</em>. Here’s someone who grew up listening to Django Reinhardt on the radio and Eddie Lang and ended up working with Stéphane Grappelli, Joe Mooney and Benny Goodman. </p> <p>He made music with Zoot Sims, Clark Terry, Slam Stuart and all of these great jazz musicians. The idea of loving what you do is personified in what he does. He’s still making music and still looking for the perfect chord for a song. </p> <p><strong>What was the best bit of advice he gave you as a guitarist that you’ve been able to apply to your playing?</strong></p> <p>I remember he commented once on a television interview about my playing and said, “Fearless." It’s the idea that you want to be thrown into situations you might not be ready for but you have to do it anyway. That’s really what its all about. Always being eager to do something musical at any time. So that when you do get called for something you’re ready to do what they expect as well as put your own stamp on things. </p> <p><strong>What excites you the most about <em>Midnight McCartney</em>?</strong></p> <p>Having done these kinds of records a few different times—like translating James Taylor songs into bossanova or Beatles songs from the previous album (<em>John Pizzarelli Meets the Beatles</em>), this one is the culmination of all the times that we’ve tried to reinvent things. I’m excited because all of the work we’ve done with those other records has led to this one. When I listen to it I’m confident about what we did. We were asked to do something special and I was proud to say, “Here’s what we did with your idea, Mr. McCartney. We’re thrilled we were able to do this for you.”</p> <p><em>Photo: Timothy White</em></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href="http://gojimmygo.net/">GoJimmyGo.net</a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="https://twitter.com/JimEWood">Twitter @JimEWood.</a></em></p> <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="/paul-mccartney">Paul McCartney</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/midnight-mccartney-guitarist-john-pizzarelli-discusses-new-album-reinterpreting-paul-mccartney-s-solo-catalog/25336#comments James Wood John Pizzarelli Paul McCartney Interviews News Features Tue, 25 Aug 2015 17:37:24 +0000 James Wood 25336 at http://www.guitarworld.com