Features http://www.guitarworld.com/taxonomy/term/5/all en Jim Dunlop Effect Pedal Throwdown, Round 1: Way Huge Pork Loin Overdrive Vs. Way Huge Fat Sandwich Distortion http://www.guitarworld.com/jim-dunlop-effect-pedal-throwdown-round-1-way-huge-pork-loin-overdrive-vs-way-huge-301-fat-sandwich-distortion <!--paging_filter--><p>It's time to compare the mettle of Jim Dunlop pedals!</p> <p>In GuitarWorld.com's latest readers poll — the first annual Jim Dunlop Effect Pedal Throwdown — we're pitting Dunlop, MXR and Way Huge pedals against each other in a no-holds-barred shootout. </p> <p>Yes, we're pulling out all the stomps! Thirty-two stompboxes will go head to head — or toe to toe, if you prefer — culminating with the crowning of the king of Dunlop pedals.</p> <p>You can check out the beginning bracket — with all 32 competing pedals — in the <a href="https://www.scribd.com/">Scribd.com</a> window below (Be sure to click on the "full screen" button in the lower-right-hand corner to expand the bracket). </p> <p>The bracket will be updated after every matchup, and matchups will take place pretty much every day. Each competing pedal will accompanied by a demo video created by the Jim Dunlop company, and you'll always find a photo gallery of the competing pedals at the bottom of each matchup.</p> <h1>Today's Matchup</h1> <p>In today's matchup, the <strong>Way Huge WHE201 Pork Loin Overdrive</strong> goes foot to foot against the <strong>Way Huge WHE 301 Fat Sandwich Distortion</strong> pedal. Start voting below!</p> <p><Strong>YESTERDAY'S RESULTS</strong>: Yesterday, the <strong>MXR Uni-Vibe Chorus/Vibrato</strong> (80.08 percent) destroyed the <strong>MXR Micro Chorus</strong> (19.92 percent) and advanced to the next round! <a href="http://www.guitarworld.com/tags/jim-dunlop-effect-pedal-throwdown">To see all the matchups that have taken place so far, head HERE.</a> Thanks for voting!</p> <h1>Meet the Combatants</h1> <p><strong><a href="http://www.jimdunlop.com/product/Pork-Loin">Way Huge WHE201 Pork Loin Overdrive</a></strong></p> <p>Make room for one more Way Huge original! The Pork Loin incorporates two distinct tonal pathways that are blended together—a modern soft clipping overdrive and a modified classic British preamp for clean. At the heart of the Pork Loin’s overdrive path is a soft clipped BiFET overdrive gain stage with a passive Tone control, rounded out by a Curve function that gives the user freedom to fine-tune corner frequencies. </p> <p>The Volume control regulates the masses of pork power that exude from its space age circuitry, leaving room for the Clean control to blend in its warm glistening clean tones. Additionally, the Pork Loin has three internal mini controls: Filter and Voice deliver extensive tonal shaping possibilities, while the overdrive Mix control allows the Pork Loin to be run as a clean preamp. With a wide range of dynamic tones, the Pork Loin is the premier overdrive pedal on the market today!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/i-oPVBuIEvk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong><a href="http://www.jimdunlop.com/product/Fat-Sandwich">Way Huge WHE 301 Fat Sandwich Distortion</a></strong></p> <p>The Fat Sandwich represents a new era in pedal design for Way Huge. In addition to carrying on the Way Huge tradition of amazing tone, rugged construction and cool names, the Fat Sandwich delivers heaps of crunchy distortion goodness via its innovative multi-stage clipping circuit. Meticulously designed from the ground up, the passive tone stack was tuned to bring out the “sweet spot” with any guitar and amp combination. </p> <p>The Volume control produces tons of output, making it ideal for driving the headroom out of the most powerful tube amps. Additionally, the Fat Sandwich has two internal mini controls: the Curve knob lets the user fine-tune the corner frequency of the overdrive filtering and the Sustain control adjusts the gain of the final distortion stage. The Fat Sandwich is versatile and over the top—the consummate distortion pedal for any genre or playing style.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/0hSb3ncRXNo" frameborder="0" allowfullscreen></iframe></p> <h1>Vote Now!</h1> <script type="text/javascript" charset="utf-8" src="http://static.polldaddy.com/p/8410530.js"></script><p><noscript><a href="http://polldaddy.com/poll/8410530/">Jim Dunlop Effect Pedal Throwdown, Round 1: Way Huge Pork Loin Overdrive Vs. Way Huge 301 Fat Sandwich Distortion</a></noscript></p> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View Jim Dunlop on Scribd" href="https://www.scribd.com/doc/245004897/Jim-Dunlop" style="text-decoration: underline;" >Jim Dunlop</a></p> <p><iframe class="scribd_iframe_embed" src="https://www.scribd.com/embeds/245004897/content?start_page=1&amp;view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_25508" width="100%" height="400" frameborder="0"></iframe></p> http://www.guitarworld.com/jim-dunlop-effect-pedal-throwdown-round-1-way-huge-pork-loin-overdrive-vs-way-huge-301-fat-sandwich-distortion#comments Jim Dunlop Jim Dunlop Effect Pedal Throwdown Poll Polls Way Huge Effects News Features Gear Thu, 30 Oct 2014 16:39:31 +0000 Damian Fanelli http://www.guitarworld.com/article/22708 December 2014 Guitar World: Slipknot, Slash on 'Fire,' Joe Bonamassa, D'Angelico Jazz Box Phenomenon and More http://www.guitarworld.com/december-2014-guitar-world-slipknot-slash-fire-joe-bonamassa-dangelico-jazz-box-phenomenon-and-more <!--paging_filter--><p><strong><a href="http://guitarworld.myshopify.com/products/guitar-world-december-14-slipknot/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWDEC14">The all-new December 2014 issue of Guitar World is available now!</a></strong></p> <p>In the new issue, we feature <strong>Slipknot</strong>. Between the death and departure of various band members, Slipknot have had a rough few years. With <em>.5: The Gray Chapter</em>, they channel the energy of deceased bassist Paul Gray and return with a brutal but multifaceted album.</p> <p>Then, <em>Guitar World</em> focuses on <strong>Slash</strong>. Everyone's favorite hard-rocking riffmaster returns with <em>World on Fire</em>, his new searing-hot album with Myles Kennedy and the Conspirators.</p> <p>Next, to celebrate the release of his new album, <em>Different Shades of Blue</em>, <strong>Joe Bonamassa</strong> invites us over for a look at his ever-growing collection of vintage axes and amps.</p> <p>Later, <strong>Motionless in White</strong> have been one of metal's most outrageous and audacious bands. On <em>Reincarnate</em>, they bring their vision into focus and wind up with a killer album.</p> <p>Finally, read about <strong>Electric Wizard</strong>. They've been cursed with arrests, accidents and a recent breakup with their label. But with their latest album, <em>Time to Die</em>, the stoner-doomers prove they still have plenty of life left.</p> <p>PLUS: Tune-ups for <strong>Pierce the Veil, Royal Blood, Uncle Acid &amp; the Deadbeats, Lenny Kravitz, Archaon of 1349, Wovenwar, Parquet Courts, Crowbar's</strong> Set List, <strong>Mr. Big,</strong> New EQ The latest and greatest, Lace USA Sensor pickup, Man of Steel, Metal for Life, Acoustic Nation and much more!</p> <p><strong>Five Songs with Tabs for Guitar and Bass</strong></p> <p>• Blue Öyster Cult - “Cities On Flame with Rock and Roll"<br /> • Trivium - “Strife”<br /> • Joe Bonamassa - " The Ballad of John Henry"<br /> • W.A. Mozart - “Eine Kleine Nachtmusik"<br /> • Bad Company - "Can't Get Enough"</p> <p><strong><a href="http://guitarworld.myshopify.com/products/guitar-world-december-14-slipknot/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWDEC14">Head to the Guitar World Online Store now!</a></strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-10-07%20at%2010.21.37%20AM.png" width="620" height="807" alt="Screen Shot 2014-10-07 at 10.21.37 AM.png" /></p> http://www.guitarworld.com/december-2014-guitar-world-slipknot-slash-fire-joe-bonamassa-dangelico-jazz-box-phenomenon-and-more#comments December 2014 News Features Thu, 30 Oct 2014 16:38:53 +0000 Guitar World Staff http://www.guitarworld.com/article/22579 Devon Allman: 'Ragged & Dirty' and Loving It http://www.guitarworld.com/devon-allman-ragged-dirty-and-loving-it <!--paging_filter--><p>On one hand, you can say Devon Allman comes by his musical talents naturally, being Gregg Allman’s son. </p> <p>But the fact of the matter is, Devon’s parents were divorced when he was a baby—and he was brought up in a world that was well-insulated from the savage highs, lows, glories and turmoils of the Allman Brothers Band.</p> <p>As you’ll read below, Devon’s musical interests developed organically. Translating his passion for the music he was listening to on the radio into garage band roar, Devon was already forging his own sound by the time he met his famous father. And though their musical and personal paths have crossed over the years since, Devon’s path is truly his own, along with his sound, style and career.</p> <p>Most interesting may be Devon’s evolution as a guitar player: Though he first strapped on a six-string in his early teens, he was into his thirties before circumstance inspired him to get serious about his lead playing (as he explains in our conversation that follows).</p> <p>Devon’s latest solo album, <em>Ragged &amp; Dirty</em>, is a solid showcase of his talents—from powerful, soulful vocals to dig-in-and-let-fly guitar work. Working with producer (let alone killer drummer) Tom Hambridge, Allman has crafted a collection of tunes that spans the gamut from shake-the-speaker-out-of-the-dashboard rock roar to starlit blues jam. His originals nestle comfortably alongside covers such as the Spinners’ “I’ll Be Around” and Otis Taylor’s “Ten Million Slaves." </p> <p>Allman and his core band of bassist Felton Crews, Marty Sammon on keys and guitarist Giles Cory cover a lot of ground over <em>Ragged &amp; Dirty</em>’s dozen tracks—but every inch is a natural fit.</p> <p>Devon’s insistence that Bobby Schneck Jr. (who plays guitar in Devon’s current touring band) take a fat-toned lead on the cut “Leavin’” tells you a lot about the man. “It’s my duty to let the younger players be heard,” he told me. “That’s how this is supposed to go, man.”</p> <p>Meet Devon Allman—funky, soulful and real as hell.</p> <p><strong>GUITAR WORLD: Devon, what music really grabbed you as a kid?</strong></p> <p>I was listening to Seventies rock radio; it’s called “classic rock” now, but it was cutting edge then. I was very much into Santana, the Beatles, the Stones and the Doors, you know? Eventually, I branched out into other stuff: hardcore blues, heavy metal, jazz, alternative … everything. Once I started to play guitar, I wanted to hear all the different styles: “I want to hear this guy play it this way …”</p> <p><strong>Was the guitar the first thing you picked up?</strong></p> <p>I actually started on violin, and I was horrible, man. [laughter] Truly horrible … but it didn't last long.</p> <p><strong>How old were you?</strong></p> <p>11, I think. The guitar came at 13.</p> <p><strong>I’m guessing you didn't pick up the violin on your own.</strong></p> <p>It was forced onto me, bro … it was forced onto me.</p> <p><strong>But you reached out for the guitar.</strong> </p> <p>I did, yeah. I went to my buddy Jason’s house one day after school—eighth grade. I saw this guitar in the corner of his room, and I said, “Dude, you play guitar?” And he was, like, “Oh, yeah, man … I can play.” </p> <p><strong>So I said, “Play it, then.”</strong></p> <p>He picked it up and fumbled his way through a Def Leppard song or something. And in my mind, I was thinking, “This is horrible …” [laughter] But it was the first time I'd ever watched someone play from just a few feet away, you know? And I thought, “I can do that.”</p> <p>I went home and said, “Ma, I want to play guitar.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/EzvfHijMj68" frameborder="0" allowfullscreen></iframe></p> <p><strong>And what could she say?</strong></p> <p>Well, the thing was, she’d actually tried to get me to play guitar from the age of 5 or 6; tried and tried but I just didn't have any interest. I guess I didn’t think I'd be any good. When I came to her finally after seeing this kid play, she was ecstatic. She handed me her Mexican flamenco guitar that we had; she actually took lessons and played when she was a teenager.</p> <p>Of course that was impossible to play—the catgut strings, the baseball bat neck—but she said, “If you get good enough on this, I’ll buy you an electric guitar. I learned some tunes; she was impressed; and I had an electric guitar in, like, a month.</p> <p><strong>And that first electric?</strong></p> <p>A piece-of-shit Martin Stinger. [laughs]</p> <p><strong>A Stinger?</strong></p> <p>Yeah: a Strat body and it had an Eddie Van Halen paint job, or something close to it. I think I had that for six months before I got a B.C. Rich Strat body. That was my baby through high school. [laughs] We were all kids at one point. [laughter]</p> <p><strong>So once you started playing rather than just listening, how did that change things? Who were your guitar heroes early on?</strong></p> <p>Early on? Jimi Hendrix. Jimmy Page was right up there … Eddie Van Halen … all the guys from the Steely Dan records. The fact is, I really just picked up the guitar to have something to write songs with. I was just a rhythm player. I didn’t start playing lead until I was 32. I don't know … I was frightened of anything past the seventh fret. </p> <p><strong>I have to ask: Was part of it the Allman name? Was there an intimidation factor for you?</strong></p> <p>I don't think so … I mean, I was a singer out of the gate. I was the only one in the garage bands when I was a kid that kind of had the balls to go to the mic and sing, you know? I thought I should spend my time becoming a better singer and rhythm guitar player. </p> <p><strong>What was the tipping point that got you playing lead?</strong></p> <p>In 2006, my band Honeytribe really hit the road hard and started touring all over America and Europe. And that’s when our lead guitarist hit me up with, “Hey, man, touring life isn't for me. I’m leaving the band. I love ya, but I can't do this.”</p> <p>At that point, I was playing one guitar solo in the set per night, you know? It was a ballad; I could play really slow; I had this melodic, Santana kind of approach to it … and I really liked it. But it was the only one I really had any confidence in playing.</p> <p>When he left, I was like, “OK, I can replace him, or I can try and play all the guitar solos.” I gave myself six months: “All right, practice your ass off for six months; if by then you’re not cutting it, be honest with yourself and hire a hotshot guitar player.” I think about two or three months into it, I had a really breakout night on stage where everything worked … I really got a lot of confidence from that. And that was it.</p> <p><strong>Listening to <em>Ragged &amp; Dirty</em>, it’s obvious you have a wicked set of pipes. I’m thinking some folks who are new to your music might not realize that’s you doing the leads, because your voice is so damn strong.</strong></p> <p>Aw, man—thanks.</p> <p><strong>No, it’s not a compliment; it’s a statement of fact. [laughter]</strong></p> <p>Well … thank you.</p> <p><strong>But you have your own thing going on. And to me, that’s the message about this album: it's your thing. Whether we’re talking about family or your influences over the years, you’ve made your own way with your vocal and your picking. Maybe it was better that you held off on lead playing until you were 32, you know?</strong></p> <p>And that’s the crazy thing. Everything happens for a reason: and there was a reason I didn’t grow up around my Pops, you know? I got to forge my own path through music organically and I wasn’t around the insanity that was happening in those days. </p> <p>By not touching lead guitar until later on in life, I had a chance to become a good singer before I started worrying about guitar, as well … I got to take things in stages and really work at becoming a songwriter and a singer first.</p> <p>I’m not a shredder, though; I wasn’t formally schooled or anything. It's all by touch and feel and ear. The thing is, I'd much rather be able to play five notes and have someone know who I am than play 50 notes really fast. </p> <p><strong>I’ll take heart over technique any day. Heart has its own technique.</strong></p> <p>You got it, man.</p> <p><strong>I think of you as a Gibson guy . Is that true on <em>Ragged &amp; Dirty</em>?</strong> </p> <p>Absolutely. I played Strats for years, but when I switched to lead guitar, I needed a thicker voice. I went to Gibson and within a year I signed an endorsement deal with them. I’ve been a loud, proud Gibson guy for a long time now. I did pick up a Strat for the instrumental “Midnight Lake Michigan” on this record. That’s a very Strat kind of thing.</p> <p><strong>So, the primary guitar for the bulk of the tracks was …?</strong></p> <p>The same one I’ve used for the last ten years. A ’59 Cherry Sunburst Les Paul, a Custom Shop Historic that Les Paul himself signed. That’s been my baby for 10 years. It's on probably 80 percent of the record, and it’s what I play on stage most of the time.</p> <p><strong>And how about amps on this album?</strong></p> <p>You know, I’m an endorser of Fuchs; they released a Devon Allman signature amp a few years back. That’s my live rig that I’m so proud of. But for this record—believe it or not—all of my leads were done on a 15-watt 1x12 Victoria. Every single lead was done on a little tiny amp.</p> <p><strong>I remember when I discovered the secret to Duane and Clapton’s sound on <em>Layla</em> years ago: Fender Champs. Little pisspot amps that sounded as big as the world.</strong></p> <p>Absolutely, man. If you mic it right and throw a mic into the room to catch the ambience, you can mix the two. It doesn't take volume in the studio—it takes tone. </p> <p><strong>You tap into some effects along the way but you don't rely on them a lot on this album. There is one tune, “Traveling,” where you do some really tasty wah work. Who’s your wah hero?</strong></p> <p>I think when I first started playing lead, I leaned on the wah quite a bit; it was something to hide behind. But now that I’m confident as a lead player, I use it a lot less … more for texture than a gimmick. I loved all the Hendrix wah stuff. That’s my go-to.</p> <p><strong>The one track I wanted to make sure we talked about specifically is “Midnight Lake Michigan”: nine minutes and 30 seconds of sultry blues guitar porn. There are a lot of players who would’ve dug into some go-to blues clichés in an instrumental that long, but you definitely find your own way as you go.</strong></p> <p>That’s my favorite track on the record, and it was the last thing we cut. We had the album in the can as far as the basic tracks.</p> <p>I asked Tom, “Would you let me do a mood piece?”</p> <p>And he said, “What do you have in mind?”</p> <p>I told him I wanted to do a slow, spooky blues in B minor; just have the band percolate, slowly boil on the I, like, forever, like a Coltrane thing. I said, “Let me lead the band and when we get to a certain point, I’ll give the signal and we’ll go from the V to the IV and then drop right back down to the I. We’ll hold that pattern and repeat it, running through it three times. It’ll be, like, 10 minutes long.”</p> <p>Tom thought the record was strong enough where this would be a really cool artistic statement. “Let's do it,” he said.</p> <p>We went in there, played it once—and that was it. </p> <p><strong>Really?</strong></p> <p>We didn't play it a second time. What you hear is completely live; the only overdub is Marty going back to put some spooky, percussive piano wire stuff. Everything else is totally live. </p> <p>I appreciate you saying I didn't fall into any blues clichés, as I wanted to do an instrumental without doing a main head; a main melody. I wanted it to be spooky and open-ended and let it land where it wanted to land.</p> <p><strong>And that’s what it feels like: Here’s the empty wall and you’re coming in and splashing on the colors as you see fit.</strong></p> <p>Definitely—a Jackson Pollock approach. [laughs]</p> <p><strong>So why the Strat on that one?</strong></p> <p>You know … I really don't know. [laughter] I guess because I wanted the guitar to talk, you know? You can make a Les Paul sing—that violin-like, woody tone—but you can make a Strat talk. </p> <p><strong>Well, as I said earlier: that tune, and this album as a whole, is such a great example of you having your own thing going on. I mean no disrespect to the family name.</strong></p> <p>I hear you and I appreciate that. I think at the end of the day, that’s not disrespectful – I think it’s the most respectful thing to my family to have made my own way and made my own name. Sure, the music falls in the same category – the same genre - but you really do have to be your own person; you have to do your own work; you have to make your own art.</p> <p>To have a personal stamp on it has always been my goal … and I think it does my family proud to have that.</p> <p><strong>If you were a cook, I’d tell you not to mess with the recipe.</strong></p> <p>[laughs] Thank you, man—thanks so much.</p> <p><em>A former offshore lobsterman, Brian Robbins had to wait a good four decades or so to write about the stuff he wanted to when he was 15. Today he’s a freelance scribe, cartoonist, photographer and musician. His home on the worldwide inner tube is at <a href="http://brian-robbins.com/">brian-robbins.com</a> (And there’s that <a href="https://www.facebook.com/BrianRobbinsWords">Facebook</a> thing too.)</em></p> http://www.guitarworld.com/devon-allman-ragged-dirty-and-loving-it#comments Brian Robbins Devon Allman Interviews News Features Wed, 29 Oct 2014 17:36:27 +0000 Brian Robbins http://www.guitarworld.com/article/22707 Book Review: Joe Perry’s 'Rocks' — Yes, It Does http://www.guitarworld.com/book-review-joe-perry-s-rocks-yes-it-does <!--paging_filter--><p>There’s something to be said for the fact that by the time you reach the last page of Joe Perry’s new autobiography, <em>Rocks</em>, you still like the guy. Heck, you respect him, even. </p> <p>I mean, this is after darn near 400 pages’ worth of the good, the bad and the really, really ugly side of Perry’s 64 years on this planet (more than 40 of them as a founding member of Aerosmith). You’re left realizing that the man has worked hard to be the best he could be at his chosen craft — and he’s struggled to figure out how to handle all that comes with it.</p> <p>In the process, we learn about Perry’s early years: a shy misfit and a loner, his boyhood heroes were oceanographic pioneer Jacques Cousteau and Chuck Berry, who Perry describes at one point as “the Ernest Hemingway of rock and roll. He was strong, simple and manly, a force of nature who created a musical lexicon all his own.”</p> <p>Perhaps if Perry’s academic career had been more successful, he might’ve ended up exploring the world’s oceans rather than playing the world’s stages; but after struggling through high school with undiagnosed ADHD, Perry walked out of his senior year in a dispute with his teachers over the length of his hair. </p> <p>Without the focus of music, it’s hard to say what might’ve become of Perry. But no matter: What did happen makes for an excellent read. If it was fiction, you might shake your head and say, “No way” — but this is Joe Perry’s life.</p> <p>The wildly-colored thread otherwise known as Aerosmith lead singer Steven Tyler is woven throughout Perry’s story, of course. Tyler has been part of Perry’s world since their paths first crossed at Lake Sunapee, New Hampshire, in the late Sixties (He was known as Steven Tallarico back then). There are times when Perry’s descriptions of Tyler’s interactions with himself and others are laced with near-hatred and disgust … but there also the moments when you realize that if Shakespeare had ever written a play about rock ‘n’ roll blood brothers, the two male leads would’ve been Joe Perry and Steven Tyler.</p> <p>For all the horrible blowups, dope-fueled horrorshows, and twisted mind games described in <em>Rocks</em>, the one Perry/Tyler moment that will stick with you the longest is from 1972, the morning after the Stones played Boston Garden. A very young Aerosmith was actually using the Garden locker room as a practice space (part of the story of the legendary Frank Connelly, an early band benefactor). Perry describes the scene, after having watched the Stones perform the night before:</p> <p>“The next day when we returned to the Garden to rehearse in the locker room, Steven and I first walked out into the arena. All of the Stones’ equipment was gone. We climbed up onstage and lay on our backs for a few minutes, side by side. Looking up into that cavernous arena, we said the same words at practically the same time: ‘One day …’”</p> <p><em>Rocks</em> is damn near inspirational, as Perry’s story is one of putting your head down and living out a dream, told without preaching, excuses or hyperbole. There’s yin-yang supreme: focused determination challenged by roadblocks created from Perry’s own actions; mountains of dollars and empty pockets; the love/hate Aerosmith brotherhood as a whole; and Perry’s own struggle between the rock ‘n’ roll lifestyle and family. </p> <p>In the end, <em>Rocks</em> is the story of how Joe Perry has managed to pull off the unique balancing act of being “Joe Fuckin’ Perry” and a human being at the same time.</p> <p>Rock on, sir.</p> <p><em>A former offshore lobsterman, Brian Robbins had to wait a good four decades or so to write about the stuff he wanted to when he was 15. Today he’s a freelance scribe, cartoonist, photographer and musician. His home on the worldwide inner tube is at <a href="http://brian-robbins.com/">brian-robbins.com</a> (And there’s that <a href="https://www.facebook.com/BrianRobbinsWords">Facebook</a> thing too.)</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="/joe-perry">Joe Perry</a> </div> <div class="field-item even"> <a href="/aerosmith">Aerosmith</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/book-review-joe-perry-s-rocks-yes-it-does#comments Aerosmith book review Brian Robbins Joe Perry Reviews Blogs News Features Wed, 29 Oct 2014 15:48:52 +0000 Brian Robbins http://www.guitarworld.com/article/22706 Jim Dunlop Effect Pedal Throwdown, Round 1: MXR Micro Chorus Vs. MXR Uni-Vibe Chorus/Vibrato http://www.guitarworld.com/jim-dunlop-effect-pedal-throwdown-round-1-mxr-micro-chorus-vs-mxr-uni-vibe-chorusvibrato <!--paging_filter--><p>It's time to compare the mettle of Jim Dunlop pedals!</p> <p>In GuitarWorld.com's latest readers poll — the first annual Jim Dunlop Effect Pedal Throwdown — we're pitting Dunlop, MXR and Way Huge pedals against each other in a no-holds-barred shootout. </p> <p>Yes, we're pulling out all the stomps! Thirty-two stompboxes will go head to head — or toe to toe, if you prefer — culminating with the crowning of the king of Dunlop pedals.</p> <p>You can check out the beginning bracket — with all 32 competing pedals — in the <a href="https://www.scribd.com/">Scribd.com</a> window below (Be sure to click on the "full screen" button in the lower-right-hand corner to expand the bracket). </p> <p>The bracket will be updated after every matchup, and matchups will take place pretty much every day. Each competing pedal will accompanied by a demo video created by the Jim Dunlop company, and you'll always find a photo gallery of the competing pedals at the bottom of each matchup.</p> <h1>Today's Matchup</h1> <p>In today's matchup, the <strong>MXR M148 Micro Chorus</strong> goes foot to foot against the <strong>MXR M68 Uni-Vibe Chorus/Vibrato</strong> pedal. Start voting below!</p> <p><Strong>YESTERDAY'S RESULTS</strong>: Yesterday, the <strong>Way Huge Angry Troll Boost</strong> (53.09 percent) just barely defeated the <strong>Way Huge Swollen Pickle Jumbo Fuzz</strong> (46.91 percent) and advanced to the next round! <a href="http://www.guitarworld.com/tags/jim-dunlop-effect-pedal-throwdown">To see all the matchups that have taken place so far, head HERE.</a> Thanks for voting!</p> <h1>Meet the Combatants</h1> <p><strong><a href="http://www.jimdunlop.com/product/m148-micro-chorus">MXR M148 Micro Chorus</a></strong></p> <p>With its simple operation and stellar analog tone—the MXR Micro Chorus joins the ranks of MXR Classics such as the Phase 90, Dyna Comp and Micro Amp. This 80's reissue delivers a stunning range of rich chorus textures, from sparkly watery shimmers to intense rotating speaker simulation with a twist of the Rate control. </p> <p>The Micro Chorus is designed with old-school bucket brigade technology for warm analog tone and features true bypass for pure guitar tone when the pedal is off. Its road-worthy hardware and components are housed in a space saving Phase 90-sized box.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/5fr-VCS9HYY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong><a href="http://www.jimdunlop.com/product/mxr-uni-vibe">MXR M68 Uni-Vibe Chorus/Vibrato</a></strong></p> <p>The Uni-Vibe Chorus/Vibrato is one of the most iconic effects in music history. Since the late ’60s, groundbreaking guitar players have used it to expand the tonal and textural palette of the electric guitar. The MXR team has just remastered the classic effect for modern players. The MXR Chorus/Vibrato delivers the same chewy, Leslie-sounding goodness with a smaller footprint. </p> <p>With its simple three-knob interface, you can dial up the iconic effect to your taste in short order. First, use the VIBE switch to select either Chorus Mode—dry signal mixed with pitch-shifted signal—or Vibrato Mode—only pitch-shifted signal. Then, use the LEVEL control to set the effect volume, the SPEED control to set the sweep rate, and the DEPTH control to set overall intensity. The MXR Uni-Vibe Chorus/Vibrato comes in a Phase 90-sized housing—a fraction of the size and weight of the original Uni-Vibe pedal—and features true bypass switching. Perfect for taking this lush, swirly pedal out on the road.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/HKF3hpHAzD0" frameborder="0" allowfullscreen></iframe></p> <h1>Voting Closed!</h1> <p>The <strong>MXR Uni-Vibe Chorus/Vibrato</strong> (80.08 percent) destroyed the <strong>MXR Micro Chorus</strong> (19.92 percent) and advanced to the next round! <a href="http://www.guitarworld.com/tags/jim-dunlop-effect-pedal-throwdown">To see the current matchup and all the matchups that have taken place so far, head HERE.</a> Thanks for voting!</p> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View Karkwa on Scribd" href="https://www.scribd.com/doc/244796490/Karkwa" style="text-decoration: underline;" >Karkwa</a></p> <p><iframe class="scribd_iframe_embed" src="https://www.scribd.com/embeds/244796490/content?start_page=1&amp;view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_55093" width="100%" height="600" frameborder="0"></iframe></p> http://www.guitarworld.com/jim-dunlop-effect-pedal-throwdown-round-1-mxr-micro-chorus-vs-mxr-uni-vibe-chorusvibrato#comments Jim Dunlop Jim Dunlop Effect Pedal Throwdown MXR Poll Polls Effects News Features Gear Wed, 29 Oct 2014 14:39:38 +0000 Damian Fanelli http://www.guitarworld.com/article/22699 New Guitar World DVD, 'Mastering Arpeggios,' Includes More Than Two Hours of Instruction http://www.guitarworld.com/new-guitar-world-dvd-mastering-arpeggios-jimmy-brown <!--paging_filter--><p>A new <em>Guitar World</em> DVD, <em>Mastering Arpeggios</em>, is <a href="http://guitarworld.myshopify.com/products/mastering-arpeggios-dvd/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=MasteringArpeggiosDVD">available now at the Guitar World Online Store for $14.99!</a></p> <p>It's a deluxe crash course in guitar theory, with more than two hours of instructional video to help you reach the next level!</p> <p>Everything you need to know about Major, Minor, Diminished and Augmented Triad Arpeggios. Plus, Arpeggio-Scale Theory, Two- and Three- Octave Monster Shapes Sweeps and Taps, String Skipping, Classical-Style Shred Licks.</p> <p>Mastering Arpeggios also includes a Bonus Section on How to Play Like Paganini!</p> <p>Your Instructor is Jimmy Brown, who over the last 25 years has built a reputation as one of the world's finest music editors through his work as transcriber, arranger, and senior music editor for Guitar World magazine, the world's best-selling magazine for guitarist. In addition to these roles, he is a busy working musician, performing regularly as a solo acoustic guitar/vocal act and rocking out with a full band at taverns, restaurants, resorts, weddings and private parties. </p> <p>Jimmy earned a Bachelor of Music degree in Jazz Studies and Performance and Music Management from William Paterson University in 1988 and relies on much of what he learned then - and since then, as a professional musician-for-hire to do his job effectively. He is also an experienced private guitar teacher and an accomplished writer, two skills that go hand-in-hand in his career at Guitar World. </p> <p>Please note: This product includes a PDF booklet on the DVD and can be retrieved by opening the DVD on your computer. </p> <p><strong><a href="http://guitarworld.myshopify.com/products/mastering-arpeggios-dvd/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=MasteringArpeggiosDVD">Head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/new-guitar-world-dvd-mastering-arpeggios-jimmy-brown#comments News Features Wed, 29 Oct 2014 14:36:16 +0000 Guitar World Staff http://www.guitarworld.com/article/22643 Jim Dunlop Effect Pedal Throwdown, Round 1: Way Huge Swollen Pickle Jumbo Fuzz Vs. Way Huge Angry Troll Boost http://www.guitarworld.com/jim-dunlop-effect-pedal-throwdown-round-1-way-huge-swollen-pickle-jumbo-fuzz-vs-way-huge-angry-troll-boost <!--paging_filter--><p>It's time to compare the mettle of Jim Dunlop pedals!</p> <p>In GuitarWorld.com's latest readers poll — the first annual Jim Dunlop Effect Pedal Throwdown — we're pitting Dunlop, MXR and Way Huge pedals against each other in a no-holds-barred shootout. </p> <p>Yes, we're pulling out all the stomps! Thirty-two stompboxes will go head to head — or toe to toe, if you prefer — culminating with the crowning of the king of Dunlop pedals.</p> <p>You can check out the beginning bracket — with all 32 competing pedals — in the <a href="https://www.scribd.com/">Scribd.com</a> window below (Be sure to click on the "full screen" button in the lower-right-hand corner to expand the bracket). </p> <p>The bracket will be updated after every matchup, and matchups will take place pretty much every day. Each competing pedal will accompanied by a demo video created by the Jim Dunlop company, and you'll always find a photo gallery of the competing pedals at the bottom of each matchup.</p> <h1>Today's Matchup</h1> <p>In today's matchup, the <strong>Way Huge Swollen Pickle Jumbo Fuzz</strong> goes foot to foot against the <strong>Way Huge Angry Troll Boost</strong> pedal. Start voting below!</p> <p><Strong>YESTERDAY'S RESULTS</strong>: Yesterday, the <strong>Dunlop Joe Bonamassa Signature Cry Baby</strong> (50.67 percent) just barely defeated the <strong>Dunlop Jerry Cantrell Signature Cry Baby</strong> (49.33 percent) and advanced to the next round! <a href="http://www.guitarworld.com/tags/jim-dunlop-effect-pedal-throwdown">To see all the matchups that have taken place so far, head HERE.</a> Thanks for voting!</p> <h1>Meet the Combatants</h1> <p><strong><a href="http://www.jimdunlop.com/product/swollen-pickle">Way Huge Swollen Pickle Jumbo Fuzz</a></strong></p> <p>The most sought after and corpulent Way Huge pedal is back! The Swollen Pickle MkII surrenders super high-gain fuzz with copious amounts of smooth low-end to all who dare plug into it. With a twist of the Sustain control, you’re taken from mild crunch to Armageddon! The Filter control retains its trademark insane range of heavily band-pass-filtered tones, distinguished by remarkable girth and sizzle, and the Loudness puts out enough volume to clobber any amp! </p> <p>Newly added features include a tone stack Scoop control that elicits classic Swollen Pickle mid-scoop or a flat mid-frequency sweep, and a Crunch knob to adjust the compression intensity of the fuzz. Finally, under the hood, the Swollen Pickle MkII has two internal mini controls; Voice sets the intensity of the external scoop control from light to heavy mid cut, and Clip varies between two sets of clipping diodes for smooth or opened fuzz sustain.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/wVO3YfWR-vc" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong><a href="http://www.jimdunlop.com/product/Angry-Troll">Way Huge Angry Troll Boost</a></strong></p> <p>The mighty Angry Troll from Way Huge Electronics serves up gorgeous portions of volume and gain to pummel the input of your amp with up to +50dB of gain. It adds bite and punch while transforming your mild mannered tone into a beastly sonic onslaught! The Angry Troll’s two controls interact like a vintage mic pre amp. </p> <p>The Anger knob—a rotary switch with six Fists of Fury positions—adjusts the amount of gain created by the Troll’s op-amp, while the Volume knob regulates the overall output level. High grade components are used for a precisely tuned circuit that works like an extension of your amp. Another tone monster from the mind of Mr. Huge! · Delivers up to +50dB of boost · Precisely tuned to work like an extension of your amp · Adds a little dirt at higher settings · Heavy duty foot switch with quiet relay based true bypass · High grade components for low noise operation</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/EOQo1yl2iZs" frameborder="0" allowfullscreen></iframe></p> <h1>Voting Closed!</h1> <p>The <strong>Way Huge Angry Troll Boost</strong> (53.09 percent) just barely defeated the <strong>Way Huge Swollen Pickle Jumbo Fuzz</strong> (46.91 percent) and advanced to the next round! <a href="http://www.guitarworld.com/tags/jim-dunlop-effect-pedal-throwdown">To see the current matchup and all the matchups that have taken place so far, head HERE.</a> Thanks for voting!</p> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View Karkwa on Scribd" href="https://www.scribd.com/doc/244796490/Karkwa" style="text-decoration: underline;" >Karkwa</a></p> <p><iframe class="scribd_iframe_embed" src="https://www.scribd.com/embeds/244796490/content?start_page=1&amp;view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_55093" width="100%" height="400" frameborder="0"></iframe></p> http://www.guitarworld.com/jim-dunlop-effect-pedal-throwdown-round-1-way-huge-swollen-pickle-jumbo-fuzz-vs-way-huge-angry-troll-boost#comments Jim Dunlop Jim Dunlop Effect Pedal Throwdown Poll Polls Way Huge Videos Effects News Features Gear Tue, 28 Oct 2014 15:49:48 +0000 Damian Fanelli http://www.guitarworld.com/article/22682 Tab Book: Learn the 'Best of Scorpions,' Note for Note http://www.guitarworld.com/tab-book-learn-best-scorpions-note-note <!--paging_filter--><p>A new tab book, <em>Best of Scorpions</em>, is available now at the Guitar World Online Store.</p> <p>The book features note-for-note transcriptions with tab for 14 favorites from these Hanover hard rockers. </p> <p>It includes their mega-hit “Rock You like a Hurricane” plus: </p> <p>• Big City Nights<br /> • Blackout<br /> • Coming Home<br /> • Holiday<br /> • I Can't Explain<br /> • Loving You Sunday Morning<br /> • No One like You<br /> • Passion Rules the Game<br /> • Rhythm of Love<br /> • Send Me an Angel<br /> • Still Loving You<br /> • Wind of Change<br /> • The Zoo</p> <p><strong><a href="http://guitarworld.myshopify.com/products/best-of-scorpions/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=BestofScorpions">This 128-page book is available now for $19.99. Head to the Guitar World Online Store now.</a></strong></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/scorpions">Scorpions</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/tab-book-learn-best-scorpions-note-note#comments Scorpions News Features Tue, 28 Oct 2014 15:47:32 +0000 Guitar World Staff http://www.guitarworld.com/article/20930 Restorations Guitarist Dave Klyman Talks Gear, Technique and New Album, 'LP3' http://www.guitarworld.com/restorations-guitarist-dave-klyman-talks-gear-technique-and-new-album-lp3 <!--paging_filter--><p>The punk and hardcore roots of Philadelphia’s Restorations are still evident on <em>LP3</em>, but pigeonholing the band is even more difficult this time around. </p> <p>The Philadelphia band’s third album in four years—out October 28 on SideOneDummy—is the band’s most compelling yet, featuring more focused songwriting, a wider sonic palette and the clear sense that Restorations have tapped into something that will serve them well for the long haul. </p> <p>Not everything Restorations bring to bear has clear stylistic antecedents, but what does is unimpeachable: straightforward Fugazi-style punk, thundering hardcore, edgy barroom anthems and some psychedelic detours. </p> <p>The band features Carlin Brown on drums, Dan Zimmerman on bass, Ben Pierce on guitar and keyboards, Dave Klyman on lead guitar and Jon Loudon on guitar and vocals. </p> <p><em>Guitar World</em> caught up with Klyman during the calm before the storm to talk about the band’s roots and songwriting, his guitar style and gear and what’s to come for the Restorations. </p> <p><strong><strong>GUITAR WORLD: When Restorations started, what did you have in mind for a sound or style?</strong></strong></p> <p>This band started with a minimum of plans and expectations. The most basic of these was to write stories and then form music that complemented those stories. The idea was to keep the spirit of our punk and hardcore roots, but channel it through a more reserved genre blend of indie, alt-country, folk and the like. </p> <p>There’s a way to keep music interesting and intense without having to literally scream it in someone else’s face. Subtlety was to be the core driver. Of course, plans have a way of growing on their own and songs have a way of writing themselves. Things got bigger and louder as we went along. While elements of that original ethos are certainly present, Restorations’ sound has definitely evolved between our first 7-inch and <em>LP3.</em></p> <p><iframe width="620" height="355" src="//www.youtube.com/embed/1Rv6q1-y27Q" frameborder="0" allowfullscreen></iframe></p> <p><strong>How do you describe your sound?</strong></p> <p>From the inside looking out, this is always an odd thing to attempt to qualify. It’s been amusing and very flattering to hear all the musical descriptions and comparisons we get from the outside looking in. I accept pretty much every one of them. When asked directly, everyone in the band has a different answer anymore. </p> <p>The one I usually go with is “Loud Indie Rock.” I feel that’s encompassing enough. I read an interview years ago with an old punk band in which they said something to the effect of, “Every band thinks they’re writing the most ridiculous and groundbreaking stuff in their practice space.” Since then I’ve tried hard to avoid that notion, to somehow put what we’re doing on some other level. I’d like to think we’re pretty damn good, but at its center we’re still just a group of friends with instruments just like every other band should be.</p> <p><strong>What did you bring to Restorations from Jena Berlin and your other bands?</strong></p> <p>We’ve all played in a variety of different kinds of bands in the echelon of rock, punk, hardcore and even some metal. I think the biggest aspect that has carried over to Restorations is the energy of the live show. Call it kinetic or whatever, but it’s that knowledge that anything can and will happen on stage that keeps the performance, mind and body moving at all times. I’m also prone to improvisation live and that’s definitely something that’s increased over the years. </p> <p>From Jena Berlin specifically? Stylistically, my penchant for fast hammer-ons and pull-offs has not gone away, although tapping is becoming a more frequent practice. I’ve also continued to greatly enjoy full step bends and prebends. I’ve tried to expand the use of chord melody, often with finger picking. Every record brings with it the natural compulsion to push skills beyond current capabilities. And since I’m always writing a record of some sort, the push is always there. And there’s always a desire to try new things as well. For example, I’m not very good at sweep picking, but I practice it all the time because you never know what will be the perfect compliment to a song. That’s always been the crux: give the song what it needs. Sometimes you need to add a technical guitar part that takes a lot time and practice to solidify, sometimes you need to cut a technically proficient riff or solo because it just doesn’t belong.</p> <p><strong>When did you start playing guitar?</strong></p> <p>I started in seventh grade so that would put me around 12. I’m about to be 32, so it’s been more than half my life. I can’t imagine what I would be doing with myself if I’d never picked it up. I’d probably be a lot more financially successful and a lot less happy.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/-A6O5TZAdl8" frameborder="0" allowfullscreen></iframe></p> <p><strong>What guitarists have influenced you over the years?</strong></p> <p>My influences began fairly typically: Jimi Hendrix, Led Zeppelin, Traveling Wilburys. Pink Floyd was a particularly big deal. U2 expanded on that. Nirvana came through at just the right time. Then came Green Day and the Offspring. That led me to find West Coast punk like NoFX, Lagwagon, Strung Out, the list goes on from there. Strung Out was especially developmental for me. Their approach to leads and solos is counter to the more typical classic-rock influenced ones I’d been accustomed to. Another crucial band was At the Drive-In. </p> <p>They blew the doors wide open on alternate chord formations along with atonal and arrhythmic lead runs Their use of effects pedals was captivating as well, a modern step on what Pink Floyd started. I started looking at the guitar beyond just the frets. Any part can be used to create a noise of sorts. Metal came later which is why I think I wound up more on the “artsy” side of playing as opposed to the theory and technical side. Don't get me wrong, early Metallica and Pantera were great and I think modern bands like Darkest Hour, Unearth, Dark Tranquility, Baroness and so many other are doing great things under that genre umbrella. I just don’t see a lot of that in my playing for Restorations. When I noodle around at home, sure. But I’m influenced by guitarists who were clearly influenced by that sort of playing, so who knows? Like every guitarist, I am an amalgam of everything the sponge of my brain soaks up.</p> <p><strong>What guitars do you play? What about amps, pedals, etc.?</strong></p> <p>I’ve been a devotee to the Gibson SG for many years now. I’ve found it to be the most versatile guitar for both resonant low-end rhythm playing as well as clear highs for leads and solos. I also play a Fender Telecaster Baritone guitar with the B string drop tuned to A. I love baritone guitar so much. In the scene I tend to run in, it unfortunately gets pigeonholed as a metal instrument strictly because it can be downtuned into that leaden, droning territory. It’s certainly excellent for that. But I don’t play in a metal band. For Restorations, the baritone fills a different sonic space. There’s a roar, a guttural recognition to it that can’t always be accomplished in standard tuning. I wrote and recorded the majority of LP3 on baritone.</p> <p>I’ve been through a few different amp setups over the years for various styles. Right now I’m playing a vintage MusicMan HD-130 Reverb. That goes through a 2X15 Emperor cab, easily one of the best musical purchases I’ve made. I really wish they hadn’t ceased production. My pedal board isn’t too complicated right now, but that’s always in flux. For the time being it’s just a boost/overdrive, volume pedal, and a couple different delays. The boost/overdrive I currently run is coincidentally also named Emperor; it’s a product of a local, hand-made boutique company called TSVG Pedals. I highly recommend checking out their full line. I’ve also been thinking about getting back into looping and soundscapes.</p> <p><strong>What’s the band’s songwriting process?</strong></p> <p>The intention is to always be collaborative. Sometimes one of us might bring in a structured plan and lay it out for the band. For example, with <em>LP3</em>, the song “Tiny Prayers” was a fully formed concept based around the opening guitar harmonies that came together very quickly. But most songs start as a loose collection of parts and ideas. </p> <p>For that, look to a song like “Misprint,” which started as just a chord progression that led to one of my favorite lead lines on the whole record. From there the song started forming itself with help and direction from everyone. Both these methods of songwriting undergo reformations and addition/subtraction. Vocals come in and that throws some changes in as well. Most songs start from one member’s quiet, acoustic recording done in the bedroom and then comes into the practice space and gets blown out as loudly as possible.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/DQkp3TYsA5I" frameborder="0" allowfullscreen></iframe></p> <p><strong>What was the experience recording <em>LP3</em>?</strong></p> <p>Comparatively speaking, <em>LP3</em> was a breeze. That’s not to say we didn’t work hard and go for the best performance possible. We had a bit more time to focus on writing and making sure the songs were as complete as they could be before we even set foot in the studio. At this point, we’ve worked with Jon Low and Miner Street Recordings enough that we have a solid rapport. Low mixed our first full-length and produced, engineered, and mixed the A/B 7-inch, <em>LP2</em> and <em>LP3</em>. He’s not just our producer, he’s also a good friend. It makes for smooth, comfortable, productive sessions. I hope that translates to the listener.</p> <p><strong>What sets this new record apart from Restorations’ other albums?</strong></p> <p><em>LP3</em> sees the band locking into our roles more comfortably as a unit. As a songwriter, it’s really important to play your best, sure. But it’s also really important to know when not to play. It might not seem so, but a lot of <em>LP3</em> is an exercise in restraint, a conscious effort to make sure the songs aren’t cluttered with distractions. This goes back to what I was saying earlier about sometimes having to cut a lead or solo, even if it’s really impressive or fun. If it’s tripping over the lead vocal, then it’s got to go. This goes for any instrument. Everything should be a part of one textural goal. This way, when it’s finally time for me to rip through a song with a solo, it’s effective in context with the whole record, not just an excuse for me to shred away.</p> <p><strong>What’s your dream guitar?</strong></p> <p>Oh, man, I’d love to have so many different kinds of guitars and guitar-related instruments. But the answer is a true vintage SG, just because. Electrical Guitar Company creates all aluminum, custom guitars and getting a baritone made by them is high on the list of future desires. Every time I go into a music shop and they have the reissue Fender VI, I want so badly to take it home. I just can’t justify it yet. Speaking of Fender, the best bass I ever was lucky enough to play was, I believe, a ‘76 Precision Bass. </p> <p>I’d really like one of those for the arsenal as well. Learning pedal steel guitar is something I’ve been interested in for years and haven’t been able to jump into. The same goes for violin. You always see the clichéd rock star documentary, or even Spinal Tap, where the guitarist has hundreds of guitars just sitting around. Sure, that’s cool. But if someone ever cared enough to take a look, I’d prefer to have a smaller, more diverse collection and have to explain the purpose and function of each instrument.</p> <p><strong>If you could pick any guitarist, living or dead, to jam with, who would it be?</strong></p> <p>I owe David Gilmore from Pink Floyd a nice drink and the biggest handshake. Whether I mean to or not, I somehow rip him off in nearly every lead or solo I’ve written. If I was in a room with him and he leaned into one of his prebends from “Brain Damage,” I think I’d cry.</p> <p><strong>What’s next for Restorations?</strong></p> <p>In celebration of the release of <em>LP3</em>, we’ll be on the road for a bit to close out 2014 and head into 2015. This year should prove to be very interesting for us. Nothing I can comment on fully just yet. Let’s just say we hope to see all of you very soon. </p> <p><strong>Restorations 2014 Fall Tour:</strong></p> <p>Monday, Oct. 27 – Columbia, SC – Foxfield Bar *<br /> Tuesday, Oct. 28 – Atlanta, GA – Under The Couch *<br /> Wednesday, Oct. 29 – Tampa, FL – Pre-Fest<br /> Sunday, Nov. 2 – Gainesville, FL – The Fest<br /> Tuesday, Nov. 4 – Nashville, TN – The High Watt ^<br /> Wednesday, Nov. 5 – Chicago, IL – Township ^<br /> Thursday, Nov. 6 – Newport, KY – Southgate House ^<br /> Friday, Nov 7. – Pittsburgh, PA – The Smiling Moose ^<br /> Saturday, Nov 8. – New York, NY – Mercury Lounge ^<br /> Sunday, Nov 9. – Allston, MA – Great Scott ^</p> <p>* = Self Defense Family<br /> ^ = The Smith Street Band</p> http://www.guitarworld.com/restorations-guitarist-dave-klyman-talks-gear-technique-and-new-album-lp3#comments Dave Klyman Eric Swedlund Restorations Interviews News Features Mon, 27 Oct 2014 22:22:18 +0000 Eric Swedlund http://www.guitarworld.com/article/22687 Strange Brew: Jack Bruce, Ginger Baker and Tom Dowd Recall the Rise (and Curdling) of Cream http://www.guitarworld.com/cream-jack-bruce-ginger-baker-tom-dowd-look-back-rise-curdling <!--paging_filter--><p><strong><em>Eric Clapton, Jack Bruce and Ginger Baker gave birth to the power trio, redefined rock improvisation and sold millions of albums. For all their success, nothing could stop the Cream from curdling.</em></strong></p> <p>The year was 1968, and guitarist Eric Clapton, bassist Jack Bruce and drummer Ginger Baker were sitting on top of the world.</p> <p>Or so it seemed. In three short years, their band, Cream, had recorded a slew of brilliant hit singles, sold an astonishing 15 million records and redefined the role of the instrumentalist in rock. </p> <p>Their concerts, which usually sold out immediately, had become legendary for the trio’s ferocious virtuosity and wild, blues-based improvisations that exploded with a jazzy sense of adventure.</p> <p>But all was not well in Cream. The problem, it was whispered, was ego. And as the individual musicians’ reputations grew and heads swelled, their amp rigs ballooned accordingly.</p> <p>“Cream’s last year was extremely painful for me,” recalls Baker. “When we started in 1966, Eric and Jack had one Marshall each. Then it became a stack, then a double stack and finally a triple stack. By 1968, I was just the poor bastard stuck in the middle of these incredible noise-making things. It was ridiculous.</p> <p>“I used to get back to the hotel and my ears were roaring. That final year damaged my hearing. The incredible volume was one of the things that destroyed the band. Playing loud had nothing to do with music. There was, in fact, one gig where Eric and I stopped playing for two choruses. Jack didn’t even know. Standing in front of his triple stack of Marshalls, he was making so much noise he couldn’t tell.”</p> <p>But while the band came to a crashing halt after three volatile years, it’s nearly impossible to exaggerate the importance of Cream. They were rock’s first power trio: they gave birth to the notion of the “rock virtuoso,” laid the foundation for heavy metal, and inspired several generations of bands, from Black Sabbath to Van Halen to Smashing Pumpkins. And while they are best remembered for their sophisticated instrumental work, Cream also recorded some remarkable pop singles, including “Sunshine of Your Love,” “White Room” and “Badge.”</p> <p>Cream came together in mid 1966 when Baker left the respected British rhythm-and-blues ensemble Graham Bond Organization, Bruce (formerly of Graham Bond) left Manfred Mann, and Eric Clapton, already a legend in Britain, left John Mayall’s Bluesbreakers.</p> <p>The group’s formation was set in motion by Baker, who reached out to Clapton and won him over with his grand vision of “becoming the biggest pop group in the world.”</p> <p>“I had always liked Ginger,” explained Clapton. “Ginger had come to see me play with John Mayall. After the gig, he drove me back to London in his Rover. I was very impressed with his car and his driving. He was telling me that he wanted to start a band, and I had been thinking about it too. It was a sort of coincidence— synchronicity, really. We were thinking the same thing at the same time.”</p> <p>Clapton agreed to join Baker’s new group, but he unwittingly threw a wrench into the drummer’s plans. Clapton made a special request that Jack Bruce be recruited as the group’s bassist. Clapton had briefly played with Bruce at the tail end of his tenure with John Mayall and came away impressed by the bassist’s skill. Unbeknownst to Clapton, Baker and Bruce were like oil and water. The relationship had proven to be so turbulent that Bruce, uncomfortable with Baker, had left the Graham Bond Organization even as their fortunes were rising.</p> <p>So eager was Baker to form a partnership with Clapton that, despite his misgivings, he agreed to have Bruce come aboard. Clapton, still unaware of the tension between his new bandmates, witnessed its volatile nature at the new group’s first get–together.</p> <p>“We had our first talk-through rehearsal at Ginger’s house in Neesden,” remembered Clapton. “Those two had an argument right away. Jack had done an interview and let the cat out of the bag about the band. Ginger was upset about that, and the [<em>argument</em>] went along the lines of, ‘There you go, you’ve done it again!’</p> <p>“I thought, Wait, there’s something going back here that I’m not aware of. The ‘you’ve done it again’ implied that this was sort of a pattern that existed before I knew either of them.”</p> <p>Dubbed the Cream by Eric Clapton, with a nod to their much-heralded reputations as soloists, the group accepted an invitation to perform at the July 1966 Windsor Jazz &amp; Blues Festival. Barely a month old and with precious few original songs to their credit, Cream performed spirited blues reworkings that thrilled the large crowd and earned them a warm reception.</p> <p>The group expanded its budding European following on the strength of the singles “Wrapping Paper” and “I Feel Free,” and <em>Fresh Cream</em>, its impressive 1966 debut album.</p> <p>In America, Cream took longer to take hold. Despite the enduring popularity of songs such as “White Room” and “Crossroads,” the group was hardly an overnight sensation. It arrived with little fanfare, and <em>Fresh Cream</em> struggled to find an audience. There was no <em>Ed Sullivan Show</em>, no Monterey Pop Festival—just hard work and a grinding tour itinerary filled with small club and college dates.</p> <p>With the release of 1967’s <em>Disraeli Gears</em>, however, the group’s popularity exploded. Aided initially by “underground” FM radio airplay, Cream received an enormous boost when AM Top 40 radio, which had shunned the group as too hard and psychedelic, jumped on the bandwagon. That acceptance and exposure helped make “Sunshine of Your Love,” the group’s signature song, the largest selling single in the history of Atlantic Records up to that time.</p> <p>Cream’s adventurous music directly reflected the incredible confidence each member had in his own abilities. The group successfully blended a variety of influences spanning Delta blues, avant-garde poetry and psychedelic pop while forging a unique sound and style. Heartened by their success, Cream followed <em>Disraeli Gears</em> in grand fashion with the lavish, 1968 double album <em>Wheels of Fire</em>. While Frank Zappa’s Mothers of Invention had previously established the viability of double records for rock artists, Cream’s ambitious marriage of freewheeling studio recordings and raw live performances shot to the top of the charts.</p> <p>On the surface, Cream was one hot and happy band. Unfortunately, despite their staggering success, they routinely teetered on the edge of destruction. The clashes between Baker and Bruce worsened and soon ensnared Clapton. By the time <em>Goodbye</em>, their fourth album, was issued in 1969, the group had, in November 1968, already celebrated its farewell via a filmed finale at London’s Royal Albert Hall. Cream were finished, and neither Baker, Bruce nor Clapton could summon the energy to resolve their differences.</p> <p>As Clapton told <em>Guitar World</em> in 1994, “It was very intense; it actually seems like we were together for four or five years, but in fact it was very short. My overall feeling about it now is that it was a glorious mistake. I had a completely different idea of what it would be before I started it, and it ended up being a wonderful thing, but nothing like it was meant to be.</p> <p>“It was meant to be a blues trio. I just didn’t have the assertiveness to take control. Jack and Ginger were the powerful, dominant personalities in the band; they sort of ran the show and I just played. In the end, I just went with the flow and I enjoyed it greatly, but it wasn’t anything like I expected at all.”</p> <p>In 1997, around the time of the <em>Complete Cream</em> four-CD box set release, <em>Guitar World</em> caught up with Bruce and Baker, who had apparently resolved their longstanding differences to the point where they could discuss Cream and their friend Eric Clapton. Joining them were Cream lyricist Pete Brown and producer/engineer Tom Dowd.</p> <p><strong>GUITAR WORLD: Whose idea was it to form Cream?</strong></p> <p><strong>JACK BRUCE</strong> Forming Cream was absolutely Ginger’s idea. He asked Eric to join, and then Eric suggested that they get me to sing and play bass. I had only sung one or two numbers with Graham Bond, but Eric could see that there was some potential there. Ginger then had to come and ask me—which I thoroughly enjoyed!</p> <p><strong>Ginger, when did you become convinced of Cream’s potential?</strong></p> <p><strong>GINGER BAKER</strong> I knew we had something special from the very first time we played together. We got together at my little maisonette on Braymore Avenue, in back of which was a park where all the local kids used to play. It was summer and, as we played anyway, the kids congregated on this little hill behind my place were boogying. They really enjoyed the music. It was total magic immediately. We were three people made to play with each other.</p> <hr /> <p><strong>What happened next?</strong></p> <p><strong>BRUCE</strong> There was a kind of plan in place when we started. We did some rehearsals in a church hall, learning how to play with each other. We were trying out songs and preparing for a couple of shows, including an unannounced gig at the Twisted Wheel in Manchester.</p> <p><strong>BAKER</strong> Cream went straight onto the same club circuit that Graham Bond had been doing. I went to Graham’s booking agent, Robert Masters, and said, “Look, you’ve got to charge more money.” Masters said that no one would pay it, but I insisted that we be paid 45 pounds a gig instead of the 40 pounds that Graham was getting, and everybody paid it!</p> <p>I had to keep prompting them to ask for more money, and every time they did, people would pay it. The band’s reputation was huge before it was formed, really.</p> <p><strong>When did the group begin to stand on its own?</strong></p> <p><strong>BAKER</strong> When Cream started to get going, our manager, Robert Stigwood, was paying a lot of attention to the Bee Gees. He would be taking out huge ads in [<em>the British music magazine</em>] <em>Melody Maker</em> for them, while the Cream would get a two-line mention. Stigwood was convinced that the Bee Gees were going to be the biggest hit of the Sixties. I don’t think he really started to get behind Cream until <em>Fresh Cream</em> was released in the U.S. by Atco. When the first album went into the charts in America—albeit at something like No. 198 or whatever— Stigwood was flabbergasted. Eric, Jack and I were convinced. We knew what we had. But I don’t think Stigwood came around until he saw that we might actually make some money.</p> <p>It was pretty obvious that Cream was something special. I had been playing the circuit for three years with the Graham Bond Organization, and we would draw an average of 800 people for a big pub gig. When we went out with Cream to the same places, there was suddenly 1,500 people. The places were packed solid and there was often as many people outside gigs as there were inside. The venues just weren’t big enough to let all the people in.</p> <p><strong>What was the first original Cream song developed by the group?</strong></p> <p><strong>BRUCE</strong> When Cream got started, I began to think about writing singles. I was very enamored of the Beatles, like everybody else at the time. I was impressed by what they were doing with their two-and- a-half-minute singles. However, what I came up with instead was “N.S.U.,” which was pretty freewheeling. It was unusual because of the length between the verses, but I was quite pleased with it.</p> <p><strong>Besides writing original material, you were also busy reinterpreting a series of blues masterworks, which became a major component of Cream’s repertoire.</strong></p> <p><strong>BRUCE</strong> Because of the interaction between the three of us, our version of the blues just naturally took on a different structure. “I’m So Glad,” written by Skip James, was one of the first examples, and certainly Willie Dixon’s “Spoonful” was something that we made our own.</p> <p>At that time, bands like John Mayall’s Bluesbreakers and Fleetwood Mac were trying to recreate the sounds of Chicago blues. Doing that was completely valid, but it was just something I didn’t want to do. Those original blues records had been done so well, which meant you could only ever be second best. But, if you treated those songs with a great deal of love and respect, you could remake them into your own. When we later got to meet people like Muddy Waters in Chicago, they were knocked out by our approach and how highly we regarded their music.</p> <p><strong>How did lyricist Pete Brown, who was responsible for the words of songs like “Sunshine of Your Love” and “Tales of Brave Ulysses,” become part of the creative team?</strong></p> <p><strong>BAKER</strong> We needed someone to help us with songwriting, and Pete Brown immediately came to mind because I had played some gigs that fused jazz and poetry. As the jazz players sat onstage, the poets would come up and read their work in front of the audience. Pete Brown was one of the poets I really liked.</p> <p><strong>BRUCE</strong> Yeah, I was sort of given Pete Brown by Ginger. Ginger and Pete were at my flat, trying to work on a song, but it wasn’t happening. My wife Janet then got with Ginger, and they wrote “Sweet Wine” while I started working with Pete.</p> <p><strong>PETE BROWN</strong> I received a call from Ginger, who said that his group had completed a song but needed to have words. I didn’t really like rock and roll at that time. I didn’t even like the Beatles—I just couldn’t understand it. I was an avid jazz and blues fan. I had loved the Graham Bond Organization because it was made up of all these elements that I enjoyed.</p> <p>Based on my admiration for the Organization, I went to see Cream, not knowing what I was about to get into. I knew something about song form, not very much, but I had listened to a great deal of music and developed good ears. Jack played me his song, and I understood the shape and rhythmic organization. I proceeded to unload every cinematic image that I had ever stored into this song. For some reason, he actually accepted it and the song became “Wrapping Paper,” the band’s first single.</p> <p><strong>So “Wrapping Paper” was the first successful Bruce/Brown composition?</strong></p> <p><strong>BRUCE</strong> Yeah. But I’m not sure that we actually “succeeded” with “Wrapping Paper.” What I was trying to do musically was play with people’s expectations of us as a blues band. It <em>is</em> a blues song, but it doesn’t have very obvious blues changes.</p> <p><strong>BAKER</strong> In retrospect, “Wrapping Paper” was pretty pathetic. [<em>laughs</em>] Especially when the credit came out as Bruce/Brown. We had all been involved in that. It was an attempt to do something really pop-styled. The whole object of Cream was to become a huge pop band.</p> <p><strong>How did you feel about your next single, “I Feel Free”?</strong></p> <p><strong>BRUCE</strong> I was quite pleased with the way that “I Feel Free” turned out. Even though I hadn’t had much experience in recording studios prior to Cream, I had very definite musical ideas about the songs I had written. I wrote all of “I Feel Free” out on paper, because that was the way I was still working in those days. Because of my classical background, it was easier for me to write things down and then try to realize them in the studio. I know that Ginger thought the song could have been recorded better, and we recut it, but after a little—shall we say—"discussion,” it was agreed that we might end up losing what we liked by trying it again.</p> <p><strong>What was it like recording <em>Fresh Cream</em>?</strong></p> <p><strong>BAKER</strong> We recorded the first album very quickly. It took something like 10 days. We were in complete control of our destiny. Robert Stigwood [<em>credited as the album’s producer</em>] was rarely there at the start of the sessions. He turned up when the album was nearly finished.</p> <p>The first album was something I was completely pleased with, to be quite frank. A lot of that album was made up of blues things that Eric brought to the table, like “Cat’s Squirrel” and “Rollin’ and Tumblin’.” We played those numbers live from the outset, and they always got the public going.</p> <hr /> <p><strong>What do you remember about Cream’s first American tour?</strong></p> <p><strong>BAKER</strong> We were playing mostly at colleges for what seemed like extremely small money—only about three thousand bucks a gig. The first place we ever played was Murray the K’s “Music in the Fifth Dimension” show in New York, and it was a fiasco. Murray was an influential New York DJ who put together these huge package shows that would feature dozens of bands. They wanted us to play three numbers and thought it would only take three minutes!</p> <p>There were supposed to be four shows a night, and on the first night there was only time for three. The Who were also on the bill, and the show ran over by something like 80 minutes. Murray the K was freaking out. After the second show, he came to our dressing room to try to get us to cut down our set. I was lying under the table, having consumed a bottle of Baccardi. Murray saw me and said, “How’s he gonna play?” I told him not to worry about me.</p> <p><strong>BRUCE</strong> It was very bizarre. The complete show by all the artists was only supposed to last two hours. We had been given three songs and were buried at the bottom of the bill. After the first show, we were cut back to “I’m So Glad.” Then they wanted us to cut the length of that! Meanwhile, the spot for the Jackie the K Dancers, led by Murray’s wife, seemed to get longer and longer. It was so wild that Murray the K had security guards to keep us in the building. That was our introduction to New York and the United States.</p> <p><strong>What do you recall about engineering Cream’s second album, <em>Disraeli Gears</em>?</strong></p> <p><strong>TOM DOWD</strong> I got a call from [<em>Atlantic Records label chief</em>] Ahmet Ertegun late one afternoon, asking me to record a group that Robert Stigwood had sent over from England. Ahmet told me to get whatever I could out of them before their visas expired. When I arrived at the studio the next morning, the roadies were loading in these double stacks of Marshall cabinets and double-bass drums, and I thought, What the hell is this? I hadn’t known anything about them except the fact that they were a three-piece and that two of the three could sing lead.</p> <p><strong>In addition to Tom, Felix Pappalardi, the late bassist and songwriter, made significant contributions to the group’s sound. How did Felix get involved?</strong></p> <p><strong>BAKER</strong> That came about during <em>Disraeli Gears</em>. We had no real game plan for making the album. The first thing we cut was the traditional blues “Hey Lawdy Mama,” and Felix was at the session as a guest of Ahmet Ertegun. At the end of the session, he asked if he could take a copy of the tape away to write some words for it. He came back the next day with “Strange Brew.” Felix got Eric to sing the lead because he had done so for “Hey Lawdy Mama.” All of this didn’t go down so well with Jack, because he considered himself to be the lead vocalist.</p> <p>Anyway, Eric and I were both very impressed with Felix. We had some discussions with Ahmet and Tom Dowd and afterward got Felix to come in and produce the album. He got very involved musically. Ahmet was also at the studio almost every day. I was also extremely impressed with Tom Dowd, who was an absolutely amazing engineer. Actually, he wasn’t just an engineer—it was like having another musician around.</p> <p><strong>DOWD</strong> Felix usually sat out in the studio while I was recording in the control room—especially during playbacks. He would point out certain things to each band member where he felt improvements could be made. There was a lot of dialog between Felix and the three of them. Some of it was specific to the session, but it also included exposing them to the styles of different artists and sounds.</p> <p><strong> How did “Sunshine of Your Love” develop?</strong></p> <p><strong>BRUCE</strong> Pete Brown and I had been working all night, trying to write stuff, and we hadn’t got anywhere. I picked up my double bass and played the riff. Pete looked out the window, saw that the sun was coming up, and wrote, “It’s getting near dawn/And lights closed their tired eyes…”</p> <p><strong>BROWN</strong> Eric added the hook. Funny enough, I never liked it, although it makes a lot of sense, musically. I didn’t like the title, “Sunshine of Your Love.” I suppose, though, that it hit the mark with so many people because it was such a broad idea. In the long run, thank you, Eric! But in the short term, I must admit I was pretty miserable about it.</p> <p><strong>BRUCE</strong> I knew “Sunshine of Your Love” was going to go over well because both Booker T. Jones [<em>keyboard player of Booker T. &amp; the MGs</em>] and Otis Redding heard it and told me it was going to be a smash. Their opinions really meant a lot to me.</p> <p><strong>Where did Cream’s tradition of long, extended individual solos first take root?</strong></p> <p><strong>BRUCE</strong> When we started out, a typical rock band set lasted only 45 minutes. When we got to the Fillmore West, in San Francisco, the audience wanted us to stretch out. I remember them shouting, “Just play!” That’s exactly when we started to play longer. It became a kind of trademark for us, which, in a way, was a mixed blessing. It was very difficult to do every time we played, and it took its toll. I used to think of it like the Who smashing their instruments: it’s expensive to have to do that night after night. For us to have to do very long improvisations every night was expensive on our brains!</p> <p><strong>The <em>Wheels of Fire</em> sessions in June 1968 were really productive and yielded a number of classic Cream songs. How did “White Room” evolve?</strong></p> <p><strong>BRUCE</strong> I had written words to the song—almost scat words— which started off about cycling through France. I had a definite idea about the feeling I wanted the song to have, and Pete came up with a set of lyrics. Together, we rewrote and rewrote until we had something we were both very happy with.</p> <p><strong>BROWN</strong> My draft of “White Room” started its life as an eight-page poem. Because I had had some spurious journalistic training at college, I was able to pare my eight-page poem to a single page of lyrics.</p> <hr /> <p><strong>BRUCE</strong> Musically, “White Room” was inspired by Jimi Hendrix. Jimi had a way of using chord changes and taking traditional ideas and modernizing them. He was a big fan of the band, and we certainly loved his music.</p> <p><strong>The acoustic “As You Said,” from <em>Wheels of Fire</em>, was an interesting departure for the band.</strong></p> <p><strong>BRUCE</strong> I wanted Eric to play guitar on that track, but he encouraged me to do it. I was always embarrassed about my acoustic guitar playing—especially having Eric Clapton in the band. But [<em>folk singer</em>] Richie Havens showed me this great opening tuning, and I wanted that guitar sound on the track. When I had the music completed, I went to Pete. He had these words already written which fit right on top of what we had done. It was perfect.</p> <p><strong>“Politician” is another memorable track from those sessions.</strong></p> <p><strong>BRUCE</strong> We were scheduled to perform on the BBC and needed a song. Pete had given me the words, which had a great blues feel to them. Eric and I were jamming and trying to come up with a lick. There was no big writing session or anything like that. It came together quickly, and we performed it for the first time on that radio program.</p> <p><strong>By the time <em>Wheels of Fire</em> was being recorded, the Bruce/Brown team had begun to outpace both Eric and Ginger as songwriters. Did that affect the band negatively?</strong></p> <p><strong>BRUCE</strong> The sessions for <em>Wheels</em> were very productive, but I think problems were beginning to emerge, because Eric and Ginger weren’t coming up with as much original material. I wasn’t even particularly happy that a lot of the songs were coming from Pete and me. Eric and Ginger were beginning to write some great stuff, but just not as fast. I would have preferred that management let us have a few months to work on new material, because that would have kept us moving forward.</p> <p><strong>BROWN</strong> My poetry background had me prepared for writing on demand. I had also stopped drinking and taking drugs, which helped a great deal. Jack was bubbling over, full of new ideas. Once he and I had established a way of working, there was a wellspring of material that came quite quickly. I tried to write with Eric and Ginger, but it didn’t seem to work out. Possibly it was due to chemistry, as Ginger was able to collaborate with Mike Taylor on a number of things, but we were never able to really connect.</p> <p><strong>As engineer for most Cream sessions, Tom, did you notice tension in the band during the <em>Wheels</em> sessions?</strong></p> <p><strong>DOWD</strong> With <em>Disraeli Gears</em>, once Ahmet felt that the group was comfortable, he left the details to Felix and me. Apart from my tape operator and a roadie or two, there was nobody else around. When the group came back to record <em>Wheels of Fire</em>, there was a whole different set of circumstances. I knew that there had been some animosity among the three players, but when we would listen to playbacks in the control room, there were times when I thought they were going to kill each other.</p> <p><strong>BROWN</strong> I know there was some resentment from Eric and Ginger, but songs were needed and Jack and I were there with the songs— good songs, which have stood the test of time.</p> <p><strong>BAKER</strong> The problem wasn’t that Jack and Pete were writing songs; the bone of contention was whether they should get all the credit for them. It still rankles me that I got no credit whatsoever for contributing heavily to the arrangement of two of Cream’s most popular tunes. The whole way “Sunshine” turned out was totally my input, and I’ve never even received a thank you for it. Also, the whole introduction to “White Room”—the 5/4 “Bolero” thing—was my input to the tune. When both songs came out, I wasn’t even mentioned. This happens to many drummers.</p> <p><strong>With the group’s tremendous success, couldn’t anything be done to mend the personal disputes?</strong></p> <p><strong>BAKER</strong> Not really. The problems started very early on. Actually, the only thing that held the band together <em>was</em> its success.</p> <p><strong>BRUCE</strong> In addition to the band’s creative tensions, there really was a lack of foresight or belief on behalf of the management. We worked much too hard. Three guys on the road, away from their friends and families for three long tours—that can be pretty destructive to a band. We certainly weren’t the first band that wasn’t helped by those circumstances.</p> <p><strong>Was Clapton’s discovery of the Band’s <em>Music from Big Pink</em> a factor in the group’s breakup?</strong></p> <p><strong>BRUCE</strong> Like a lot of people, Eric was deeply influenced by that album. We fell in love with the economy of that record and began to think that what we were doing was okay, but maybe kind of florid. I think the idea of us getting back to the roots indicated to me that we had lost a bit of our confidence in what we’d been doing.</p> <p><strong>Clapton has often spoken of <em>Rolling Stone</em> magazine’s condemnation of the band as another factor behind his decision to leave. [<em>In the May 11, 1968, issue, writer Jon Landau delivered a lengthy critique of Cream in concert, citing “one-dimensional” improvisations that “made no use of dynamics, structure, or any of the other elements of rock besides drum licks and guitar riffs.” In July that year, the magazine printed editor Jann Wenner’s remarkable assertion that “Cream is good at a number of things, unfortunately songwriting and recording are not among them.”</em>] Was this really an issue?</strong></p> <p><strong>BAKER</strong> The article had a very detrimental effect on Eric because he thought <em>Rolling Stone</em> had a lot of credibility. He was a very sensitive fellow, and I’m convinced the article did him a great deal of harm. It was his favorite magazine, and to read something like that in it hurt him.</p> <p><strong>BRUCE</strong> I remember that article very well. That certainly contributed to the end of Cream, but it was really quite silly. It tried to say that Eric Clapton couldn’t play the guitar. That was the kind of thing one would expect from the English music press, not <em>Rolling Stone</em>. It certainly hurt me, because they questioned our integrity. We were always sincere about music, right up until the end.</p> <p><strong>BAKER</strong> On the last U.S. tour, after a gig in Texas in 1968, Eric came to me and said, “I’ve had enough.” And I said, “So have I.” And that was it. We decided, for different reasons, that it was all over. When Cream died, it died. Short of murder, we couldn’t solve a problem between us.</p> <p><strong>While Cream decided to disband, you agreed to record <em>Goodbye</em>, a farewell album, and perform a November 1968 farewell concert at London’s Royal Albert Hall. Why?</strong></p> <p><strong>BAKER</strong> We wanted to go out on an up note. That’s why we did the album and the show at the Albert Hall. In fact, when we performed that last show, we were just blown away by the emotion from the audience. It went so well that we all wondered—just for a moment—if we had made the right decision, to split up.</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="/cream">Cream</a> </div> <div class="field-item even"> <a href="/eric-clapton">Eric Clapton</a> </div> <div class="field-item odd"> <a href="/jack-bruce">Jack Bruce</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/cream-jack-bruce-ginger-baker-tom-dowd-look-back-rise-curdling#comments Cream Eric Clapton Ginger Baker GW Archive Jack Bruce Pete Brown Tom Dowd Interviews News Features Magazine Mon, 27 Oct 2014 21:38:18 +0000 John McDermott http://www.guitarworld.com/article/1111 'Lost in the Dream': The War on Drugs' Adam Granduciel Talks New Album, Gear and Classic Rock Roots http://www.guitarworld.com/lost-dream-war-drugs-adam-granduciel-talks-new-album-gear-and-classic-rock-roots <!--paging_filter--><p>Over the course of three albums and almost 10 years, Philadelphia’s the War on Drugs have been mining a unique and entrancing brand of hazy, psychedelia-laced Americana. </p> <p>In their earliest days, the band was centered around guitarists, singers and songwriters Adam Granduciel and Kurt Vile. Following the release of their 2008 full-length debut, <em>Wagonwheel Blues</em>, Vile left to pursue a solo career, and the War on Drugs has since served primarily as a vehicle for Granduciel’s sprawling, atmospheric songs and emotive guitar excursions. </p> <p>The band’s most recent effort, <em>Lost in the Dream</em>, which Granduciel tinkered with for close to two years before releasing, has emerged as one of the most celebrated rock records of 2014, receiving almost unanimous praise from critics and debuting in the Top 30 on the <em>Billboard</em> 200. </p> <p>Following a performance in Boulder, Colorado, the 35-year-old Granduciel checked in with <em>Guitar World</em> to discuss his music, his gear and the War on Drugs’ incredible year.</p> <p><strong>GUITAR WORLD: You’ve been on the road for a while in support of <em>Lost in the Dream</em>. How does the live performance experience compare to the studio for you?</strong></p> <p>For me they’re two entirely different things, but I love both. You have to have the head space for both. I love playing guitar every night, and to be at this point where it’s like, the songs are done and I’m happy with the way they are on record, and I get to hear them be reinterpreted by the live band? That’s kind of the icing on the cake. It’s the best. </p> <p>Then, when it’s time to go in and make a record I get really into that process, too. I don’t try to bang it out in two weeks. I try to really get inside of it and make something that’s really special. I also have to think about how to use the live band in a studio setting, which is a tricky thing for me. Because you record the songs and then you go on tour for a year, and after that the natural thing to do is to be like, “Oh, let’s all go into the studio together.” But that can end up not necessarily being like how you think it would be. So I really like both things. I like working on the records the way I want to work on them, and then having the band breathe new life into the songs on the road. </p> <p>Many of the songs on the album—“An Ocean in Between the Waves,” “Under the Pressure”—have extended instrumental sections built into the studio arrangements. But in concert you stretch them out even further. </p> <p><strong>Do you tend to improvise those moments onstage?</strong></p> <p>Yes, but a lot of that, it takes months to get there. The record has these little guitar hooks here and there that are built-in, and I’ll stick to some of that stuff. But having played the songs 150 to 200 times now, I’m starting to get into territory that’s not on the record, and that I’m kind of happy isn’t on the record. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/bsoqmFL1vlU" frameborder="0" allowfullscreen></iframe></p> <p>When we started touring, a song like “Under the Pressure” didn’t sound as big as it does now. It took some time to figure out. Because everyone’s kind of meandering inside those chords. It took a while to gel. “Ocean,” too. When a record first comes out you try to stay pretty close to what’s there. Onstage I was trying to figure out what the solo was. Because I didn’t write it. I just kind of played it in the moment, and a lot of that stuff is improvised. And then you listen to it and it’s like, Oh, man, what’s that little lick? What’d I do? So you spend a few weeks trying to nail and then you realize, “Oh, let me just do what I’m feeling tonight…” And sometimes I hit a bum note, but I don’t mind. I kind of like hitting some bum notes here and there. Because you’re just kind of going for it.</p> <p><strong>Who were some of the guys that influenced your lead style?</strong></p> <p>When I was a kid I was definitely into Neil Young. I knew of him through my brother, who would play, like, Harvest Moon and Unplugged, and I really liked it. But I think I got turned onto his other side through Pearl Jam. Because it was the early 90s and for kids my age Pearl Jam was everywhere. I would see them playing together and it was like, “Oh, I didn’t know that guy also did this!” </p> <p>Also Jimi Hendrix. I mean, I don’t sound like Hendrix, but when you’re 13 and getting into guitar, having your mind blown by Hendrix definitely helps a lot. Then as I got older I started getting into Mike Bloomfield. I loved his playing on the Dylan records. And then I got into Sonic Youth, which was just so wild and different. </p> <p><strong>People tend to reference classic rock guys like Bruce Springsteen and Tom Petty when they talk or write about your music. Do you hear those sounds as much as others claim to hear them?</strong></p> <p>Maybe not as much as people talk about it. But they definitely are touchstones for me. With Springsteen it’s tricky—I’m a fan for sure, but it’s a different kind of fandom. I’m interested in what his record do to me, and the energy that’s on display in those records. I also sometimes use them as touchstones for their production. The Petty thing, I don’t hear it as much. I love Tom Petty the way a lot of people love him. He’s got so many amazing songs, and you know them by heart. They’re classics. So I guess they’ve just always been a part of my life. But I don’t know, maybe it’s a vocal thing with him as far as the comparisons. </p> <p>In general, though, those classic-rock touchstones people talk about I think show up in my general approach to making music, and what it means to me to be a songwriter. That’s mostly what I get from those guys.</p> <p><strong>To me, at least, one of the hallmarks of your writing style is that, while the instrumentation can be dense, there’s also a lot of space in the arrangements. Is this by design?</strong></p> <p>I like for things to have a lot of space. And while there’s a lot going on, I also don’t want them to be shrouded in 50 guitars and tons of reverb. I like that kind of classic-type sound. A lot of my favorite albums were tracked live, with a four-piece band. I love the way those albums sound, but I want to make records that sound like that in the way I like to make stuff. So I like open space. I like things to be dense, but without feeling overwhelming. I like there to be some dynamics, which I think is something I’m trying to get better at with each album.</p> <p><strong>That said, the way your music is produced, the instruments can often tend to blend together. Keyboards, guitars, even the vocals, due to the way they sit lower in the mix, become a wash of sound. </strong></p> <p>I think a lot of that also has to do with spending a good amount of time with the songs in my head, and working on them for a long time. So certain little melodies from the guitar end up becoming a little bit of a vocal melody or a keyboard part. Or you have a little bit of a vocal melody that winds up being mirrored on guitar. These things start intertwining over the course of an album. And I kind of like how at the end of the day it all ends up blending.</p> <p><strong>The writing and recording processes are, for you, generally solitary endeavors.</strong></p> <p>Yeah. Definitely. </p> <p><strong>What about that way of working appeals to you?</strong></p> <p>For me, I’m not the kind of guy who comes up with stuff by sitting down with an acoustic guitar and working on a song. It just kind of comes. It comes in those times when I set my stuff up late at night, or I hop on a Rhodes [piano] or something. I just start building a song up. I start thinking less about the chords in the song and more about the mood of the song. So it’s easier for me to build a song up from almost nothing and then watch it expand. </p> <p>Like, “Under the Pressure” is basically just two chords, but it wasn’t written by just playing those two chords over and over and singing on top of it. It started small, and then over the course of months and months it became a bigger song. At first it was just a cool drum-machine beat I had, and then I was playing these two chords on the electric guitar one night and it sounded nice, the way I had it coming through two amps. And I just kept laying things down from there. You start hearing some melodies, you put some real drums on it, some pianos. Then some hooks, and then it starts becoming a lot bigger. </p> <p>So that’s the way I’ve worked in the past. Now, I’m working on stuff here and there, and we’ll jam a few things at soundcheck to try and get some ideas flowing. Then when we’re off the road I’ll probably retreat for a while and do the same thing I’ve done before. I might involve the full band a little earlier in the process than I have in the past, but with the same idea in mind that you can keep adding and changing things. Because it’s usually less about sound and more about feel. And, nowadays, if you have a drum machine or a click in there you can always keep swapping things in and out, which is nice. </p> <p><strong>Because of this process that you’re describing, the line tends to blur for people as to whether the War on Drugs is a band or whether the War on Drugs is just you. Do you feel that line is blurry?</strong></p> <p>Yeah, I do. I like to think it’s a band, because live it wouldn’t sound like it sounds without the guys I play with. But over the years in the studio I’ve used different people on songs because it’s always been kind of loose as to what the band is. I have a lot of friends who are great drummers so I’d be like, “You’d be perfect for this song.” </p> <p>Or I would do a lot of the keyboards and piano on the records just because I came up with the part. But I think part of what makes the War on Drugs a band is that everyone is very open to that process. Everyone gets it, and no one feels threatened by it. I think that’s what makes it special. So it is kind of my thing, and the records maybe sound like they do because of that. But when I think of who plays on these songs I definitely think of it as a band. And with each album I think we’re becoming more of a band. Hopefully with the next record it will be even more of a full band approach as far as the performance of it.</p> <p><strong>Can you talk a bit about the gear you’re using?</strong></p> <p>Absolutely! On the road right now I have a white Strat—a ‘56 American reissue. And, actually, just yesterday we were in Asheville I found an exact color match in a 1982 Japanese 12-string Strat. It’s so sick, and it plays so sweet. I went into this guitar store in town to pick up some strings for a friend and I saw this white 12-string. I was like, “You gotta be shitting me!” I had to get it. So I have the Strat, and then I also have a ‘62 Jazzmaster reissue that Fender sent me. I wasn’t in love with it at first but then I put a Mastery bridge on it and I really enjoy playing it. It’s really clean and bright. I also have my ‘81 Les Paul Deluxe, which I love a lot. </p> <p><strong>You don’t see too many people playing those Deluxe models.</strong></p> <p>Yeah. I don’t know why more people don’t play them. They’re fairly light, especially for Les Pauls. And the mini-humbuckers are so clean. Real open-sounding. I love that guitar. It’s kind of its own thing. I also have a [Gretsch] White Falcon with Filter’Tron pickups, which is awesome. And a ’65 non-reverse Firebird. I love that guitar so much, but I don’t play it that much in the set because it’s such a different beast. The neck is longer so it feels like I’m playing a baseball bat. But I use it all the time in the studio. That and the Deluxe were the main guitars on the record. I also still my first guitar—a ‘63 Harmony Bobkat that my dad bought for me for, like, $90 in 1992. I used that a lot on the record as well. It’s such a sweet guitar.</p> <p><strong>How about amps?</strong></p> <p>Onstage behind the drum riser I have two Hiwatts—a ‘72 Hiwatt 100 going through a 2x15 cabinet, and then next to it a custom 50-watt going through a Matchless 2x12 open-back cab. And those are running in stereo. I used to have them behind me but it got too loud. I ended up not hearing the rest of the band as well. So now right behind me I have a Vox AC30 that I kind of monitor through. Just so I feel something. I also have a [Fender] Princeton on the drum riser, powering a Vibratone [Leslie speaker].</p> <p><strong>How about pedals?</strong></p> <p>I have a bunch of stuff, and I swap things in and out. I have one of those Custom Audio Electronic Bradshaw boards, and right now, I have two main fuzz pedals on it. One is a JHS Bun Runner, which is awesome. It has a fuzz on the left side and a Tonebender on the right, and you can kind of cascade in between the two. The other is a Wren and Cuff Tall Font Russian. I also have a couple distortion pedals on there, including a Mountainking Electronics and a Blackstone overdrive. Then there’s an Electro-Harmonix Stereo Memory Man, a Moog Minifooger tremolo, an MXR Flanger. This thing called the [Auralux] King Trem, which like a Uni-Vibe. I also have a clean boost that was built into the board by Bradshaw. A lot of fun stuff. </p> <p><strong>You’ve been on tour consistently since the release of <em>Lost in the Dream</em>, and you still have a lot of road work ahead of you. The album’s popularity only seems to be growing. Are you surprised at how well it’s been received? </strong></p> <p>I’m totally surprised, and I’m grateful. I’m also exhausted. But I’m definitely excited to keep touring and playing and seeing it grow. I’m fascinated by the crowds and also how the crowds are changing. You see your fan base develop and it’s like, “Oh, wow, our fans are nice people!” [laughs] People are attentive and they’re into the songs and they’re singing along. That’s really satisfying. </p> <p>Also, the opportunity to play to more people each night helps the band just get better and better. We have the ability to keep changing how we approach playing together onstage. If we’re playing bigger rooms we can kind of spread out, we can have more gear with us. That helps us reach those higher levels and get a little more musical. </p> <p><strong>Any opportunity to have more gear onstage is always a good thing.</strong></p> <p>Tell me about it. [laughs] Totally.</p> http://www.guitarworld.com/lost-dream-war-drugs-adam-granduciel-talks-new-album-gear-and-classic-rock-roots#comments Adam Granduciel The War On Drugs Interviews News Features Mon, 27 Oct 2014 21:32:14 +0000 Richard Bienstock http://www.guitarworld.com/article/22685 Take the Led Zeppelin Guitar Solo Video Challenge and Compete for a Supro Amp, Fender Telecaster and More! http://www.guitarworld.com/take-communication-breakdown-challenge-and-compete-supro-amp-fender-telecaster-and-more <!--paging_filter--><p>Led Zeppelin's debut album, <em>Led Zeppelin</em>, has been a source of inspiration — and challenge — for guitarists since it was originally released in early 1969.</p> <p>Now it's time to challenge you!</p> <p><strong><em>Guitar World</em> and Supro Amps have gotten together to present the Led Zeppelin Guitar Solo Video Challenge. The winner will receive a new <a href="http://suprousa.com/amplifiers/dual-tone/">Supro 1624T Dual-Tone guitar amp</a> (MSRP $1,459)!</strong></p> <p>The winner also will receive a <a href="http://www.fender.com/guitars/telecaster/classic-series-60s-telecaster-rosewood-fingerboard-black/">Fender Classic Series '60s Telecaster</a>, a copy of <em>Guitar World</em> Editor-in-Chief Brad Tolinski's latest book, <em><a href="http://guitarworld.myshopify.com/collections/guitar-world/products/light-shade?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=LightShade">Light &amp; Shade: Conversations with Jimmy Page</a></em> (signed by Tolinski), and the <em>Guitar World</em> instructional DVD, <em><a href="http://guitarworld.myshopify.com/collections/dvds/products/how-to-play-the-best-of-led-zeppelin-dvd">How to Play the Best of Led Zeppelin!</a></em></p> <p>You can check out photos of all the prizes in the photo gallery below.</p> <p><strong>NOTE: This contest is open only to residents of the United States. You must submit your video to <em>Guitar World</em> by December 10, 2014.</strong></p> <p><span style="font-size:18px;font-weight:bold;">Here's what's involved:</span></p> <p>Film yourself playing your own version of Jimmy Page's iconic "Good Times Bad Times" guitar solo! Use the studio version of the solo as your guide (You can hear it below), but feel free to put your own spin on the solo. You might get special consideration for originality! You can hear both original solos via the YouTube players below. </p> <p>Next, upload your video to YouTube and send the link — <strong>along with your FULL NAME and COMPLETE U.S. ADDRESS</strong> — to <em>Guitar World</em> at <strong>guitarchallenge@guitarworld.com</strong>. Note that you will not be considered an entrant unless you include your name and U.S. address with your video.</p> <p>The videos will be viewed by members of the <em>Guitar World</em> staff, plus celebrity judges who will be named later. We'll pick a winner by December 25, 2014!</p> <p>Good luck!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/gAVB25yjY5I" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/jpttzhOy8QE" 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> </div> </fieldset> http://www.guitarworld.com/take-communication-breakdown-challenge-and-compete-supro-amp-fender-telecaster-and-more#comments Fender Jimmy Page Led Zeppelin Led Zeppelin Guitar Solo Video Challenge Supro News Features Mon, 27 Oct 2014 19:09:07 +0000 Guitar World Staff http://www.guitarworld.com/article/22664 Jim Dunlop Effect Pedal Throwdown, Round 1: Jerry Cantrell Signature Cry Baby Vs. Joe Bonamassa Signature Cry Baby http://www.guitarworld.com/jim-dunlop-effect-pedal-throwdown-round-1-jerry-cantrell-signature-cry-baby-vs-joe-bonamassa-signature-cry-baby <!--paging_filter--><p>It's time to compare the mettle of Jim Dunlop pedals!</p> <p>In GuitarWorld.com's latest readers poll — the first annual Jim Dunlop Effect Pedal Throwdown — we're pitting Dunlop, MXR and Way Huge pedals against each other in a no-holds-barred shootout. </p> <p>Yes, we're pulling out all the stomps! Thirty-two stompboxes will go head to head — or toe to toe, if you prefer — culminating with the crowning of the king of Dunlop pedals.</p> <p>You can check out the beginning bracket — with all 32 competing pedals — in the <a href="https://www.scribd.com/">Scribd.com</a> window below (Be sure to click on the "full screen" button in the lower-right-hand corner to expand the bracket). </p> <p>The bracket will be updated after every matchup, and matchups will take place pretty much every day. Each competing pedal will accompanied by a demo video created by the Jim Dunlop company, and you'll always find a photo gallery of the competing pedals at the bottom of each matchup.</p> <h1>Today's Matchup</h1> <p>In today's matchup, the <strong>Dunlop JC95 Jerry Cantrell Signature Cry Baby</strong> goes foot to foot against the <strong>Dunlop JB95 Joe Bonamassa Signaturee Cry Baby</strong> pedal. Start voting below!</p> <p><Strong>YESTERDAY'S RESULTS</strong>: Yesterday, the <strong>MXR M104 Distortion+</strong> (53.15 percent) defeated the <strong>MXR M116 Fullbore Metal</strong> (46.85 percent) and advanced to the next round! <a href="http://www.guitarworld.com/tags/jim-dunlop-effect-pedal-throwdown">To see all the matchups that have taken place so far, head HERE.</a> Thanks for voting!</p> <h1>Meet the Combatants</h1> <p><strong><a href="http://www.jimdunlop.com/product/jc95-jerry-cantrell-wah">Dunlop JC95 Jerry Cantrell Signature Cry Baby</a></strong></p> <p>One of the most influential guitarists to come out of the Seattle rock scene, Jerry Cantrell's epic riffs and searing tone have been the driving force behind Alice in Chains since the late 80's. His melancholy wah-drenched melodies in modern classics like "Man in the Box" and "The Rooster" left an indelible mark on a generation of guitarists. </p> <p>Jerry favored wah-wahs with a wider, darker response, and Dunlop has painstakingly replicated that moody sound to create his signature pedal. It's custom-voiced for a tight, punchy heel-down tone and a rugged side-control knob lets you fine tune the toe-down frequency. And with its antique, oxidized "road worn" brass casting and custom Alice in Chains tread, this is one pedal that looks as great as it sounds.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/kPrDdtsKzIY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong><a href="http://www.jimdunlop.com/product/JB95-Bonamassa-Cry-Baby">Dunlop JB95 Joe Bonamassa Signature Cry Baby</a></strong></p> <p>Whether he’s blazing through the blues on his own or rocking with Black Country Communion, Joe Bonamassa’s playing is fiery, deep, and powerful. And when he really wants to express himself in a solo, he steps on a Cry Baby wah. That’s why we at Dunlop worked with Joe to develop the Joe Bonamassa Signature Cry Baby, specially engineered to fit in perfectly with Joe’s system, from the way it looks to the way it sounds. </p> <p>On the outside, it sports a classy copper top with a smooth-finish black body. On the inside, it features large, vintage-style thru-hole components, a Halo inductor (for added harmonic content), an output buffer (to prevent impedance imbalance with vintage fuzz pedals), and a switch for true-bypass or non-true-bypass operation (Joe prefers non-True Bypass as it darkens the high end). With its huge vocal sweep range, this is one of the most expressive Cry Babys ever, and it’s Joe’s tool of choice to accentuate every soulful bend and bluesy wail. “The first pedal I ever purchased was a Cry Baby, 25 years ago,” he says. “I am so honored to have my name on this pedal and hope it brings you as much fun as it brings me every night on stage.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/aLschwr2Ng0" frameborder="0" allowfullscreen></iframe></p> <h1>Voting Closed!</h1> <p>The <strong>Dunlop Joe Bonamassa Signature Cry Baby</strong> (50.67 percent) just barely defeated the <strong>Dunlop Jerry Cantrell Signature Cry Baby</strong> (49.33 percent) and advanced to the next round! <a href="http://www.guitarworld.com/tags/jim-dunlop-effect-pedal-throwdown">To see the current matchup and all the matchups that have taken place so far, head HERE.</a> Thanks for voting!</p> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View Damien Robitaille on Scribd" href="https://www.scribd.com/doc/244649684/Damien-Robitaille" style="text-decoration: underline;" >Damien Robitaille</a></p> <p><iframe class="scribd_iframe_embed" src="https://www.scribd.com/embeds/244649684/content?start_page=1&amp;view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_61375" width="100%" height="400" frameborder="0"></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="/joe-bonamassa">Joe Bonamassa</a> </div> <div class="field-item even"> <a href="/jerry-cantrell">Jerry Cantrell</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/jim-dunlop-effect-pedal-throwdown-round-1-jerry-cantrell-signature-cry-baby-vs-joe-bonamassa-signature-cry-baby#comments Jerry Cantrell Jim Dunlop Jim Dunlop Effect Pedal Throwdown Joe Bonamassa Poll Polls Effects News Features Gear Mon, 27 Oct 2014 15:30:09 +0000 Damian Fanelli http://www.guitarworld.com/article/22667 Guitar World DVD: Learn '50 Essential Expert Licks' from Joe Satriani, Jeff Loomis, Andy Timmons and More http://www.guitarworld.com/guitar-world-dvd-learn-50-essential-expert-licks-joe-satriani-jeff-loomis-andy-timmons-and-more <!--paging_filter--><p>Want to expand and diversify your guitar skills and repertoire? </p> <p><em>Guitar World</em>'s new <em><a href="http://store.guitarworld.com/products/50-essential-expert-licks/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=50ExpertLicks">50 Expert Guitar Licks</a></em> DVD helps you do it with great guitar phrases written and presented by some of the biggest virtuosos in rock, metal, shred, prog, fusion and other styles, including Joe Satriani, Marty Friedman, Alex Skolnick, Gus G and <em>Guitar World</em>'s own resident expert, senior music editor Jimmy Brown. </p> <p>Each lick includes tab, a written explanation to guide you through the lick and — best of all — video from the artist who created it. </p> <p><em>50 Expert Guitar Licks</em> is the most comprehensive instructional course of its kind.</p> <p><strong>Your Instructors:</strong></p> <p>• Michael Angelo Batio<br /> • Jimmy Brown<br /> • Zane Carney (John Mayer)<br /> • Mike Errico<br /> • Marty Friedman<br /> • Gus G (Ozzy Osbourne)<br /> • Joel Hoekstra (Night Ranger)<br /> • Joel Kosche (Collective Soul)<br /> • Jeff Loomis (Nevermore)<br /> • Rob Math (Leatherwolf)<br /> • Gary Potter<br /> • Glenn Proudfoot<br /> • Dave Reffett<br /> • Joe Satriani<br /> • Alex Skolnick (Testament)<br /> • Andy Timmons</p> <p><strong><a href="http://store.guitarworld.com/products/50-essential-expert-licks/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=50ExpertLicks">'50 Essential Expert Licks' is available now at the Guitar World Online Store for $14.95.</a></strong></p> http://www.guitarworld.com/guitar-world-dvd-learn-50-essential-expert-licks-joe-satriani-jeff-loomis-andy-timmons-and-more#comments News Features Fri, 24 Oct 2014 19:28:49 +0000 Guitar World Staff http://www.guitarworld.com/article/20058 DEC3: Guitarist Jon Haber Talks New Album, the Fulfillment of a Lifelong Dream http://www.guitarworld.com/dec3-guitarist-jon-haber-talks-new-album-fulfillment-lifelong-dream <!--paging_filter--><p>It might've been a long time coming, but guitarist Jon Haber has finally managed to achieve a goal he’s had since he was 6.</p> <p>Haber spent much of the early Eighties in a regionally successful band before switching gears to start the successful Alto Music chain.</p> <p>Haber, who never lost his knack for songwriting, finally got back on the other side of the counter as musician, songwriter and producer to release his first album, <em>DEC3</em> (pronounced "deck three").</p> <p>With influences that include the Beatles, Led Zeppelin, Queen and Foreigner, DEC3’s debut is an inspired blend of tasty playing, catchy melodies and memorable choruses. Joining Haber for DEC3 are longtime collaborators Chris Saulpaugh (vocals) and Mike Kalajian (drummer).</p> <p>I recently caught up with Haber to ask him about DEC3 and what satisfies him the most about making his musical dream come true.</p> <p><strong>GUITAR WORLD: What sparked the <em>DEC3</em> album project?</strong></p> <p>I think it’s a crime if you’re able to do something you love and then not do it. No matter what it is. Things might get in the way when you pursue your passion, but you only get one chance in this life. So about a year ago, I decided to do something I’ve always wanted to do, and that was to write and record a real record. </p> <p><strong>Tell me a little about your Eighties band. How close were you to making it to the next level of success?</strong></p> <p>At that time we had management representing us and were playing some really big clubs in the city. Unfortunately, we were more into partying and having a good time then honing our craft. We definitely had interest, but that’s where it really stopped.</p> <p><strong>What made you decide to switch gears and start your own business?</strong></p> <p>I had always worked in music stores, and after six years of gigging and the band becoming stagnant I thought it was time for a change. So I started focusing every possible ounce of energy (and still do) into growing the business into what it is today.</p> <p><strong>Where did you get your ideas for the songs on <em>DEC3</em>?</strong></p> <p>Whenever I get an idea for a title or a snippet of a song, I’ll plug it into my iPhone. What usually gets me going first is a good melody and chord change. Lyrics are also very important. I think when you have good music and the lyrics are just as good, it gives the song more longevity past that first listen. It makes the whole thing better.</p> <p><strong>Let’s talk a little about the songs on the album. What can you tell me about “Put Some South in Your Mouth”?</strong></p> <p>That was the last song we recorded. I remember I was out jogging in the city one day and ran up a side street. I saw this huge sign on a barbecue place where the slogan read, “Put some south in yo’ mouth!” I thought, “Man, what a great title!” I went right back home and wrote the song. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/19wi2J--DHQ" frameborder="0" allowfullscreen></iframe></p> <p><strong>What inspired you to write “Red Line”?</strong></p> <p>I was following what was going on in the news about Syria and how the leader of the country [Bashar al-Assad] was gassing his own people. It was such an outrageous act and something that should have stopped after World War I. Then I watched our government and the British government threatening to do something about it. Telling Assad that if he ever used chemical weapons on his own people again, that would be crossing a "red line" and we would take action. Of course, we didn’t take any action. So I put myself in the shoes of someone living there whose last hope is for the world to come and help them — and then it doesn’t happen. </p> <p><strong>What first got you involved in music?</strong></p> <p>When I was growing up I used to play Wiffle Ball with a kid who lived down the block. One day, he started talking to me about the Beatles. So I went back to my mom and asked if she had any of their albums. She had three, but the one I played the most was <em>Meet the Beatles</em>. I played that record non-stop and immediately started taking guitar lessons. </p> <p><strong>What’s the most rewarding thing about your job at Alto Music?</strong></p> <p>The most rewarding thing is being around music. I get to be surrounded by Les Pauls, Martins and PRS Guitars all day long. I also get to see a lot of talent come into my store. When Gavin DeGraw was 11, he would come in to my keyboard room every Saturday and sing Billy Joel songs. To see stuff like that is very rewarding.</p> <p><strong>What satisfies you the most about the DEC3 album?</strong></p> <p>This is a really strong collection of songs that appeals to a lot of different styles of music. I’m hoping this record provides the motivation to keep moving forward. Life is what you make of it. I put out a record that I’m very proud of and hope it will be a catalyst that will inspire others to do the things they’re capable of.</p> <p><em>For more information, visit <a href="http://dec3band.com/">dec3band.com</a>.</em></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href="http://gojimmygo.net/">GoJimmyGo.net</a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="https://twitter.com/JimEWood">Twitter @JimEWood.</a></em></p> http://www.guitarworld.com/dec3-guitarist-jon-haber-talks-new-album-fulfillment-lifelong-dream#comments DEC3 James Wood Jon Haber Interviews News Features Fri, 24 Oct 2014 19:23:23 +0000 James Wood http://www.guitarworld.com/article/22666