Features http://www.guitarworld.com/taxonomy/term/5/0 en The Top 10 Concept Albums of All Time http://www.guitarworld.com/top-10-concept-albums-all-time <!--paging_filter--><p>Rock music went to college in the Sixties. First it started pilfering from classical music and theater. Then someone had the psychedelic-induced idea to carry a single story over an entire album, just like in opera. </p> <p>And thus the genie was unleashed: the concept record, simultaneously emblematic of rock at its most ambitious and its most pompous. </p> <p>Some damn musicologist determined these to be the best examples of this form.</p> http://www.guitarworld.com/top-10-concept-albums-all-time#comments list lists Top 10 Guitar World Lists News Features Fri, 24 Apr 2015 17:54:23 +0000 Guitar World Staff 1995 at http://www.guitarworld.com The Top 10 Guitar Harmonies of All Time http://www.guitarworld.com/top-10-guitar-harmonies <!--paging_filter--><p>What’s better than a master guitarist pouring his guts out through his strings? </p> <p>How about <em>two</em> master guitarists simultaneously pouring their guts out through their strings? You read me? </p> <p>Do I hear <em>three</em> master guitarists? Will these questions ever stop? </p> <p>Whatever the case, synchronized guitar work—which requires skillful harmonization—can take the multi-guitar lineup to its full potential—that is, make all lead parts sound bigger and badder. Here are some of the baddest.</p> <p><strong>10. Racer X, “Scarified”</strong></p> <p>That Paul Gilbert and Bruce Bouillet play these stunning neoclassical arpeggios with such apparent ease is enough to make any insecure guitarist closet his ax for good. The fleet-fingered duo speed-pick their way through a cycle of 4ths, sweep-pick across <em>all six</em> <em>strings</em>, and tap the fretboard like some four-armed guitar god that worshippers both fear and revere.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/isFPCMAcPZM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. Metallica, “Master of Puppets” </strong></p> <p>It’s rare for James Hetfield to play lead, but when he does he makes it count. The solo he composed for the gentle middle section of this rager about drug abuse is a true attention-getter thanks largely to the sweet melody and high-register trills. In addition, the harmonies here proved that Hetfield and lead guitarist Kirk Hammett were more than just heavy-handed thrashers.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/kV-2Q8QtCY4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. Steve Vai and Billy Sheehan, “Shy Boy”</strong></p> <p>How does David Lee Roth make himself look good after parting with Van Halen? Well, he hires two Eddies. Sure, Sheehan is a bassist, but he plays the thing like a six-stinger. The breakdown at the song’s end, though short, displays some truly terrifying, ultra-meticulous two-hand tapping. The section functions much like a dangerous high-speed stunt—where a good deal of the audience’s thrill derives from a secret, morbid desire to see the stuntmen fall.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Kqc-Hfb9b-I" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. Bob Wills and His Texas Playboys, “Three Guitar Special”</strong> </p> <p>As the hired guns for Wills’s Western swing band, electric guitarist Eldon Shamblin, pedal-steel man Herb Remington, and electric mandolin player Tiny Moore held down three-part harmonies as though they were a horn section from a big band, all the while shredding through sophisticated jazz-based chromatic passages and arpeggios. Check out the ballsy amplification, especially of the mandolin. And this is 1947! </p> <p><em>Note: We can't find "Three Guitar Special" on YouTube, so we've included the audio of "Twin Guitar Special" from 1941:</em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/OxDD-XPr28g" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. Ratt, “Round and Round”</strong> </p> <p>Of those hair-farmin’, lip-poutin’, pantyhose-wearin’ pop-metal bands from the Eighties, this combo—featuring guitarists Warren DeMartini and the late Robbin Crosby—has the distinction of scoring a dual-guitar hit that wasn’t just a sappy ballad. After DeMartini takes a Halen-esque lead, Robbin Crosby joins in for the sustained string bends and descending scales that steal the spotlight from vocalist Stephen Pearcy.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/vuWD7VrHquU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>05. Thin Lizzy, “The Boys Are Back In Town”</strong> </p> <p>The trademark sound of the Scott Gorham–Brian Robertson tandem became the prototype for virtually every twin-ax metal band that followed. This sound is immortalized in this Top 40 hit, in which the guitarists' singing lines, adept phrasing and gradual ascension of the fretboard took the song to a dramatic climax above and beyond that of the final chorus.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/vuWD7VrHquU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. Slayer, “South of Heaven”</strong> </p> <p>Love them or hate them for pioneering a style of metal lead that is more noisescape than it is either tuneful or technical, the team of Kerry King and the late Jeff Hanneman created some of the most instantly recognizable harmony leads around, owing mostly to intervals that will creep the hell out anybody within earshot. If the chromatic descent on this unusually slow pounder doesn’t make you crap your pants, you’ve earned the right to join the Freemasons.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Qos9NgJPJ58" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. Boston, “More Than a Feeling”</strong></p> <p>When Les Paul pioneered multitrack recording, it was inevitable that someone like Tom Scholz would take it to the limit—by recording a solo six times over. Armed with pristine distortion, this one-man guitar army launched with this song what is perhaps the most evocative melodies in rock. Eventually, the consistent string bends, slurs and vibrato start to feel almost like a synthetic string section on the recording—a fact that would have disqualified Scholz from this list had he not hired Barry Goudreau and Brad Delp to help him reproduce the harmonies live.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/4N7qdcBJzJs" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. The Allman Brothers Band, “Jessica”</strong></p> <p>This joyous tune recorded shortly after the death of superhuman slide guitarist Duane Allman, with Dicky Betts and Les Dudek on electric guitars. They followed this theoretical formula on one of the most famous rock instrumentals of the Seventies: simple, catchy melody times two equals mondo hooks. The countrified harmonies that constitute this instrumental’s “verse” section are, arguably, the most lyrical in all of classic rock.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/c7bilvRfqc4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. The Eagles, “Hotel California”</strong></p> <p>Californian country-rock? Yeah, right. But throw in former James Gang guitarist Joe Walsh with Don Felder and Glen Frey and you’ve got a dreamy and dramatic chorus of electric guitars stacking arpeggios over a quasi-Spanish chord progression. Ah, you can almost detect the warm smell of “co-lee-tas” in the air…</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Mj1i_yx5BV0" 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="/ratt">Ratt</a> </div> <div class="field-item even"> <a href="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/top-10-guitar-harmonies#comments Billy Sheehan Metallica Steve Vai The Eagles Guitar World Lists News Features Fri, 24 Apr 2015 17:34:22 +0000 Guitar World Staff 1996 at http://www.guitarworld.com Guitar Legends: 100 of the World's Most Iconic Guitars — Available Now! http://www.guitarworld.com/guitar-legends-100-worlds-most-iconic-guitars-available-now <!--paging_filter--><p><a href="http://store.guitarworld.com/collections/guitar-legends/products/guitar-legends-100-of-the-worlds-most-iconic-guitars/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=100IconicGuitars">Guitar Legends: 100 of the World's Most Iconic Guitars</a> is available now at the Guitar World Online Store for $9.99.</p> <p>This special issue of <em>Guitar Legends</em> also features:</p> <p><strong>The 10 Most Expensive Guitars</strong>: Think you paid a lot for your new handmade acoustic or custom electric? Get a load of the prices paid for these babies.</p> <p><strong>The 50 Most Collectible Vintage Guitars</strong>: What axes are worth coveting today? Here's our comprehensive A-to-Z list of the most valuable-and enviable-models.</p> <p><strong>Randy Rhoads' Concorde</strong>: How he and Grover Jackson defined metal-era guitars with their 1980 custom ax.</p> <p><strong>Duane Allman's Gibson Les Paul</strong>: His long-lost Goldtop has been found and given a new lease on life.</p> <p><strong>Ace Frehley's Collection</strong>: The legendary Spaceman explains his devotion to the mighty Paul.</p> <p><strong>Kurt Cobain's Jagstang</strong>: How the grunge king created an entirely new animal for Fender.</p> <p><a href="http://store.guitarworld.com/collections/guitar-legends/products/guitar-legends-100-of-the-worlds-most-iconic-guitars/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=100IconicGuitars">It's available now at the Guitar World Online Store.</a></p> <p><img src="/files/imce-images/legend.jpg" width="620" height="813" alt="legend.jpg" /></p> http://www.guitarworld.com/guitar-legends-100-worlds-most-iconic-guitars-available-now#comments Features Fri, 24 Apr 2015 11:56:46 +0000 Guitar World Staff 16316 at http://www.guitarworld.com ‘Peace Out’: Guitarist Gunnar Nelson Talks New Nelson Album, Guitars and ‘After the Rain’ http://www.guitarworld.com/peace-out-guitarist-gunnar-nelson-talks-new-nelson-album-guitars-and-after-rain <!--paging_filter--><p>Twenty-five years ago, two long-haired blond twins set the world on fire with their debut album, <em>After the Rain.</em> </p> <p>At a time when glam metal was giving way to grunge, Nelson touched a nerve with the album's hook-laden title track and “(Can't Live Without Your) Love and Affection," a Number 1 single.</p> <p>Today, Gunnar and Matthew Nelson are still going strong. They perform full-band shows as Nelson, pay tribute to their father with their Ricky Nelson Remembered shows and take part in all-star <em>Scrap Metal</em> performances across the country. </p> <p>While Nelson’s upcoming album, <em>Peace Out</em> [set to be released May 19] might be considered the rock band’s swan song, it might also be their best album, ever. <em>Peace Out</em> is an infectious collection of songs showcasing the maturity of the songwriting as well as Gunnar’s guitar prowess. </p> <p>Next year, Gunnar and Matthew will begin a new duo project focusing on guitars and vocals. So if <em>Peace Out</em> truly is the end of the rock version of Nelson, Gunnar and Matthew are certainly going out in style.</p> <p>I recently spoke with Gunnar about <em>Peace Out</em> and his gear and got his thoughts on the 25th anniversary of <em>After the Rain.</em></p> <p><strong>GUITAR WORLD: How does <em>Peace Out</em> compare to some of Nelson’s previous records?</strong></p> <p>Honestly, if I were to recommend a Nelson record to someone who has never heard the band before, it wouldn’t be our first record [<em>After the Rain</em>]. It would be this one. This one features the best of the songwriting, guitar work and vocals. Most of all, the theme of the record is positive, and that’s what this band is 25 years in. When most everyone else is trying to be tough and rock, we want to make people feel good about listening to music.</p> <p><strong>Why the title, <em>Peace Out</em>?</strong></p> <p>As Nelson the rock band, this will most likely be the last album that will ever be made. Next year, Matthew and I are going in a new direction that focuses more on two guys with guitars. So we really wanted to do an album that punctuates our career in the same way <em>After the Rain</em> heralded it. If this is going to be our swan song as Nelson, I want it to be done on our terms and to the best of our ability. </p> <p><strong>What was the songwriting process like for the album?</strong></p> <p>For guitar-centric things, most people start off with a riff, but that never worked for me. For me, it’s all about melody. Years ago, I remember reading an interview where Paul McCartney said he wants to write melodies that people can’t get out of their head and ones they can hum in the shower. That really made an impact on me. For this album, the ideas started with the melody first. It’s very organic. </p> <p><strong>Let’s talk about a few tracks from the album, starting with "Rockstar."</strong></p> <p>Being a rock star is a state of mind. I wrote that song after I pulled up to a stoplight one day. I looked over and saw this guy in the car next to me just blissfully banging his head to AC/DC. He literally looked like he was fresh out of 1985. As far as he was concerned, he was in his limo on his way to play a concert. I thought, “Man, that guy’s got it all!"</p> <p><strong>"Let it Ride"</strong></p> <p>I remember I was making a comment on something I saw while watching TV. I thought it was ironic that the poker championships were being broadcast on a sports network. Then the more I thought about it, the more I thought it would be cool to make metaphoric reference to a poker game as far as how to live your life. Basically, you can quit halfway through the game or bet all of your chips on your instincts.</p> <p><strong>What are your tour plans like for this year?</strong></p> <p>This year, we’ll primarily be focusing on Nelson rock band and Ricky Nelson Remembered shows. We also have six shows already on the books for Scrap Metal where we’ll be doing some gigs with Lita Ford and Stephen Pearcy. It’s going to be a lot of fun. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/9_d0YTF5fro" frameborder="0" allowfullscreen></iframe></p> <p><strong><em>After the Rain</em> was released 25 years ago this year. When you think about that album and era, what comes to mind?</strong></p> <p>I feel two different things. On one hand, I feel grateful that we were able to experience that kind of success so young. That was the end of a musical era. In fact, our record label actually signed Nirvana halfway through our tour cycle. I do wish our record company had released the record two years earlier, because that’s when we turned it in and they just sat on it. Had they have done that, we might have had the opportunity to release a few more records that would have defined our career a whole lot more indelibly.</p> <p><strong>What was the inspiration behind the title track?</strong></p> <p>It started out just being a typical relationship song, but then halfway into it I realized it had a greater meaning. I wrote a line that I really loved and it dictated my philosophy: “Don’t be afraid to lose what was never meant to be." That’s when I realized the title of the album was <em>After the Rain.</em> It was an autobiographical theme we were going for. The truth is, it doesn’t matter what your past was. You can always dictate your present and future.</p> <p><strong>What can you tell me about the song “Love and Affection”?</strong></p> <p>The interesting thing about that song was that at one point it was actually dropped from the album. Fortunately, we had some managers at the time who took the demo to David Holman [mixer] who said, “This is really special. Let’s work on it." So we spent a week working on it and giving it a pop level remix, and it became a Number 1 single!</p> <p><strong>What’s your guitar setup like these days?</strong></p> <p>My number one axe was made for me by John Cruz in the Fender Custom Shop. He made me a Mary Kay Telecaster. It’s got a Jeff Beck-style cutout and a set of Abigail hand wounds in it. It’s a beautiful guitar and matches my Mary Kay Strat perfectly. John also made me a Fender P Bass Mary Kay. My favorite thing to bring out is my Tele and a Mark Sampson DC30. It doesn’t matter if it’s for Ricky Nelson Remembered, Scrap Metal or Nelson. That’s my sound. </p> <p><strong>If <em>Peace Out</em> is to be the last go around as Nelson the rock band, how would you like the band to be remembered?</strong></p> <p>I would love to be remembered for our uniqueness, the strength of the songwriting and vocalizing and how we used our Southern California influences. Unlike many other artists, we didn’t grow up around the blues. We grew up around the Eagles, the Beach Boys, the Hollies and my dad’s Stone Canyon Band. So when I look back on our career, the thing I’m most proud of is how different we sounded and how unique our trip was. </p> <p>For better or worse. Back then, when people mentioned Nelson they’d always say, “Oh, you mean the guys with the long blond hair!” But that was planned too. Now here we are all these years later. The hair’s a lot shorter but I hope the songs are even catchier than when we started out.</p> <p><em>For more about Nelson, visit <a href="http://www.matthewandgunnarnelson.com/">matthewandgunnarnelson.com.</a></em></p> http://www.guitarworld.com/peace-out-guitarist-gunnar-nelson-talks-new-nelson-album-guitars-and-after-rain#comments Gunnar Nelson James Wood Nelson Interviews News Features Thu, 23 Apr 2015 20:43:28 +0000 James Wood 24374 at http://www.guitarworld.com Ten Questions with While She Sleeps Guitarist Sean Long http://www.guitarworld.com/ten-questions-while-she-sleeps-guitarist-sean-long <!--paging_filter--><p>U.K. rockers While She Sleeps have just released their second album, <em>Brainwashed,</em> via Razor &amp; Tie. We figured that gave us a fine excuse to pick the brain of WSS guitarist Sean Long. Here are our 10 questions.</p> <p><strong>01. While She Sleeps <a href="https://itunes.apple.com/us/album/brainwashed/id983791369">just released their new album</a>, <em><a href="https://itunes.apple.com/us/album/brainwashed/id983791369">Brainwashed</a></em>, in the U.S. How are fans reacting to it?</strong></p> <p>We couldn't be happier with how people are receiving the record. No one seems to have a bad word to say about it, which is quite amazing for us. </p> <p>After having the album with us for so long, working, changing and developing it, it can very easily become quite scary. For example, "Is it just us who thinks it's great and we've lost our minds?" [laughs] So when people finally hear it and actually love it, it is an amazing sigh of relief.</p> <p><strong>02. How did the writing process differ on the new album versus your debut, <em>This Is the Six?</em></strong></p> <p>We've always written our music off the back of our latest material, using it as inspiration, among other things, to keep our sound alive. So you could say, in a strange sense, we've been writing for each album since we started creating music. For example, I'm already writing for the next record, so there's never really a stand point to start writing. However, there is a point at which we decide to start to compile all our work together and begin to create block socks. </p> <p>The way in which it has differed this time is how staggered the whole song arrangement and writing has been. Due to Loz's [Lawrence "Loz" Taylor] throat problems, it made it difficult to stay on top of the music side of things for me, as I usually feed off of new vocal ideas from him, which makes me flow with the music. </p> <p>Also, because of the time we lost, it meant we had to leave a lot of the vocal and melody writing to Mat [Welsh] and Loz to track a lot of it on the day, and it left little room for group writing sessions. As always, it was a blessing in disguise as Mat and Loz really thrive on pressure because it forces you to produce what you really want because time is thin, and it will force out the truth.</p> <p><strong>03. What kind of gear did you use on <em>Brainwashed</em>?</strong></p> <p>For amps, we used a Marshall JVM205 and a Peavey 6505. Guitars ranged from an Ibanez FR, an Ibanez Roadcore, a Telecaster, a Gibson ES-335, the Epiphone Matt Heavy Signature model and a Les Paul Special. Plus a wide range of acoustics.</p> <p><strong>04. How does your gear differ from the studio to the stage?</strong></p> <p>I’ve tried my hardest to sound as much like the records a possible. In no way does that mean it’s all polished live, as we love the fact that a live show is completely different every time. But tone-wise, I take pride in trying to make it like the record just so kids can thrive off of our it sound from already listening to the record.</p> <p><strong>05. What's the first song you learned on guitar?</strong></p> <p>"Damn It" by Blink 182. Aaran [Mckenzie] our bassist used to play guitar when he was younger, and it was the first song he taught me. Blink rule!</p> <p><strong>06. Is there a particular style of music or any guitarists that inspired the way you play on the record?</strong></p> <p>Not really. Like I said, we like to take inspiration from our own lives and try and make our own vibe from that. But I have to say, introducing the whammy was definitely a blast of Rage Against the Machine, as they were one of the first bands I loved, and I hadn't listed to them in years.</p> <p><strong>07. There are plenty of heavy riffs and solos on the new record. What's your favorite song to play and why?</strong></p> <p>Either "Brainwashed" of "Life in Tension." "Brainwashed" because of the shred fest at the end [laughs]. I fucking love that riff and have been waiting for a long time to play and watch how it works live! "Life in Tension," on the other hand, is really fast but easy to play live, but then I get to rock a new whammy sort of vibe in the chorus, which is awesome.</p> <p><strong>08. The band is known for its DIY work ethic. How has this influenced your guitar setup and the way you play?</strong></p> <p>I’ve sort of stopped caring so much about if I have all the best gear, as when in was younger that’s all I wanted and thought that was the way to go. It turns out if you really enjoy playing live, it will shine through your playing. You can have all shiny gear, but really it’s the passion behind the writing that will dictate the power of the presentation.</p> <p><strong>09. If you could have any guitarist, dead or alive, join you on stage for a shred session, who would it be and why?</strong></p> <p> Tom Morello. Just because I wouldn’t be doing this interview and wouldn't of got hooked if it wasn’t for him. He's an absolute legend!</p> <p><strong>10. While She Sleeps will return to the U.S. in June for the Vans Warped Tour. What are you looking forward to the most? Is there anything you know now that you didn't when you played the fest in 2013?</strong></p> <p>Yeah; it's fucking hot as shit [laughs] We've all learned a lot about prepping for the tour beforehand and being ready on the first day. It’s a brutal tour for sure, but we're still stoked to get a fire going in the States. We can't fucking wait!</p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/98028671%3Fsecret_token%3Ds-1ImDB&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe></p> http://www.guitarworld.com/ten-questions-while-she-sleeps-guitarist-sean-long#comments Sean Long While She Sleeps Interviews News Features Thu, 23 Apr 2015 19:10:30 +0000 Guitar World Staff 24371 at http://www.guitarworld.com Eddie Van Halen Discusses 'Tokyo Dome Live in Concert,' Van Halen’s First Official Live Record with David Lee Roth http://www.guitarworld.com/eddie-van-halen-discusses-tokyo-dome-live-concert-van-halen-s-first-official-live-record-david-lee-roth <!--paging_filter--><p>Van Halen accomplished a lot during the seven and a half years between the release of the band’s debut album in 1978 and David Lee Roth’s departure from the band in 1985. </p> <p>However, one thing Van Halen never did during that period was release an official live album, even though almost every other rock band that was around during the late Seventies and early Eighties released one, and some bands even released several. </p> <p>It has now been about seven and a half years since Van Halen played its first shows in 2007 with David Lee Roth back as the band’s frontman once again, and finally the band has fulfilled the wishes of fans who have longed for years to hear a live album with Roth singing the group’s classic material. </p> <p>On March 31, Van Halen released <em>Tokyo Dome Live in Concert,</em> a two-disc package containing all 25 songs that the band performed during their concert at Japan’s Tokyo Dome on June 21, 2013. Featuring nearly two hours of material, the album includes songs from all of Van Halen’s first six albums as well as three songs from their 2012 studio effort, <em>A Different Kind of Truth.</em></p> <p>Unlike many live albums, which are compiled from several shows and liberally edited to correct mistakes, <em>Tokyo Dome Live in Concert</em> captures Van Halen’s Tokyo performance in its entirety as it actually happened, mistakes and all. The band hired award-winning engineer/producer Bob Clearmountain to mix the album and present the recordings in their best audio quality, and as a result the nuances of Eddie Van Halen’s guitar solos, Alex Van Halen’s drumming, and Wolfgang Van Halen’s bass lines come through loud and clear without diminishing the power and energy of their performances. </p> <p>Hearing Roth speak to the audience in Japanese is also a rare treat, but for readers of this magazine the best gift is Eddie’s eight-minute guitar solo—the longest track on the album—which combines “Eruption” and “Cathedral” with some of his most dazzling fretwork ever captured for posterity. </p> <p> Although Van Halen doesn’t crank out studio albums at the furious pace they did when Roth was first with the band (even today’s most prolific bands don’t release six studio albums in six years anymore), they have remained surprisingly productive since their last tour ended in the summer of 2013. </p> <p>The band is currently rehearsing for a new tour scheduled to start in July, and in January Wolfgang started work on his own project, which consists of himself and Eric “Erock” Friedman and is being produced by Michael “Elvis” Baskette. </p> <p>Ed also took time to travel to Washington, D.C., in February to be honored by the Smithsonian National Museum of American History, donate two guitars and an amp to the museum, and participate in Zocalo Public Square’s “What It Means to be American” interview forum.</p> <p> Ed also remains very busy with his EVH brand guitars and amps. He’s developed and introduced a steady stream of new models over the last couple of years, including a new affordable Wolfgang Standard model, a redesigned Wolfgang Special model, a 5150III 1x12 50-watt combo and the limited edition 5150III“S” touring head. </p> <p>In addition, EVH recently introduced the “Stripe Series” guitars based on iconic instruments from Ed’s past. Even in the midst of releasing a live album and rehearsing for a tour, Ed is working on several exciting new products with EVH and MXR/Dunlop that will be introduced later this year or early next year.</p> <p> Ed may have celebrated his 60th birthday on January 26 but, unlike most other people who reach this milestone, retirement is the very last thought on his mind. With the release of a long-awaited live album featuring David Lee Roth singing classic Van Halen songs behind the band and the release of Wolfgang’s project coming up, a new chapter in the Van Halen story is being written as the focus turns from the past to the future. </p> <p>While the lack of official news from the Van Halen camp between the last 2013 tour dates and the announcement of the live album caused many fans to speculate the worst, in reality the band has never been more functional, agreeable and drama-free, which is the best news any true fan could want. What the band’s next step will be remains unknown, but what is certain is that it will be a hell of a ride once it arrives.</p> <p><em>Guitar World</em> recently sat with Eddie Van Halen to discuss the making of <em>Tokyo Dome Live in Concert,</em> Wolfgang’s upcoming album and the secrets of staying youthful at 60.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/U2JqV7lPJr0" frameborder="0" allowfullscreen></iframe></p> <p><strong>GUITAR WORLD: What was the motivation for releasing a live album at this point in Van Halen’s career?</strong></p> <p>We realized that we have never made a live album with Dave. Since we had already released a studio album with Wolfgang playing on it, it also made sense for us to do a live album with both Wolf and Dave. Another reason why we put out a live record was to give people the experience of hearing us play our classic songs live.</p> <p><strong>Did you record any other shows or just the Tokyo show?</strong></p> <p>We have a Pro Tools rig out by the front of the house and have recorded every show since the beginning of the 2007 tour when Dave first got back in the band. But we never originally intended to put out a live record. We just recorded our shows to archive them. </p> <p>We have so much material that it was too overwhelming to listen to about 150 shows and pick the best one. I didn’t even bother listening to any of the past shows, outside of a few jams here and there. We played pretty much the same set every night, although we changed a few songs here and there. We played the classics. That’s what people want to hear. </p> <p>Because the performances by Alex, Wolfgang and myself were pretty consistent from one night to the next, we decided to leave it up to Dave to pick, and he happened to pick Tokyo. Performing live is a lot harder on a singer. Wolfgang and I sing backup vocals on the choruses, so we know how much the vocals can vary from one night to the next. When your voice is your instrument, you can be affected by a lot of different things. If you sleep with the air conditioner on or the bus ride is too long, you can wake up the next day with a fucked up voice. That’s the main reason we decided to let Dave pick.</p> <hr /> <p><strong>The sound quality is excellent considering that the recordings were originally just archives of your shows.</strong></p> <p>Bob Clearmountain wasn’t at the Tokyo show, and we didn’t have any special engineers recording at our shows. That’s also why there is no video of the Tokyo show—we didn’t originally plan to release a live recording of that show. Making a video of a live concert is a whole other production. The way we did it was more impromptu and unexpected.</p> <p>Bob did a great job mixing it. Alex and I listened at first to make sure that the basic instrument sounds were down, and then we let him go. Bob kept sending us mixes and we just said, “It sounds good to us!” As long as we could hear all the instruments it was good! [laughs]</p> <p><strong>If you recorded video of the show, you’d probably feel a lot more pressure to get everything right.</strong></p> <p>I already feel that pressure. Every time I get onstage I want to give the people the best performance possible. Since we record every night that doesn’t make things any different from one night to the next. To film it would have been much more time consuming. Then we would have had to look at all of the footage and figured out what to use. The fact that we weren’t planning it made it that much more special to us. </p> <p>That’s also why we decided to keep the recording completely live. There are mistakes. After it was mixed I listened to a few parts and went, “Okay, I fucked that up.” [laughs] But that’s how it sounded that night, so we just left it. It’s like a photograph of that evening, and we didn’t Photoshop it. We did nothing. When you fix parts or mistakes, it’s not a real live experience anymore. </p> <p><strong>The performances sound powerful, but what’s really impressive is that the band still sounds aggressive after more than 40 years.</strong></p> <p>Van Halen has been aggressive since day one. The rawness of the recording adds to the power. There’s this uncontrolled energy that exists in us that spills over the edges. It’s never really right or perfect, but it creates tension. It’s like, “Okay, who is going to blow it?” [laughs] When you keep waiting for someone to fuck up but no one does, it keeps you on the edge of your seat. It’s just raw. It’s the real thing. If people are expecting a perfect live record, well, then it’s not really live anymore. </p> <p> I was really bummed when I heard from Andy Johns—rest in peace—that Cream’s “Crossroads” [<em>Wheels of Fire</em>] was put together from different shows! That ruined it for me. I thought it was one performance, but it wasn’t. I don’t know if anybody else has ever put out a live album that is really, truly live. </p> <p>The only exception I can think of is the old Monterey Pop Festival with the Who and Janis Joplin, where Hendrix burned his guitar. That was obviously not fixed. Woodstock was like that too. The only thing I hated about the Woodstock movie is that they had so many close-ups of things but you never got to see the big picture of the bands performing. Like “I’m Going Home” by Ten Years After—all you saw was close-up shots of Alvin Lee, and you never saw the whole band. I didn’t like the way it was filmed. </p> <p><strong>The show that Van Halen performed in Tokyo was kind of a combination of the 2012 tour and the 2007-08 tour. You performed several songs from the 2007-08 tour that you didn’t play often, if at all, during the 2012 shows, like “I’m the One.” </strong></p> <p>The Tokyo show was also one of our longer shows because we had no opening act. It pushed about two and a half hours. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/0COXaAhjj50" frameborder="0" allowfullscreen></iframe></p> <p><strong>What do you remember about the Tokyo show?</strong></p> <p>I remember it was long! [laughs] I was beat at the end of that show. Japanese fans are always so over-the-top and animated, especially since they’re now allowed to stand at shows. They used to be so controlled when they were forced to sit down, but now it’s mosh pit craziness. We played at “The Big Egg”—the Tokyo Dome, which is a baseball stadium. There were more than 50,000 people there, so it was loud. </p> <p><strong>It’s really cool to hear Wolfgang’s fills in detail on the record. Sometimes those details are easy to miss when watching a live show.</strong></p> <p>On the classics he embellishes in his own style. What blows my mind are some of the licks that he throws down during the breakdown in “Mean Street.” He’s hauling ass but still in the pocket and groovin’! It makes it exciting.</p> <p><strong>There’s a nice improv section during “You Really Got Me” that is longer and different than what the band did during the 2012 shows I saw.</strong></p> <p>The little jam sections were the only parts that changed from night to night. Sometimes we’ll play “Crossroads” or stray off wherever we feel like going that night. There might have been better ones, but that’s what we played that night. </p> <p><strong>At the end of “And the Cradle Will Rock” you played the “Smoke on the Water” riff.</strong></p> <p>We always have to figure out how to end that song. Since we were in Japan, we decided to play “Smoke on the Water.” Deep Purple’s <em>Made in Japan</em> album blew that song out of the water, so we thought it would be fun to play that song there. </p> <p><strong>Why didn’t the band release a live album with Dave back in the Seventies or early Eighties?</strong></p> <p>I don’t know. We used to tour so much and were on the road constantly, but it never occurred to us that we should record our shows. Back then you didn’t have Pro Tools so it wasn’t as easy to record shows. You had to hire a mobile truck. </p> <p>People ask why we’ve never released the rest of the 1981 Oakland show that we recorded on video. The reason is because we only recorded three songs—“Unchained,” “Hear About it Later” and “So This Is Love.” We actually filmed those three songs for two nights. On “Unchained” I broke a string the first night, and if you watch the video you can see my guitars change just for a few seconds then switch back. We used the second night of audio, so you can’t hear it, but we used video from both nights. The bottom line is we can’t ever release the whole Oakland show because we didn’t film or record the whole show. </p> <hr /> <p><strong>It seems like back then you were concentrating more on recording the next studio album.</strong></p> <p>On the bus all I would do is write songs. As soon as we got home people from the label would be asking me what new songs I’ve got. </p> <p>During our first tour in 1978, we were out for 11 months, but our contract stipulated that we owed our label our second record by the end of the year. We basically had three weeks left that year to finish our second record. We cranked out <em>Van Halen II</em> because that was what I had written. </p> <p><strong>Did your touring rig change at all since we last caught up with you in April 2012?</strong></p> <p>I’m always refining my tone because my taste changes. I used the 5150III“S” in 2013. We put out a limited run of the III“S” in 2014, and we just built another limited run for 2015. </p> <p>The second and third channels share a more common tonal DNA than they do on the main production 5150III head. You can’t tell when I’m changing back and forth between channel 2 for rhythm and channel 3 for solos because the tonal character of channel 2 is so complementary to channel 3. I like having more gain for my solos because it sounds buttery and is smoother to play. </p> <p>Just last week, we were working on a new amp. Everybody is always screaming for my old Marshall sound. Well, we’re working on it, and it’s in the pipeline! It’s a new amp head. We’re not sure what we’re going to call it yet, but I’m thinking of calling it the 5150-34, because it has EL34 tubes. It gets the exact tone of my Marshall plexi in the early days. When I plug into it I go, holy shit! It’s like my old Marshall on steroids. </p> <p><strong>It has the same tone but more sustain.</strong></p> <p>The classic Van Halen tone chasers are really going to love this new 5150-34, because if it literally blew my mind, it’s completely going to blow theirs. When Wolfgang checked it out he was saying, “Dad! I’ve got to have one of these!” I don’t know how Howard [Kaplan, senior electronic engineer at Fender/EVH] did it. He got that classic vintage sound but with more sustain exactly as I had envisioned it and asked him to do. He did an amazing job. </p> <p><strong>How did it feel to be honored by the Smithsonian National Museum of American History for your contributions as an inventor and musical innovator?</strong></p> <p>It took me by surprise. To me it’s way beyond a Grammy or the usual music industry awards. To be acknowledged by the Smithsonian for my contributions to American music and pop culture is much bigger and more of an honor than any award I could think of. It’s amazing to think that I’ve contributed something to the history of this country, especially since I came here from a different country. I think it’s the highest honor you can get. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ZuddpdSVh8I" frameborder="0" allowfullscreen></iframe></p> <p><strong>One detail that really stood out to me from the event was your explanation of just how important your family has been to your music and motivation.</strong></p> <p>The four of us—my mom, dad, Alex, and I—were very tight-knit. When you come to a new country, you can’t speak the language, and you have no money, you’d better be a team or else we wouldn’t have made it. My mom was the one who basically wore the pants. She took care of the finances. We all worked, gave the money to her and she took care of the rest. It forced us to be close. There was nothing else we could do but work and try to make it through our weekly payments. </p> <p>I don’t even know how to explain how it feels to have Wolfgang follow in the footsteps of my father and me. He’s a third-generation Van Halen. When people ask me what it’s like to play with my son all I can say is that it’s the greatest feeling you can imagine.</p> <p><strong>How is Wolfgang’s album coming along?</strong></p> <p>He’s still working on it with Erock [Eric Friedman]. He used mostly old Marshall amps, a 5150III, an early Seventies Sound City 50 and a lot of my old guitars. He really fell in love with my 1959 Gibson ES-335. </p> <p>I don’t know how he got those Marshalls to sounds that way. I couldn’t get the sound out of them that he did! I guess there’s a benefit to playing both bass and guitar, as his fingers are so damn strong. He’s playing drums, bass, and guitar on the album. It’s like AC/DC meets Van Halen meets aggressive pop. The riffs are catchy. It’s a little of everything and sounds like a freight train coming at you. I’ve never heard anything quite like it. It’s so powerful that I’m jealous. </p> <p>Ah, to be young…. As you get older you get so many more things to deal with in life. I just turned 60, and my main priority now is to maintain my health. I’ve beaten cancer four times and dealt with other health issues. Now it’s all about working out every day and doing Pilates. </p> <p>I used to spend all day playing guitar, but now some of that time is spent in the gym. I’ve lost 10 pounds since people saw me at the Smithsonian and dropped a lot of body fat. You’ve only got one body. When I turned 60 something clicked inside me, and I thought that I’d better get my shit together. Being 60 sounds old, but I don’t feel any different in my head, which is scary in its own way, you know what I mean? [laughs] I feel like I should be smarter, but sometimes I feel like I’m still 12. But music keeps you young. </p> <p><strong>The first six Van Halen albums were remastered 15 years ago. Why did you remaster them again?</strong></p> <p>Mastering technology has changed a lot since then, so it made sense for us to remaster everything. Warner Bros/Rhino suggested that we release remasters of our two Diamond-award [sales of 10 million or more] albums—the first Van Halen album and <em>1984</em>—at the same time that we released the live album. That’s why those albums were remastered first. Chris Bellman did such a great job that we decided to do them all. </p> <p><strong>Were you involved with the remastering process?</strong></p> <p>It was pretty much the same as how we worked with Bob Clearmountain on the live album mixes. Once we heard what Chris was doing, we just let him go to work. We totally trusted him. He sent us roughs of each song and each disc as he went along. The main thing was to let him know what we were looking for so he would be on the right track from the beginning. Once he zoned in on that, we just let him go to work.</p> <p><strong>Had you listened to any of those albums much before this remastering project?</strong></p> <p>No. I was really surprised how well they still hold up. But I also realized that there is no music like that out there anymore. It’s really sad. What happened to rock and roll? That’s why I can’t wait for the world to hear what Wolf’s working on. I’ll be bold and say that what Wolf and Erock are doing is important. It’s like early AC/DC. It hits really hard. I think that people who hear it are either not going to believe it or they’re finally going to go, “This kid is the real deal.” When he plays drums, it’s scary. When he plays bass to his own drums, it’s even scarier. And then he’s playing guitar on top of it. It’s insane. The grooves are so locked in it’s ridiculous. </p> <p><strong>Will Wolfgang’s work on his album affect the upcoming Van Halen tour that’s starting in July?</strong></p> <p>He’s going to work around our schedule. He recorded seven basic tracks in January. All four of us just started rehearsing last night for the tour as well as our appearance on the <em>Jimmy Kimmel</em> show. I think we’re going to do seven songs on Kimmel, and they’re going to show four of those songs over two nights. When Dave first heard us at rehearsal he was surprised how good it already sounded. When he started singing it all fell together. It was exciting. It was our first time playing together since Japan—almost two years. It was so tight, and we had a lot of fun. </p> <p><strong>Does the band have any long-term plans beyond the tour?</strong></p> <p>We just take it as it comes. I’d love to do another studio record if everybody else is up for it. At the end of this tour Wolf is going to finish his record. After that we’ll see. We don’t ever plan that far ahead. That’s how the live album came about. The best things aren’t planned that far in advance. We like to keep it loose.</p> <p><em>Photo: Ash Newell</em></p> <p><img src="/files/imce-images/EVHCoverGW_0.jpg" width="620" height="805" alt="EVHCoverGW_0.jpg" /></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="/eddie-van-halen">Eddie Van Halen</a> </div> <div class="field-item even"> <a href="/van-halen">Van Halen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/eddie-van-halen-discusses-tokyo-dome-live-concert-van-halen-s-first-official-live-record-david-lee-roth#comments Ash Newell Eddie Van Halen June 2015 Van Halen Interviews News Features Magazine Thu, 23 Apr 2015 14:17:13 +0000 Chris Gill 24358 at http://www.guitarworld.com '100 Acoustic Lessons' Book/CD Teaches Travis Picking, Strumming Techniques, Hybrid Picking and More http://www.guitarworld.com/100-acoustic-lessons-bookcd-teaches-travis-picking-strumming-techniques-hybrid-picking-and-more <!--paging_filter--><p>Expand your guitar knowledge with <em>100 Acoustic Lessons</em> from the Guitar Lesson Goldmine series! </p> <p>Featuring 100 individual modules covering a giant array of topics, each lesson in this acoustic volume includes detailed instruction with playing examples presented in standard notation and tablature. </p> <p>You'll also get extremely useful tips, scale diagrams, chord grids, photos and more to reinforce your learning experience, plus two full audio CDs featuring performance demos of all the examples in the book! </p> <p>A huge variety of acoustic guitar styles and techniques are covered, including: strumming techniques, basic to advanced chords, chord embellishments, basic to advanced fingerstyle, alternate tuning, hybrid picking, Carter style, percussive techniques, Travis picking, block-chord style, fingerstyle arranging and much more! </p> <p><a href="http://store.guitarworld.com/collections/new-products/products/100-acoustic-lessons/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=100AcousticLesssons">It's available at the Guitar World Online Store for $24.99.</a></p> http://www.guitarworld.com/100-acoustic-lessons-bookcd-teaches-travis-picking-strumming-techniques-hybrid-picking-and-more#comments News Features Thu, 23 Apr 2015 12:42:52 +0000 Guitar World Staff 17972 at http://www.guitarworld.com Guitar World Launches 'Mastering Scales, Part 2,' the Sequel to One of Our Most Popular DVDs http://www.guitarworld.com/guitar-world-launches-mastering-scales-part-2-sequel-one-our-most-popular-dvds <!--paging_filter--><p><em><a href="http://guitarworld.myshopify.com/products/mastering-scales-part-2-dvd/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=MasterScales2DVD">Mastering Scales, Part 2</a></em> is the followup to the <a href="http://guitarworld.myshopify.com/products/mastering-scales-part-2-dvd/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=MasterScales2DVD">Guitar World Online Store's</a> best-selling DVD of 2013, <em>Mastering Scales.</em> </p> <p><em><a href="http://guitarworld.myshopify.com/products/mastering-scales-part-2-dvd/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=MasterScales2DVD">Mastering Scales, Part 2</a></em> brings more than two and a half hours of valuable instruction from Jimmy Brown. </p> <p>The newest installment of <em>Mastering Scales</em> offers a deluxe crash course in guitar theory, including everything you need to know about major, harmonic- and melodic-minor and symmetrical scales. Plus, the seven modes, power picking, extended patterns with position shifts and much more!</p> <p><em>Mastering Scales, Part 2</em> also includes a bonus section featuring a complete Bach two-part invention, arranged for two guitars.</p> <p>Your instructor is Jimmy Brown, who over the last 24 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 <em>Guitar World,</em> the world's best-selling magazine for guitarists. He is a busy working musician, performing regularly as a solo acoustic guitar/vocal act and rocking out with a full band a 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 <em>Guitar World.</em></p> <p><strong><a href="http://guitarworld.myshopify.com/products/mastering-scales-part-2-dvd/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=MasterScales2DVD">Head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/guitar-world-launches-mastering-scales-part-2-sequel-one-our-most-popular-dvds#comments News Features Wed, 22 Apr 2015 19:43:36 +0000 Guitar World Staff 24361 at http://www.guitarworld.com Dear Guitar Hero: Peter Frampton Answers Readers' Questions About Gear, Django Reinhardt, the Bowie Tour and More http://www.guitarworld.com/dear-guitar-hero-peter-frampton-answers-readers-questions-about-gear-django-reinhardt-bowie-tour-and-more <!--paging_filter--><p>Here's our Dear Guitar Hero feature with Peter Frampton, who answers questions about gear, particularly his long-lost (and since-recovered) 1954 Gibson Les Paul. </p> <p>He also discusses touring, his past, influences, roots and more.</p> <p>For the rest of this interview, where he discusses talk boxes and working with George Harrison on <em>All Things Must Pass</em>, <a href="http://www.guitarworld.com/interview-peter-frampton-talks-talk-boxes-and-recording-george-harrison-all-things-must-pass">head here</a> and <a href="http://www.guitarworld.com/interview-peter-frampton-discusses-new-live-dvd-fca-35-tour-evening-peter-frampton">here.</a></p> <p><strong>What’s the status of your long-lost 1954 Gibson Les Paul that went down in a plane crash and was recovered and returned to you a year ago? — David Wilcox</strong></p> <p>It’s doing great. I’m thinking of just touring the guitar, sending it out there on its own, because it’s more famous than I am. [laughs] There’s a segment about that guitar on my new DVD [<em>FCA! 35 Tour: An Evening with Peter Frampton</em>]. </p> <p>As soon as I heard we were getting it back, I got my friend to film its arrival in Nashville, just before Christmas 2011. You see me take the guitar out of the awful little case it was brought back in. You also see me taking it to be refretted and going over to Gibson to get it verified and have the NOS parts put in to replace the things that weren’t working anymore. </p> <p>I also tell the story of how I was given the guitar in the first place by Mark Mariano, who’s from the Bay Area. I got a hold of him in San Francisco when we were playing there recently and filmed that as well. And the look on his face when I hand him the guitar—I’m getting chills as I’m saying it. It’s priceless, because he hadn’t seen this guitar for as long as I hadn’t, or longer. As for the status of it—it’s never more than 50 feet from me, and it doesn’t travel on planes. </p> <p><strong>When you’re about to take a solo, do improvise or stick to a script? — Christopher Thumann</strong></p> <p>As often as possible, I like to play something completely different from what I played the night before. I’d say 98 percent of the solos are completely ad libbed. The only solo I play the same way every night is in an instrumental called “Double Nickels,” from <em>Fingerprints</em> [Frampton’s 2006 instrumental album]. </p> <p>It was ad libbed when I recorded it for the album, but I liked it so much that I figured out what I’d played—which is difficult, because I don’t normally do that. I might play it with a different inflection each time, but it’s basically the same solo. Sometimes it works, sometimes it doesn’t. That’s what I like, though: it’s hit or miss.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/dKX114s-4RU" frameborder="0" allowfullscreen></iframe></p> <p><strong>What guitarist has had the biggest impact on your playing? — Gary Owen</strong></p> <p>Django Reinhardt. My parents listened to Hot Club de France, with Stéphane Grapelli and Django, before, during and after the war. When I came along in 1950, they got their first record player, and the first thing I remember hearing was Django. I thought it was “old people’s” music and would much prefer to be listening to Buddy Holly, Eddie Cochran, the Shadows or Cliff Richard. Dad would put on Django, and I couldn’t get up the stairs quickly enough. </p> <p>What happened was, I’d start listening to it on my way up the stairs. And then one day I stopped halfway up, turned, came back and sat down in the room. I said, “Holy crap, this guy’s good!” I heard Django before I heard blues artists, so I was always more drawn to the jazz side in my rock playing than I was to blues. </p> <p>That all changed once I started going up to London to see Eric Clapton play with John Mayall &amp; the Bluesbreakers. Then there was a whole other influence that came from listening to the people Eric listened to, like Freddie, Albert and B.B. King, and everyone before them. I became more well rounded in my influences. </p> <p><strong>Excluding Frampton Comes Alive!, which of your solo albums are you most proud of? — Ted James</strong></p> <p>It has to be <em>Fingerprints</em>. Doing that album made me realize that to be scared of something is sort of good. I knew I wanted to do an instrumental record, and I guess I was always scared of failure. Every session was pretty scary. The thought of working with John Jorgenson, Bill Wyman, Charlie Watts and Pearl Jam, plus Brian Bennett and Hank Marvin from the Shadows! </p> <p>If Django was the first guitarist I listened to, Hank was the first guitar player I chose to really study, because the Shadows were so huge. They were our homegrown Ventures. Cliff Richard would be Number One and Three on the charts, and the Shadows would be Number Two, Four and Five. They dominated the airwaves and were so influential to so many of my contemporaries. So to work with the Shadows—that was probably one of the best days of my life.</p> <p><strong>What was the inspiration for your arrangement of “Jumping Jack Flash”? — Kevin Brennan</strong></p> <p>That was one of the last tracks we recorded for <em>Wind of Change</em>, my first solo record. I was sitting around my kitchen with Andy Bown, who I’d played with in the Herd, and we were trying to come up with a cover song to record. We obviously all loved the Stones, and I said, “Well, I’ve always loved ‘Jumping Jack Flash.’ ” </p> <p>He said, “Why don’t you do it, but play it as if Wes Montgomery were playing the lick, in octaves?” So we messed around with it, and it sounded good. I think we recorded it the same day that we talked about it. It was just an experiment, but it turned out pretty good. Then I got Jim Price to do the wonderful horn arrangement on the studio version, and it became a staple as one of the encores of our live set.</p> <p><strong>You used to tour with a Pensa Suhr guitar. What happened to it? — Kurt Jenkins</strong></p> <p>Unfortunately, it was lost in the Nashville flood a few years back [2010]. John Suhr is a dear friend and a wonderful guitar maker. He’s threatening to make me another guitar, so not to worry. I think he’ll do it, eventually. It was a one-piece maple body, which was very special. It was a Strat shape but with humbuckers, and one Strat pickup in the middle. It was a very interesting guitar. I used it on the David Bowie tour. In fact, I think I got it in ’87 for the [Glass Spider] tour.</p> <p><strong>Did you go on the David Bowie tour as a way of retreating from the spotlight? — William Westhoven</strong></p> <p>I wouldn’t say I was retreating from the spotlight; I was already out of the spotlight at that point. [laughs] Things weren’t going very well for me. I wasn’t selling very many records and had been dropped by A&amp;M Records, who I’m now back with. David called me up and asked me if I would play on his album <em>Never Let Me Down</em>. </p> <p>While we were in Switzerland, where he was living at the time, he asked me if I’d join him for the Glass Spider tour. That was a great gift David gave me, because my career had faltered. David was doing extremely well and could command stadium-size audiences. It took me around the world and reintroduced me as Peter Frampton the guitar player, not the pin-up pop guy, which is where the perception had gone, wrongly. I’ve always been very thankful that David chose me to do that. </p> <p><strong>A lot of players consider the pentatonic scale their “go-to” scale for solos and improvising. What’s yours? — Victor La Squadro</strong></p> <p>I don’t know. Someone told me what it is, but I can’t remember what he told me. [laughs] My go-to scale is the “searching in the dark” scale. I guess someone else would have to analyze my playing. People have done it, but I couldn’t tell you what they’ve found out.</p> <p><strong>You recently got a 1960 Les Paul, but do you still have your ’59? — Drew Paradine</strong></p> <p>I’ve never had a ’59 Les Paul. After the plane crash, when I lost the ’54 Les Paul, I got a 1960 Les Paul “Burst,” which I’ve since sold. It wasn’t my favorite guitar, but if I’d have kept it I could’ve made a fortune. More recently, after the flood, I decided I wanted to get a 1960 Burst again. </p> <p>I bought one in Nashville—it was the one J.J. Cale used on his album 5, from 1979. J.J. sold it to his producer, Audie Ashworth, who has since died, and the producer’s wife sold it to me after the flood, because I’d lost so many guitars. I was in need of some new ones—well, some new old ones. </p> <p>But I’m out of the depths of despair from the flood. I’ve picked up quite a few nice pieces since then. Rather than having duplicates of everything, I have one really good one of each style of guitar. I’ve been able to cherry-pick and take my time. </p> <p><strong>What’s your favorite “guitar moment” out of everything you’ve recorded so far? — Damien Linotte</strong></p> <p>I’m not sure if I have a favorite moment yet, because I’m never totally happy with what I do. I like what I do, occasionally, but it’s always like, “I’ve got to be better next time.” I do enjoy playing guitar on “All I Wanna Be” [from <em>Wind of Change</em>]. Some nights I like it better than others, but I really enjoy playing over that vibe and that chord progression.</p> <p><strong>Do you regret your involvement in the <em>Sgt. Pepper’s Lonely Hearts Club Band</em> movie from 1978? — Brian Cancemi</strong></p> <p>Yes. Next question. [laughs]</p> <p><strong>How did you come to incorporate Leslie cabinets into your rig? — Michael Ellis</strong></p> <p>I’d often use a Leslie cabinet on its own in the studio because everyone in the late Sixties and Seventies was experimenting with them. We’d stick anything through a Leslie because it made everything sound so good. No one had a chorus, so the Leslie was the ultimate chorus when it was spinning very slowly. </p> <p>When my solo career was beginning, we’d open for Poco a lot, and their pedal-steel player, Rusty Young, got a Hammond B3 sound by playing through a Leslie. As soon as I saw that, I decided I’d play through my Marshalls and add a Leslie cabinet. It’s been part of my rig ever since. There have been some great electronic choruses, but there’s nothing quite like playing an instrument or a voice or anything through an actual Leslie.</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="/peter-frampton">Peter Frampton</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/dear-guitar-hero-peter-frampton-answers-readers-questions-about-gear-django-reinhardt-bowie-tour-and-more#comments Damian Fanelli GWLinotte March 2013 Peter Frampton Interviews News Features Magazine Tue, 21 Apr 2015 21:48:33 +0000 Damian Fanelli 18026 at http://www.guitarworld.com The Top 10 Drinking Songs of All Time http://www.guitarworld.com/top-10-drinking-songs-all-time <!--paging_filter--><p>Revelry and music go hand in hand. </p> <p>Having the best musical selections for an evening of imbibing—be it for your next party, the juke at your favorite watering hole, or your bar band’s set list—is as essential as knowing what <em>hors d’oeuvres</em> to serve. </p> <p>At the risk of over-intellectualizing the topic, our list was compiled through hours of pseudo-scientific research—the details of which we won’t disclose—among loosely assembled focus groups.</p> <p>But we will say this: The presence of both a singable chorus and a memorable guitar riff certainly won points. So, as the stars of the cult movie <em>Fubar</em> are apt to say, “Give'r.” </p> <p>Just remember, Bukowski, drink responsibly. And if you’ve had one too many, don’t crank up the amp and roll tape. You’ll be sorry.</p> <p><strong>10: “Beer Drinkers &amp; Hell Raisers,” ZZ Top</strong> </p> <p>Just how does this Texas trio keep their beards from being infested with froth? Billy Gibbons’ searing blues leads and proto-metal riffing on this song inspires two things: merriment… and wreckin’ shit up. Stay away from the lousy drunks when this one comes on.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/KXswale5Kss" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>9: “Alligator Wine,” Screaming Jay Hawkins</strong> </p> <p>At some point of the evening, lyrics like “Take the blood out of the alligator/Take the left eye of a fish/Take the skin off a frog/And mix it up in a dish” will seem hysterically funny. Don’t let anyone’s sobriety ruin the joke.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/MI3YzuzwK44" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>8: “Night Train,” Guns N’ Roses</strong> </p> <p>An ode to dirt-cheap wine should be uncorked when nobody present at the festivities can utter anything more insightful than “YEEEOOOWWW!!!” This one is only for people that can hold their rock ‘n’ roll.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/-Gu3gDhESRY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>7: “Cold Gin,” Kiss</strong> </p> <p>Gin is the devil’s gasoline. Kiss are Knights in Satan’s Service. Get it? Any intellectuals on board should have an ironic chuckle when teetotaler Gene Simmons sings Ace Frehley-penned lines like “It’s cold gin time again/You know it’ll always win.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/eC9A8wjojzY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>6: “Boob Scotch,” Bob Log III</strong> </p> <p>Party games, anyone? This psychotic Arizona bluesman has dreamed up a titillating concoction: one part Scotch, one part ice, and one part nipple. Try to follow: the nipple gets hard, and the scotch takes on a whole new flavor. Generally, this drink is best served once a few glasses of regular spirits glasses of regular spirits have been tossed back.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/nPMpHepElIc" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>5: “One Bourbon, One Scotch, One Beer,” John Lee Hooker</strong> </p> <p>Talk about a ready-made chorus! Of course, cynical twerps call it subliminal advertising—and they may have a point. After all, bartenders love it when schnockered customers mindlessly order by repeating the song’s chorus.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ZNknFH6asAs" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>4: “Have a Drink on Me,” AC/DC</strong> </p> <p>Written for the memory of Bon Scott, a man who didn’t know when to cut himself off from the bottle (and choked accordingly), this one my seem slightly irresponsible. Nevertheless, it reinforces the concept of generosity. Also, that guitar riff will sure zing ya.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/R3eN6WvERaM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>3: “Whiskey in a Jar,” Thin Lizzy</strong> </p> <p>The Irish have no shortage of drinking songs, so it’s appropriate that a revved-up translation of a folk standard be included here. The song actually has less to do with drinking than it does with armed robbery and lust—but it does have one key attribute to a classic drinking song: a chorus written in gibberish.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/wyQ-tScuzwM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong> 2: “There’s a Tear in My Beer,” Hank Williams</strong> </p> <p>How does the poor sobbing bastard in the corner make his drink last so long? He’s watering it down with salt water, of course! This and other secrets of alcoholic medication are contained in Williams’ prototypical self-pitying country song. And it’s not <em>all</em> pathos; indeed, perfectly happy people can sing this tune as a sympathetic gesture to the broken-hearted.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/KR31easm__c" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>1: “Tequila,” The Champs</strong> </p> <p>Who needs words when a two-chord riff and a honkin’ sax melody scream, “Dance, sucka, dance!” This 1950s classic has endured the test of time because it reeks of mischief. Plus, not only is the chorus extremely easy to remember; it doesn’t require that anyone stay in key!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/M5J802Hqsu8" 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="/acdc">AC/DC</a> </div> <div class="field-item even"> <a href="/zz-top">ZZ Top</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/top-10-drinking-songs-all-time#comments ACDC John Lee Hooker ZZ Top Guitar World Lists News Features Tue, 21 Apr 2015 17:28:38 +0000 Guitar World Staff 24339 at http://www.guitarworld.com 'The Guitar Chord Deck': Select the Chord You Want and See Exactly How to Play it http://www.guitarworld.com/guitar-chord-deck-select-chord-you-want-and-see-exactly-how-play-it <!--paging_filter--><p><em>The Guitar Chord Deck</em> is now available at the <a href="http://guitarworld.myshopify.com/products/the-guitar-chord-deck/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GuitarChordDeck">Guitar World Online Store</a> for $9.99!</p> <p>This instructional book contains life-size pictures of fingering positions. </p> <p>Select the chord you want and see exactly how to play it! </p> <p>It features basic chords for all popular keys. It's also the ideal gift for the beginning guitarist.</p> <p><strong><a href="http://guitarworld.myshopify.com/products/the-guitar-chord-deck/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GuitarChordDeck">Head to the Guitar World Online Store now.</a></strong> </p> http://www.guitarworld.com/guitar-chord-deck-select-chord-you-want-and-see-exactly-how-play-it#comments News Features Tue, 21 Apr 2015 17:21:53 +0000 Guitar World Staff 24338 at http://www.guitarworld.com Dear Guitar Hero: Richard Williams Discusses Kansas' History, Versatility and Lasting Influence http://www.guitarworld.com/dear-guitar-hero-richard-williams <!--paging_filter--><p><em>Richard Williams. He’s played on every Kansas album since with the group’s self-titled 1974 debut. But what Guitar World readers really want to know is…</em></p> <p><strong>Why do you think the Seventies produced so many iconic bands? — Rich Fazio</strong></p> <p>It was a time of unrestricted experimentation. In addition to pop-music groups, there were bands that stuck out of the box, and it was allowed by the record companies. </p> <p>But the music business squashed that a long time ago. Bands are still playing challenging stuff, but in the popular world of music most of them are never going to see the light of day. The Seventies bands were immediately identifiable, and each had its own stamp. </p> <p><strong>Kansas sold out Madison Square Garden when they played there [June 28, 1978]. What do you remember about that show? — Carmine D’urso</strong></p> <p>Three things pop into my head right away. First, riding to the show in a limousine. It was just another arena show for us, because we were so unaffected by our success. In hindsight, though, I thought, Holy shit, we just played the Garden, and it sold out! The second thing that stands out is that, on the way to the show, Jeff Glixman, our road manager then, got pissed off after seeing people on the side streets selling bootleg Kansas T-shirts. </p> <p>So he got out of the limo and told some guy to stop selling them, and the guy pointed a pistol at Jeff and told him to get out of his face. The third thing that comes to mind is we wanted to record our live album, <em>Two for the Show</em>, at the Garden. We had the mobile recording track with us at the venue that night, but the American Federation of Musicians wanted to charge us $50,000 to use it, so we told the union we weren’t paying that sum of money and recorded the album in Philadelphia and elsewhere.</p> <p><strong>Although Kansas is best known for “Carry On Wayward Son” and “Dust in the Wind,” to me those songs don’t accurately represent the group’s sound. Overall, on the majority of your catalog, Kansas sounds like an American counterpart to European progressive rock bands such as Yes and King Crimson. Would you agree? — Albert Morris</strong></p> <p>The heart of Kansas is in that style of music, but we don’t sound like any of those groups. We’re a ballsy American rock band above all. But those bands were our heroes and made us realize that you could assemble songs in weird time signatures and didn’t have to format music in a traditional manner. Those are the types of influences that, collectively, brought the original members of Kansas together. Personally, I loved early Yes, early Genesis and Gentle Giant, and each of the bands from that genre were completely and uniquely different from each other.</p> <p><strong>Kansas’ level of musicianship is awesome, yet you’ve channeled that virtuosity into many catchy, memorable songs. What makes the band so versatile? — Mike Sabatino</strong></p> <p>Coming out of Topeka, Kansas, there were a lot of guitarists I knew who were better than me. If music were all about virtuosity and chops, we’d all be listening to very high-brow jazz and the opera and symphonies. Individually, the members of Kansas are all pretty darn good, but collectively, the sum of the parts is incomparable. </p> <p>One of the great things about music is that you can sit down and play by yourself, but it’s far more joyful to hear the organic sound of people of like thought playing together. That’s what music is all about. The members of Kansas had a common direction. We were friends who stuck together and created something magical. </p> <p><strong>I saw the promotional video for Kansas’ documentary, <em>Miracles Out of Nowhere</em>, online. I was happy to see artists as diverse as Brian May and Garth Brooks gush about the band. Why do you think Kansas’ music appeals to not just the public at large but big-name musicians as well? — John Dinapoli</strong></p> <p>There’s an honesty to our music; all people can relate to it. We’re not contrived, we’re not an act, and we’ve never chased fame. We’ve always been a hard-working, blue-collar band. Kansas was the opening act for Queen’s first U.S. tour, and we bonded with those guys. Brian’s appreciation for us has always been heartfelt. </p> <p>I’ve known for years that Garth was one of our biggest fans. He’s been able to incorporate the rock-concert experience into country music, which I’m proud to say was partly inspired by Kansas and his admiration of us. Regarding the documentary, we just wanted to tell the story of the original band members coming from Topeka and climbing to the top of the mountain.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/nzfUlCrjb8g" frameborder="0" allowfullscreen></iframe></p> <p><strong>When all the original members were in the band, Kansas could replicate its studio recordings with great clarity and precision onstage. How did you guys pull this off so effortlessly? — Vincent Macrino</strong></p> <p>It was the mindset at the time. Onstage, we’d play our most demanding songs from our albums and pull them off. We’d record the songs as if we were playing them live. </p> <p><strong>What was it like coming from Topeka to New York City to record Kansas’ first album at the Record Plant, where John Lennon and other famous artists also happened to be recording at the time? — Lauren Glaser</strong></p> <p>It was quite an experience. I didn’t get to see John Lennon—I would’ve shit myself had I did—because we were on the graveyard shift in Studio C while the big acts were recording in a different part of the building. The studio was near Times Square, which was not cleaned up like it is today. There were drug dealers, hookers and porn everywhere. It wasn’t safe walking those streets at night. </p> <p>People would approach you and say, “Wanna buy some shit?” It was terrifying. As for our first album, it was recorded, mixed and completed in three weeks. I cowrote the opening track, “Can I Tell You,” which was the song that caught [manager/producer] Don Kirshner’s attention and landed us a record deal.</p> <p><strong>Kerry Livgren was Kansas’ primary songwriter during the band’s heyday. How much input did you have on his songs? — Pete Bedrosian</strong></p> <p>It varied. Some songs were written entirely by Kerry, while others were a group effort. He has the remarkable ability to compose songs in his head in an evening; then he’d present them to the band, tell us what to play, and we’d help him arrange the parts and offer our suggestions. </p> <p>Kerry was influenced by classical music, and it shows in his writing. Besides being a superb guitarist and keyboardist, Kerry is a songwriting genius. I mean, here’s a guy who was able to turn a fingerpicking exercise, “Dust in the Wind,” into one of the most popular songs of all time! There is and never has been a song like that on the radio. </p> <p><strong>“Icarus (Borne on Wings of Steel)” is one of the heaviest yet most progressive songs I’ve ever heard. What inspired it? — Sid Rosenthal</strong></p> <p>The song revolves around the whole concept of flight. Kerry was very inspired by aviation. Both he and his father flew planes. The lyrics are about the story of Icarus, and musically the song has many shifts in dynamics. Whenever a band member would bring in a song, it would go through the Kansas “meat grinder,” in that we would just chew it to pieces. Each member of the band would challenge one another. Dave [Hope, bass], in particular, was brutal. He would say things like, “That middle section sucks! Crank it up! We need something with more backbone there.” “Icarus” goes over great live. The crowd goes wild when we play it.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/tH2w6Oxx0kQ" frameborder="0" allowfullscreen></iframe></p> <p><strong>Can you talk about the incident that led up to you losing your right eye one Fourth of July in your early teens when a homemade bomb blew up in your face? — Gary Deleo</strong></p> <p>It was the summer between seventh and eighth grade. It was hotter than hell, and I had already blown up all my fireworks. So I took money out of my coin collection and got on my bicycle and rode to the outskirts of town to buy more fireworks. Then I went down to my basement and dumped all the powder from the firecrackers into a glass medicine bottle with a porcelain top with the intention of making a bomb that would make more of a statement than simply blowing up a bunch of firecrackers. </p> <p>But when I twisted the lid shut, the friction from the threading on the bottle sparked, and the whole thing exploded and ripped me to pieces, and my parents rushed me to the hospital. I wore a prosthetic eye for a while, but I got rid of it because it wasn’t very comfortable. </p> <p><strong>What inspired you to play guitar, and who are your musical influences? — Jerry Egan</strong></p> <p>Seeing the Beatles on <em>The Ed Sullivan Show</em> in 1964 inspired me to want to be in a band. I didn’t begin playing guitar then, but that’s when I wanted to start. The guitarists in the Yardbirds had a huge influence on me—Page, Clapton and Beck contributed greatly to the development of rock guitar. And John Mayall’s <em>Blues Breakers with Eric Clapton</em> was mind blowing. It was an album where guitar was not a background accompaniment; it hit you right in your face. That was “Guitar 101” to me.</p> <p><em>Photo: Neil Zlozower/Atlas Icons</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="/kansas">Kansas</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/dear-guitar-hero-richard-williams#comments Dear Guitar Hero Kansas March 2015 Richard Williams Interviews News Features Magazine Mon, 20 Apr 2015 21:30:53 +0000 Joe Lalaina 24336 at http://www.guitarworld.com Guest Starrs: The Top Five Guitar Solos on Ringo Starr Songs http://www.guitarworld.com/guest-starrs-top-5-guitar-solos-ringo-starr-songs <!--paging_filter--><p>Former Beatle Ringo Starr will be inducted into the Rock and Roll Hall of fame this weekend.</p> <p>I figured I'd celebrate this most joyous of occasions by gathering up five songs that feature some of the best guitar work to be found on Ringo's solo albums.</p> <p>After all, from 1970's <em>Sentimental Journey</em> through 2015's <em>Postcards from Paradise</em>, Ringo's albums have featured guest appearances by several talented guitarists, including George Harrison, Eric Clapton, David Gilmour, Joe Walsh, Stephen Stills, John Lennon, Robert Randolph, Jeff Lynne, Paul McCartney, Peter Frampton and former GuitarWorld.com blogger <a href="http://www.guitarworld.com/outside-box-exploring-acoustic-guitar-lj-whats-score">Laurence Juber.</a></p> <p>So, as promised, here are five solo Ringo Starr songs with guitar work that really stands out. </p> <p>05. <strong>PRIVATE PROPERTY,</strong> from <em>Stop and Smell the Roses</em> (1981)<br /> <strong>Guitarist:</strong> Laurence Juber</p> <p>This tune, which was written by Paul McCartney, is one of three songs McCartney and his crew (including his wife Linda, Wings guitarist Laurence Juber and pedal steel guitarist Lloyd Green) contributed to Ringo's <em>Stop and Smell the Roses</em> sessions. </p> <p>Juber's brief but brilliant solo is near the end of the song. NOTE: The song itself doesn't start until 1:04 in the video below.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/kBdUWRrpokQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 04. <strong>A DOSE OF ROCK 'N' ROLL,</strong> from <em>Ringo's Rotogravure</em> (1976)<br /> <strong>Guitarists:</strong> Peter Frampton, Jesse Ed Davis, Danny Kortchmar</p> <p>There's not much to say about the two-part guitar solo on this song (most likely played by Jesse Ed Davis and Peter Frampton), except that it's dang perfect, although a little too brief. Listen to how it starts off all friendly and happy and then heads off into a menacing place as it follows the solo's unique chord changes.</p> <p>I recently spoke to Frampton about this song, and here's how it went:</p> <p><strong>ME: You’re credited with playing guitar on a Ringo Starr single from 1976, “A Dose of Rock ’N’ Roll,” from <em>Ringo’s Rotogravure</em>. But is that you playing the actual guitar solo?</strong></p> <p><strong>PETER FRAMPTON</strong>: I can't remember [laughs]. It was the Seventies, and I know I was sober for the session, but I'm not sure about right after. I'd have to listen to it again and see. People keep coming up to me, saying, "Is this you on this?" And I have to go listen to it to find out. I did more sessions than I remember doing. There were a lot of things in the Seventies that I played on that people keep reminding me about.</p> <p>[I play the song to him.]</p> <p>Yeah, the first part is me. I forgot all about that! That's me. And then, I forget who it is that comes in there, but that sounds like I'm playing my Gibson and then a Telecaster or a Strat comes in.</p> <p><strong>ME: Well, Jesse Ed Davis is one of the other guitarists who plays on that track. [NOTE: Guitarist Danny Kortchmar also plays on the song.]</strong></p> <p>Oh, yeah, Jesse Ed Davis. That's probably who it is.</p> <p><em>To read the rest of my conversation with Frampton, <a href="http://www.guitarworld.com/interview-peter-frampton-talks-talk-boxes-and-recording-george-harrison-all-things-must-pass">head here.</a></em></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/V_oYIlTw3mo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 03. <strong>NEVER WITHOUT YOU,</strong> from <em>Ringo Rama</em> (2003)<br /> <strong>Guitarist:</strong> Eric Clapton</p> <p>This song, a bright spot from Ringo's way-too-freaking-long Mark Hudson era (Hudson was Ringo's not-so-great producer), is Ringo's tribute to George Harrison, who had died of cancer only two years earlier. </p> <p>It features some great Eric Clapton riffs, from the solo through to the end of the song. That dude playing the Strat and miming the solo in the video is not Clapton, by the way. You might want to close your eyes during the solo to avoid distraction.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/9PjnOdHq-T8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 02. <strong>$15 DRAW,</strong> from <em>Beaucoups of Blues</em> (1970)<br /> <strong>Guitarist:</strong> Jerry Reed</p> <p>This is one of the killer songs from Ringo's second solo album, 1970's <em>Beaucoups of Blues,</em> which he recorded in Nashville with some of the city's best studio musicians. Charlie Daniels is on this album, as are D.J. Fontana, Pete Drake and Sorrells Pickard, who wrote this song. </p> <p>Anyway, "$15 Draw" sums up Jerry Reed's playing style to a T. You can hear Reed explore this same sort of picking in his song "Guitar Man." He plays on his own version of the song and on Elvis Presley's version. </p> <p>I've always thought this song could be a hit for someone. It tells a great story, it takes you on an emotional roller coaster and it has a super-catchy guitar riff. It might be cool if a young female country artist were to record it. (Please credit me with the idea!) </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/2-RuDWaRhxM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 01. <strong>BACK OFF BOOGALOO,</strong> A-side of a 1972 Apple Records single; available on <em>Photograph: The Very Best of Ringo Starr</em><br /> <strong>Guitarist:</strong> George Harrison</p> <p>George Harrison's slide guitar playing is all over this Richard Starkey (Ringo Starr) composition, the 1972 follow-up to Ringo's first hit single, "It Don't Come Easy," which also features a great solo by Harrison. </p> <p>The song also features some fine drumming by Ringo, bass playing by <a href="http://www.guitarworld.com/interview-klaus-voormann">Klaus Voormann</a> and piano tinkling by Gary Wright.</p> <p>Harrison played several great guitar solos on Ringo's records throughout the years, including "Early 1970," "Down and Out," "Wrack My Brain" and "King of Broken Hearts." </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/BXg1AxBXN5g" frameborder="0" allowfullscreen></iframe></p> <p><em>Damian Fanelli is the online managing editor at </em>Guitar World<em>. He performs every year at Abbey Road on the River, he's played on sessions and soundtracks in New York and Los Angeles, and he's tired of eating apples.</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="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/george-harrison">George Harrison</a> </div> <div class="field-item odd"> <a href="/eric-clapton">Eric Clapton</a> </div> <div class="field-item even"> <a href="/peter-frampton">Peter Frampton</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guest-starrs-top-5-guitar-solos-ringo-starr-songs#comments Eric Clapton George Harrison Jerry Reed Laurence Juber Peter Frampton Ringo Starr The Beatles Blogs News Features Fri, 17 Apr 2015 19:13:02 +0000 Damian Fanelli 24320 at http://www.guitarworld.com The Top 10 Heavy Metal Album Openers http://www.guitarworld.com/top-ten-heavy-metal-album-openers <!--paging_filter--><p>No one ever went to a Led Zeppelin concert expecting the band to open with “The Rain Song.” </p> <p>It's a fine tune, to be sure, but the electric charge of a crowd in waiting must be met in kind. </p> <p>The same applies to the album: Kiss didn’t open <em>Destroyer</em> with “Beth,” for example. And Metallica had the prudence to place “Fade to Black” a good four songs into <em>Ride the Lightning</em>. </p> <p>When you get down to it, just about any band from any genre wants to kick things off hard and fast, and none more so than axe-wielding heavy metal masters. </p> <p>With that, we present the 10 greatest starting guns from metal’s most iconic albums.</p> <p><strong>Metallica—“Enter Sandman”</strong><br /> <strong>The Black Album</strong></p> <p>How does the world’s greatest thrash band open its masterpiece album? Not with sledgehammer riffs or machine gun drum patterns, but rather a droning E-minor tritone pattern that ushers in bass, drums and a drudging minor-2nd power chord riff. </p> <p>The song’s signature E to F interval has become so synonymous with “Enter Sandman” that, in the Nineties, a rumor began that Metallica trademarked the progression and would sue any band that used it. This proved a hoax, but showed how indelible a mark the Black Album’s opener left on heavy metal.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/CD-E-LDc384" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Pantera—“Cowboys From Hell”</strong><br /> <strong><em>Cowboys From Hell</em></strong></p> <p>Abandoning their previous glam metal sound, <em>CFH</em> showcased Pantera’s new groove metal style, no better exemplified than in the title track. </p> <p>Dimebag begins by pedaling a flanger-soaked open E string, then subtly introduces his immortal riff before launching into full-on open-string chainsaw fury.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/_7EQlfprV9E" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Judas Priest—“Painkiller”</strong><br /> <strong><em>Painkiller</em></strong></p> <p>Priest drummer Scott Travis demonstrates that screaming guitars aren’t the only way to open an album with this explosive double-bass onslaught, which ushers in one of the veteran metal band’s most crushing tracks. </p> <p>Glenn Tipton and K.K. Downing lay down blazing riffs and solos, Ian Hill’s bass is rock steady with Travis, and Rob Halford’s ear-splitting vocals sound like his nuts are on the business end of a steel-toe boot; it’s a metal behemoth and a return to form after the more pop-oriented <em>Turbo</em> and <em>Ram It Down</em> albums.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/nM__lPTWThU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Slayer—“Angel of Death”</strong><br /> <strong><em>Reign in Blood</em></strong></p> <p>Any metal band can start an album with walls of guitar and rapid-fire drum blasts, but Slayer kicks off their seminal 1986 effort with one of the most controversial tracks in the genre’s history. </p> <p>Guitarist Jeff Hanneman wrote “Angel of Death” about infamous Nazi doctor Josef Mengele. Though Hanneman and the rest of the band insisted the song is a documentary, and in no way an endorsement of Nazism, Neo-Nazi labeling ensued upon the album’s release in 1986. </p> <p>Lyrical interpretation notwithstanding, the song is still considered a “classic” thrash metal track.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/K6_zsJ8KPP0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Black Sabbath—“Sabbath Bloody Sabbath”</strong><br /> <strong><em>Sabbath Bloody Sabbath</em></strong></p> <p>“The riff that saved Black Sabbath” may have never come to fruition had it not been for the supposedly haunted recording location at Clearwell Castle in England. </p> <p>In 1973, guitarist Tony Iommi was suffering writer’s block trying to come up with ideas following the success of <em>Volume 4.</em> With no luck in L.A., the band reconvened at Clearwell, writing and recording in the dungeons of the 18th-century castle. While the song rarely appears in the band’s live set, it launched one of Sabbath’s most critically lauded albums and has been covered by everyone from Anthrax to Amon Amarth to, um, the Cardigans.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/mDJ-UxHPWx4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Iron Maiden—“Aces High”</strong><br /> <strong><em>Powerslave</em></strong></p> <p>The 24-second eighth-note intro is the subtle pattern that lulls the listener into complacency; it’s just another somber churner, a la “Hallowed Be Thy Named.” </p> <p>Then the blazing 16th note harmonies drop and <em>Powerslave</em> takes off. “Aces High” is a heavy fan favorite among metal acts like Children of Bodom and Arch Enemy, both of whom have covered the song, and recalls a feisty Iron Maiden poised to take over the metal world.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/pEcpwSenouQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Children of Bodom—“Living Dead Beat”</strong><br /> <strong><em>Are You Dead Yet?</em></strong></p> <p>Keys are an unlikely way to open a metal album, but with melodic death metal quintet Children of Bodom, an ominous synth intro here or there is expected. </p> <p>“Living Dead Beat” opens with a John Carpenter-style synth lead, but is quickly appended with gattling gun guitars, a la Laiho and guitarist Roope Latvala. The guitars dominate the album, but throughout, the baleful melodies of Janne Wirman’s keyboards can be heard creeping in the mix.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/k9hmZVV7REg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Testament—“D.N.R. (Do Not Resuscitate)”</strong><br /> <strong><em>The Gathering</em></strong></p> <p>It would be nine years before Testament would release another studio album, but fans had much to be content with from 1999’s <em>The Gathering</em>. Loaded with some of Testament’s fastest, most aggressive material, the band itself is shy of a few classic lineup members, namely guitarist Alex Skolnick and drummer Louie Clemente. </p> <p>Former Death guitarist James Murphy and Slayer drummer Dave Lombardo filled in, their up-tempo playing styles appearing throughout the album. “D.N.R.,” at just over 3:30 minutes, is a blistering insight into the album’s pure ferocity.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/cfIUhR875as" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Megadeth—“Last Rites/Loved to Deth”</strong><br /> <em>Killing is My Business… and Business is Good</em></p> <p>Far from the polished and intricate sonic architecture that would become Megadeth’s trademark, the debut release from Mustaine and crew makes up for its minimalism with raw, unbridled energy. </p> <p>“Last Rites/Loved to Deth” begins with an excerpt from Bach’s Toccata and Fugue in D Minor before Mustaine and guitarist Chris Poland’s guitars take center stage. The dark, baroque intro may have aligned itself better with later, more sophisticated Megadeth work, but there’s no denying “Last Rites/Loved to Deth” ushered in new champions of thrash metal.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/7mWPJK1wJnM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Motörhead—“Ace of Spades”<br /> <strong><em>Ace of Spades</em></strong></strong></p> <p>Bridging the gap between punk and metal, Motörhead’s seminal 1980 release had a substantial impact on many up-and-coming thrash bands. </p> <p>The ferocious pick attack of guitarist “Fast” Eddie Clarke no doubt provoked many budding bands’ inclinations towards blazing tremolo riffs, not least of all metal kings Metallica, who released four Motörhead covers as b-sides with their single “Hero of the Day” in 1996.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/eBIa0o36pPo" 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="/slayer">Slayer</a> </div> <div class="field-item even"> <a href="/megadeth">Megadeth</a> </div> <div class="field-item odd"> <a href="/testament">Testament</a> </div> <div class="field-item even"> <a href="/black-sabbath">Black Sabbath</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/top-ten-heavy-metal-album-openers#comments Black Sabbath Megadeth Metallica Motorhead Slayer Guitar World Lists News Features Fri, 17 Apr 2015 18:25:18 +0000 Tony Grassi 24317 at http://www.guitarworld.com Joan Jett Talks Rock and Roll Hall of Fame, Lou Reed and "I Love Rock ’N’ Roll" http://www.guitarworld.com/joan-jett-talks-rock-and-roll-hall-fame-lou-reed-and-i-love-rock-n-roll <!--paging_filter--><p><strong><a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-may-15-joan-jett?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=JoanExcerpt">This is an excerpt from the all-new May 2015 issue of Guitar World. For the rest of the story—and all of the May 2015 issue—head here.</a></strong></p> <p><strong>Girl’s Got Rhythm: <em>Joan Jett has been banging out some of rock’s greatest power chords since the age of 15. With her induction into the Rock and Roll Hall of Fame, there’s only one thing you need to know—she still loves rock and roll.</em></strong></p> <p>Joan Jett looks perfect. In other words, she looks exactly the way you want Joan Jett to look.</p> <p>With her iconic black shag and eyeliner, she saunters into the <em>Guitar World</em> photo studio wearing a variation on a rock and roll uniform she had worn almost her entire life: a tight black sleeveless shirt, black jeans and black motorcycle boots, all of it topped with a kick-ass leather jacket.</p> <p>And if you have to ask about the color of her jacket, you clearly haven’t been paying much attention.</p> <p>The last few years have been pretty supersonic for Jett and her band the Blackhearts. Since releasing the critically acclaimed <em>Unvarnished</em> album in late 2013, which featured the hit “Any Weather,” co-written with Foo Fighters frontman Dave Grohl, she has been touring up a storm while snagging honors right and left, like the Revolver Golden God award and the Alternative Press Icon Award.</p> <p>To complete the trifecta, this month she is being inducted into the Rock and Roll Hall of Fame, long considered music’s ultimate validation. Not bad for a veteran celebrating her fourth decade in the biz.</p> <p>Truth is, Joan Jett’s entire career is nothing short of miraculous, especially when you consider just how difficult it was for her to simply get out of the starting gate.</p> <p>“My parents got me a guitar for Christmas when I was 13 and I went to take lessons,” Jett says in her distinctive sandpapery voice. “I told the teacher I wanted to learn how to play rock and roll, and because I was just a naïve kid, I thought he was going to be able to show me in one lesson! I didn’t know that you had to learn the ropes. If he would’ve explained that to me, it would’ve been fine, but instead he said something far worse. He told me, ‘Girls don’t play rock and roll,’ and then tried to teach me ‘On Top of Old Smokey.’ ”</p> <p>In response, Joan grabbed her guitar and stormed out never to return. A mere two years later, at the age of 15, Jett proved her teacher—and every other sexist naysayer—wrong when she formed the Runaways, a groundbreaking all-female rock band, best known for their 1976 hit “Cherry Bomb.” The band didn’t last very long, but their music and exploits became legendary to multiple generations, partly due to <em>The Runaways</em>, a successful movie biopic about the band released in 2010 starring Kristen Stewart as Jett.</p> <p>While the Runaways were crucial to Joan’s development, it was her solo career that made her a household name. A succession of Top 40 hits including “Bad Reputation,” “Crimson &amp; Clover,” “Do You Wanna Touch Me (Oh Yeah)” and the 1981 monster smash “I Love Rock ’N’ Roll” cemented her status as the quintessential queen of noise. And the accompanying MTV videos didn’t hurt either.</p> <p>If you had to design a woman rocker from the ground up, it would probably look a helluva lot like Joan in videos like 1988’s “I Hate Myself for Loving You.” With her white Gibson Melody Maker slung low, she was sleek, tough and sexy—the living embodiment of the ultimate badass girl with a guitar.</p> <p>Image aside, as a musician, she’s no slouch either. One former Blackheart bandmate recently commented, “You could build a fortress on the foundation of Joan’s rhythm hand.” True, that. Her power chords detonate with the shattering force and clarity of a nail bomb going off at Tiffany’s, and outside of AC/DC’s Malcolm Young or Keith Richards, it’s hard to think of anybody that can lay down a groove like Joan. What’s her secret? That’s partly what we’re here to find out.</p> <p>It’s interesting to note that Joan rarely uses the word “rock” to describe her favorite music. Instead, she almost always refers to it by its somewhat antiquated and more formal name, “rock and roll.” Maybe it’s just out of habit, but perhaps it’s out of respect. It’s clear from our conversation Joan has a deep reverence for rock and roll. One thing is very certain: she clearly loves it.</p> <p><strong>How do you feel about being inducted into the Rock and Roll Hall of Fame?</strong></p> <p>It’s awesome and an honor. The Hall has inducted so many people that I look up to, so it’s incredible to be counted among them. That said, it’s not something I ever aspired to. When I write songs or play music it’s not something I really think about. You just want to tour and get your songs out. I mean this in the best way, but the Rock and Roll Hall of Fame is just an aside. The part that I think is really positive about the Hall of Fame is that rock isn’t being acknowledged at the Grammy’s and other music awards shows, so it’s cool that we have our own moment. And I really hope it stays focused on rock, because all other music already gets acknowledged on all the other shows.</p> <p><strong>You are being inducted with two other musicians that are cut from the same cloth. Both Lou Reed and Billie Joe Armstrong of Green Day are great singer/rhythm guitarists. Did you ever hang with Lou and his legendarily decadent crew in the Seventies?</strong></p> <p><strong></strong> No, unfortunately. In the early days, I was based on the West Coast and he was in New York City. However, I remember buying Transformer with “Walk on the Wild Side” as a kid and I was really impressed with how it freaked people out! People would say he couldn’t carry a tune, but that wasn’t the point. He was a storyteller and singing about things nobody else was talking about at the time. I finally met Lou at a Rock and Roll Hall of Fame ceremony a few years ago. We were sitting at different tables near each other, and that particular year there were a few acts being inducted that weren’t really rock and roll. We just kept looking at each other, making faces. It was a special moment between the two of us, because no one else saw what we were doing. [laughs]</p> <p><strong>When you were in the Runaways, you actually covered Lou Reed’s song “Rock and Roll,” but you did it more in the style of Mitch Ryder’s great 1971 version of the song.</strong> Yeah, the weird thing is, we weren’t even aware of Lou Reed’s version at that time. We had heard Mitch Ryder’s version and fell in love with the great guitar riff that kicks off the song so we focused on that. A couple years later I started listening to Lou’s original recording, and as a rhythm guitar player I started liking it more, because it had a weird rhythm to it. It has an extra bar tucked in, which is something I always find intriguing.</p> <p><strong>“I Love Rock ’N’ Roll,” your biggest hit, actually has that extra bar in it.</strong></p> <p><iframe width="620" height="365" frameborder="0" allowfullscreen="" src="https://www.youtube.com/embed/A4cFIzr85cU"></iframe></p> <p><strong></strong> The two songs are connected in a funny way. I first heard “I Love Rock and Roll” in England while the Runaways were touring. It was the B-side of a single by a group called the Arrows and I immediately thought it sounded like a hit. I played it for the band, but they didn’t want to do it because we had just recorded “Rock ’N’ Roll” and they didn’t think it was a good idea to have two songs on the same album with the words “rock ’n’ roll” in the title, so we didn’t do it. I thought to myself, I’ll just stick it in my back pocket, and maybe we’ll revisit in another album or two. Anyway, the band broke up, I ended up recording it for my solo album and the rest is history.</p> <p><strong>You were only 15 when you formed the Runaways and had been playing guitar for just a couple of years, yet your rhythm playing was already rock-solid. Was that just something that came naturally?</strong></p> <p><strong></strong> After my first guitar teacher tried to discourage me from playing rock and roll, I went out and bought one of those teach yourself how to play guitar books and learned all the basic open chords and barre chords and started playing along with records. The first songs I was able to figure out were things like “Smoke on the Water” by Deep Purple, Black Sabbath songs like “Iron Man” and “Sweet Leaf” and “Bang A Gong” by T. Rex.</p> <p>I immediately gravitated to power chords because I found I could be more rhythmically accurate with them and they sounded closer to the music I was listening to. But to answer your question, I never really thought about whether I was any good or could keep a beat, I just played along to albums. My bigger problem was that I was alone—I couldn’t find other kids to rock out with.</p> <p>Eventually my family moved from Rockville, Maryland, to California, which was really great because I knew there had to be other girls in Los Angeles that could play music and maybe I could form a band. That idea really motivated me. Not long after, I met Sandy West, who would eventually be the drummer for the Runaways. She was a big, strong girl and her idol was Led Zeppelin’s John Bonham and she played like him. We set up in the rec room of her house and just started to jam, and the sound was so powerful we knew we were on to something. We said, “We gotta go find some other girls.” I knew pretty quickly that I was a rhythm guitar player and not a lead player—I just wasn’t interested in that.</p> <p><em><a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-may-15-joan-jett?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=JoanExcerpt">This is an excerpt from the all-new May 2015 issue of Guitar World. For the rest of the story, head here.</a> <em>Photo: Jimmy Hubbard</em> </em></p> <p><em><img src="/files/imce-images/Screen%20Shot%202015-04-17%20at%2012.03.07%20PM.png" alt="Screen Shot 2015-04-17 at 12.03.07 PM.png" width="620" height="807" /></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="/joan-jett">Joan Jett</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/joan-jett-talks-rock-and-roll-hall-fame-lou-reed-and-i-love-rock-n-roll#comments Brad Tolinski Joan Jett May 2015 Interviews News Features Magazine Fri, 17 Apr 2015 16:11:31 +0000 Brad Tolinski 24313 at http://www.guitarworld.com