Features http://www.guitarworld.com/taxonomy/term/5/all en Richard Thompson Talks New Album, 'Still,' and Working with Wilco's Jeff Tweedy http://www.guitarworld.com/richard-thompson-talks-new-album-still-working-wilcos-jeff-tweedy <!--paging_filter--><p>Richard Thompson has made a career of shaking things up with his voice and his guitar.</p> <p>It started with British folk rockers Fairport Convention. </p> <p>Around the late Sixties, a teenaged Thompson began searching the local British music scene for a way to express himself and make a difference musically. An opportunity soon arose when he joined Fairport Convention, a new band that found interest in folk and rock sounds. As it turns out, that band did more than provide him an ample outlet to play music; they were one of the first bands to combine traditional British folk with rock and roll into a satisfying new style. </p> <p>Thompson later transitioned to a solo career, finding much acclaim as a singer-songwriter and guitarist that could use his talents to craft insightful and expressive songs full of his humanity and wit. He could stand with some of the most talented guitarists but had the vocal tenacity to stand out from the crowd. Moreover, he had the drive to find new ways to continually express and reinvent himself. </p> <p>Fast forward to 2015. Thompson has appeared on more than 40 albums and received countless honors to his name. He could have easily gone into his new album with the mindset of what worked on past albums and still find success from his loyal fanbase. </p> <p>But he isn't one to take it easy. He wanted something or someone to challenge him. That person turned out to by Jeff Tweedy, lead singer of Chicago rockers Wilco. The pair met at Wilco's rehearsal space, The Loft, for nine days and recorded a dozen songs. The resulting album, titled <em>Still</em>, comes out June 23 via Fantasy Records. </p> <p>The album features the core trio of Thompson, bassist Taras Prodaniuk, and drummer Michael Jerome, as well as contributions from Siobhan Kennedy and members of Jeff's band Tweedy (guitarist Jim Elkington and harmony vocalists Liam Cunningham and his sister Sima).</p> <p>Prior to the album's release, <em>Guitar World</em> caught up with Thompson to discuss the new album that made him feel "like a kid in a candy store."</p> <p><strong>GUITAR WORLD: You're doing a combination of electric and solo shows on this tour. Why do you like mixing it up?</strong> </p> <p>I have all different kinds of sounds. I have acoustic sounds and I have electric sounds and guitar playing sounds and solo sounds. And sometimes they don't overlap. So I have people that only come to acoustic shows and some that only come to electric shows. So I'm just trying to please everyone, I suppose. Perhaps it's misguided but that's my intention.</p> <p><strong>What you do think each presents you as a songwriter and guitarist?</strong></p> <p>I write different kinds of songs for acoustic guitar and different kinds of songs for electric guitar. And I see myself really as a songwriter and an accompanist rather than a guitar player. So I like to bring everything into the songwriting arena. If I play a guitar solo I like to extend the narrative of a song through the guitar solo. I see it as one package really. I think some people perceive it as separate things.</p> <p><strong>The final song on your new album is called "Guitar Heroes," which is almost eight minutes long. Can you talk about what it like writing that one and honoring your profession and your guitar heroes?</strong></p> <p>I suppose it's an easy song to write. I was really just trying to remember back to being a kid and what that was like and who I was listening to. If I mentioned all the guitar players I was influenced by that would be a very long song. So I was being economical. It's a fun thing to do. It's fun to do little parodies or things in the style of guitar players. It's not an original idea. In the 1950s there was a great country guitar player called [Kenneth] "Thumbs" Carllile. He was a session player and he did a song called "Springfield Guitar Social," which was a tribute to a lot of the country guitar players. It's just a three-minute thing. But it was really fun and I suppose I was trying to do something like that. </p> <p><strong>There are quite a few sonic twists in the song and it covers quite a bit of ground.</strong></p> <p>Yeah there are. There's a lot of tempo shifts. It was about finding song extracts that would fit into that one tempo. We put it together in one piece rather than sessions. We recorded it straight through and we selected overdubbing with some of the guitar parts to get the sound of different guitar players. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/hhiTO6tC-lM" frameborder="0" allowfullscreen></iframe></p> <p><strong>You mentioned in one interview that if you could put more guitarists on it you would.</strong></p> <p>Yeah. As I was saying, there are limits to how long a piece of music can be. So it runs to about eight minutes which is enough for most people. The other thing you want to do in a song like that is change it up live. If we want to we can change up the quotes and guitar players and different songs. So it's a flexible piece I think. </p> <p><strong>What kinds of guitars and amps did you use for recording <em>Still</em>?</strong></p> <p>Well, because we were recording in Wilco's studio, the studio is a corner of a large loft space. And the loft space stores all their equipment. They have a lot of guitars and millions of amps and bass, drums and keyboards. I mean, tons and tons of stuff. So it was a bit like being like a kid in a candy store. There were so many things to choose from. </p> <p>I used predominantly a Fender Princeton, like a vintage Princeton, and a Morgan amp. I'm not very familiar with it but it sounded really good, kind of a Vox sounding amp. And I used a few other things but I can't remember. A whole bunch of different guitars. I used a Gibson ES-175 for some things. And endless pedals that were lying around in the studio. So I can't give you an absolute breakdown of everything I used but it was a lot of different stuff that I've forgotten what I used on various tracks. I also used my own Fender Strats and acoustic guitars.</p> <p><strong>Was that more than you usually use on albums?</strong></p> <p>I wouldn't say more than usual but certainly a lot. Predominantly the usual stuff I use like Fender Strats and acoustic guitars through various amps.</p> <p><strong>With guitar playing you have a great grasp of when to show restraint and when to let loose. Can you talk about mastering that art and how do you think it shows up on <em>Still</em>?</strong> </p> <p>Well I hope I do. I think that what would be called taste or musical flexibility or something. I think when you're playing in song format and accompanying the voice you have to fit in as a guitar player so you're not showboating. You're trying to play something that's sympathetic to the song, whatever that may be. It may be distorted or punk, it depends what the song is. </p> <p>As a player it's good to have a range. It's good to go from a whisper to a scream to being able to play something subtle and melodic. To play in distinct phrases and to have balance in your playing. And then to play something with more attitude when it's needed, when you need to play something that's more aggressive or more committed. </p> <p><strong>With guitar playing, are you finding yourself doing more of some kind of habit lately, like how you play?</strong></p> <p>I just practice different things and practice the basics and then when it comes to playing you try to use your imagination. And that can take you anywhere. </p> <p><strong>From what I understand your connection with Wilco and Jeff Tweedy kind of started with the AmericanaramA festival shows from a few years ago.</strong></p> <p>I've probably known Wilco for about 20 years. We've done the occasional show together. But being on the AmericanaramA tour it gave us more chances to spend time together and to jam together. So that was probably the seed of having Jeff produce an album for us. </p> <p><strong>You and Jeff come from slightly different musical paths. What led you to want him to produce the record?</strong></p> <p>We definitely come from different worlds but I think we're both roots-based musicians from slightly different generations. And I think having someone who isn't absolutely from your world and your mindset is a good thing. That's a useful person to bounce ideas off because they'll have a slightly different perspective. You don't want someone who's the same as you and thinks the same way as you. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/zEXHD70AXnA" frameborder="0" allowfullscreen></iframe></p> <p><strong>From what I've read it sounds like you wanted to shake things up and keep things interesting for yourself.</strong></p> <p>I've made a lot of records over the years, probably 40-plus records. And I sort of have a way of doing it when I'm my own producer. And sometimes I think you need to change that up and you need to be a bit more challenged and bring other point of views into the project. So it's good to call upon other musicians to give you a different perspective and to give a record a different sound, really, and a different kind of musical landscape. </p> <p><strong>You recorded the album at Wilco's rehearsal loft in Chicago about nine days. What was that like? How do you think the environment impacted the songs?</strong></p> <p>We actually had a very small window so that was all the time we had available. It's a loose kind of place to record. It's not like a real studio with a control booth and studio separate and separate vocal both and those things. </p> <p>It was all in one room. It's a more informal environment. There's no red light that goes on and tells you're recording. So it's just casual. That's a nice way of doing it. You don't feel tense about it, you can kind of relax and start playing with your friends when you're recording. So it's a nice and easy way of recording. </p> <p><strong>With the album you had a combination of musicians from Jeff's band and your band. Why did you decide to go in that direction?</strong></p> <p>I wanted to use my own rhythm section [drummer Michael Jerome and bass player Taras Prodaniuk], just because I feel we've developed a certain understanding and that it would be difficult for someone else to come in and play in the same way. So that's the basic trio. It's nice when you're recording with another guitar player to play some of the harmonic structure of the songs. So we borrowed Jim Elkington from the band Tweedy, and for backing vocals we had Liam and Siam Cunningham, also from Tweedy, and that worked out really well. It was a really seamless and a easy bunch of people to get to work with.</p> <p><strong>How do you think Jeff impacted the songs and guitar playing on the album?</strong></p> <p>Probably not that much. He impacted more the arrangements of the songs. I think the songs were already pretty much written. I think between us we might have done some editing, changing a verse here and there. But on the whole the songs didn't change that much. Sometimes the arrangements changed or the way we approached the songs changed or instrumentation changed. And I think Jeff's ideas in that realm were just great. He'd come up with really good suggestions. </p> <p><strong>What were the biggest surprises during the recording?</strong> </p> <p>Apart from how unbelievably cold it was in Chicago in January, which was a surprise, I was surprised by how easy it was to record and that we didn't have to really sweat over anything. </p> <p><strong>Why did you name the album <em>Still</em>?</strong> </p> <p>Originally that was supposed to go with a concept or [album cover] picture but the picture got changed out. So the title remained. I mean I quite like the title as it's ambiguous. It can mean a lot of different things. So I wouldn't read too much into it.</p> <p><strong>Some people have taken it as a theme of resilience and your own resilience through the years with playing music.</strong> </p> <p>Yeah you can take it that way, I suppose. I think to say it means any one thing is to give it too much weight and significance. Which I don't. It's just a title, you can translate it however you want. </p> <p><strong>Do you think there's a theme for these songs?</strong></p> <p>All these songs were written in a certain timeframe, probably within a six-month timeframe. And I think when you do that songs have a relationship with each other that have a harmonic or thematic connection. So I feel they're connected in that way and belong on the same record in that way. But there's isn't an overriding theme on this record.</p> <p><strong>Can you talk about writing the song "Dungeons for Eyes"?</strong></p> <p>What the song is about is meeting somebody who you love and has a past. And in that past they were either responsible for people dying or they used to kill people themselves. That was in that past and now the people are probably now politicians. And the song is what happens when you meet these people and how you'd react. That dilemma of how I going to shake this guy's hand or not. I was in this position a few years ago.</p> <p><strong>What new music are you listening to these days?</strong></p> <p>Probably mostly singer-songwriters and classical music. I'm listening to a lot of guitar players right now, except old dead ones. [Laughs] </p> <p><strong>Besides Jeff, are there any other artists that you've collaborated with recently that you really enjoyed?</strong></p> <p>Lately not much. I've mostly been working solo and with my trio. I can't think of anyone else in the past year that I've worked with in that way. </p> <p><strong>You've had such a big impact on British folk rock. What's it been like to be leading the way of that genre and keeping it relevant all these years later?</strong> </p> <p>That's not something I'm really aware of or think about. I tried to explore musically in a area that interests me that was between traditional British music and rock music. There's still people in the U.K. that do the same thing and that's continuing tradition and I happen to be one of the first people to do it. But I don't think of myself as being a pioneer of anything. I just try to play the music that to me is relevant.</p> http://www.guitarworld.com/richard-thompson-talks-new-album-still-working-wilcos-jeff-tweedy#comments Jeff Tweedy Joshua Miller Richard Thompson Wilco Interviews News Features Tue, 02 Jun 2015 19:01:09 +0000 Joshua Miller 24607 at http://www.guitarworld.com Whitesnake's David Coverdale and Reb Beach Discuss New Deep Purple Tribute Album http://www.guitarworld.com/purple-days-whitesnake-talks-deep-purple-tribute-album <!--paging_filter--><p>Nobody expected Whitesnake to release an album of songs originally recorded by Deep Purple—not even David Coverdale, who fronted Purple between 1973 and ’76. </p> <p>“It was certainly not part of my agenda, but I really couldn’t be happier,” Coverdale says of the twists of fate that prompted him to revisit the Purple catalog. “It looked just like a cosmic plan, like God’s chessboard moving the pieces into place.”</p> <p>That plan began with Deep Purple keyboard great Jon Lord’s 2012 cancer diagnosis. </p> <p>“The whole seed of this was Jon’s representative asking me if, on Jon’s recovery, would I be prepared to do some kind of Purple reunion. I was immediately onboard.” </p> <p>But it was not to be; Lord passed away later that year. Then Coverdale lost several other people he was close to, and in a search for meaning amid tragedy he felt an urge to reconnect with his past. “I gathered a bunch of imaginary olive branches and started reaching out to people,” he says.</p> <p>That group included Deep Purple guitar legend Ritchie Blackmore, who Coverdale hadn’t spoken to in decades. </p> <p>“The last time Ritchie and I were actually in the same room together we had a physical confrontation which was unpleasant for both of us,” he explains. “From then on it was an unsavory, competitive energy between his group Rainbow and my Whitesnake, until Whitesnake became so fucking successful there was no competition.” But the former bandmates met to talk out their differences and find their peace. “I wanted to express the sorrow of the loss of Jon and to personally offer my sincere appreciation and gratitude for taking an unknown singer and placing me on a voyage that still continues today. It doesn’t get any better than the university of Deep Purple.”</p> <p>These experiences circling around the Deep Purple legacy led to what became <em>The Purple Album</em>. With longtime guitarist Doug Aldrich leaving Whitesnake to pursue other endeavors, 13-year Whitesnake veteran Reb Beach (also of Winger) stepped up to take on a musical director role in addition to lead and rhythm guitars while former Night Ranger axman Joel Hoekstra was brought into the band to share guitar duties. </p> <p>The result is the most overtly “guitar duo” approach on a Whitesnake album since the first half of the Eighties, and Beach couldn’t be happier with the opportunity to pay tribute to elements of Ritchie Blackmore’s approach within the Whitesnake framework. </p> <p>“Ritchie Blackmore is one of the best guitar players in the world and he had a sound that was totally his own,” says Beach. “Winger opened for Deep Purple in 1993 and it was rough for me. People were shouting out ‘You suck! Blackmore rules!’ and holding up signs. The guy can play! He’s got this unique style; he pulls out these unique notes you aren’t expecting and he’s fast as hell. I had a lot to live up to.”</p> <p>In honor of Blackmore’s tone Beach changed up his gear for this album, using a custom Suhr Strat-style guitar with single coil pickups alongside his usual Koa-bodied, EMG-loaded main instrument. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Xk9wWj8Wh30" frameborder="0" allowfullscreen></iframe></p> <p>“It’s the first time I’ve ever recorded with a single-coil guitar,” he says. “It’s got this real bite about it. I used that on almost every song. We did a couple of passes of me and a couple of passes of Joel; Les Paul and Strat, like the classic Whitesnake.” Beach’s amp of choice is a Custom Audio Electronics OD100. “Nothing beats it! It’s smooth, it’s Marshally, it’s crunchy as hell and the clean sound kills everything.” </p> <p>The two guitarists immediately developed a language together. “Joel is like a machine,” says Beach. “He did a big long solo—I think it was ‘Burn’—first take all the way through, and when the smoke had cleared I said, ‘You’ve got it!’ Then he said ‘Let me double it.’ So he doubled it perfectly. Then he said ‘Nah, I’m not sure about that one, let me try another solo.’ So he tried another solo that was just as good as the first one and he did it first take. Then he goes ‘Let me double it.’ So he doubles it absolutely perfectly. It was so perfect it was flanging! Freaked me out! He can just blow out a perfect solo for however long he wants and then double it. Forget it. That’s just insane.”</p> <p>Whitesnake now begin rehearsals for an extensive world tour that will see more Deep Purple material in the set, calling back to the day in 1972 when Coverdale first stepped on a stage to play these songs. “It’s as if my life has come full circle,” the singer concludes. “There’s a feeling of completion.”</p> <p><em>Photo: Ari Michelson</em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/5T2inUoTLrs" 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="/deep-purple">Deep Purple</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/purple-days-whitesnake-talks-deep-purple-tribute-album#comments David Coverdale Deep Purple July 2015 Reb Beach Whitesnake Interviews News Features Magazine Tue, 02 Jun 2015 18:35:24 +0000 Peter Hodgson 24569 at http://www.guitarworld.com Bad Moon Rising: 50 Iconic Albums That Defined 1985 http://www.guitarworld.com/bad-moon-rising-50-iconic-albums-defined-1985 <!--paging_filter--><p>Nineteen hundred and eighty-five was an endlessly intriguing year for music. </p> <p>Hair/glam metal was on the cusp of world domination, with Mötley Crüe exploring the sounds that would make them, and the genre they stood on top of, the biggest in the world in a few years time. </p> <p>As for speed and thrash metal, three of the genre's "Big Four" (Megadeth, Slayer and Anthrax), released new LPs. Though these groups also hadn't fully formed their sonic identity yet, there was definitely a sense that these groups were also gaining quite a bit of momentum. </p> <p>Rock's underground was an extraordinarily diverse and exciting place. </p> <p>The Smiths took over the U.K. with their melancholy, angst-driven jangle-pop. The Meat Puppets fused hardcore punk with healthy doses of laid-back, outlaw country. Sonic Youth turned guitar rock on its head with dark songs that embraced noise, unusual song structures and bizarre guitar tunings. The Replacements embraced the muscle and innocent romanticism of classic rock, while churning out their own thrilling, punk-indebted tales of youth. </p> <p>Singer/songwriters of all kinds dotted the musical landscape. Tom Petty released a strange but endearing LP that was half Eurythmics-style pop and half a gritty homage to his Southern roots. The gravelly voice of Tom Waits sang of the downtrodden and the out-of-luck. Nick Cave led the Bad Seeds through a gothic tour of American musical history, providing a darker, more primitive spin on the blues. </p> <p>Nineteen hundred and eighty-five was one of music's stranger years, but it had plenty worth remembering. Enjoy the photo gallery below. Remember you can click on each photo to take a closer look.</p> <p><Strong>NOTE: This list is presented purely in alphabetical order, not an order of worst to best, or best to worst. So, there is no order of preference.</strong> Enjoy!</p> http://www.guitarworld.com/bad-moon-rising-50-iconic-albums-defined-1985#comments News Features Tue, 02 Jun 2015 18:28:58 +0000 Guitar World Staff, Intro by Jackson Maxwell 24476 at http://www.guitarworld.com Session Guitar: The Top 10 Session Guitarists of All Time http://www.guitarworld.com/photo-gallery-top-10-session-guitarists <!--paging_filter--><p>One of the most important things I can discuss with people who want to become session players is how they need to take a good long look at those who have gone before. </p> <p>In the photo gallery below is a list of some of my faves—and a brief description of each player.</p> <p>Some may be familiar, others may be obscure. Some are still active, some have gone on to that soundstage in the sky. No matter, we are looking at some of the top players of recent recorded history. Listen to them, study them, learn from them.</p> <p>And now, in the photo gallery below, I offer up my top 10 session guitarists. </p> <p>Let me know if you think I've missed anyone! Let’s hear some of your favorites.</p> <p><strong>Ron Zabrocki on Ron Zabrocki:</strong> <em>I’m a session guitarist from New York, now living in Connecticut. I started playing at age 6, sight reading right off the bat. That’s how I was taught, so I just believed everyone started that way! I could pretty much sight read anything within a few years, and that aided me in becoming a session guy later in life. I took lessons from anyone I could and was fortunate enough to have some wonderful instructors, including John Scofield, Joe Pass and Alan DeMausse. I’ve played many jingle sessions, and even now I not only play them but have written a few. I’ve “ghosted” for a few people that shall remain nameless, but they get the credit and I got the money! I’ve played sessions in every style, from pop to jazz.</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="/jimmy-page">Jimmy Page</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/photo-gallery-top-10-session-guitarists#comments Brent Mason Jimmy Page Led Zeppelin Ron Zabrocki Session Guitar Blogs News Features Tue, 02 Jun 2015 17:27:33 +0000 Ron Zabrocki 11951 at http://www.guitarworld.com The Top 10 Talk Box Moments in Rock http://www.guitarworld.com/top-10-talk-box-moments <!--paging_filter--><p>The goal of any musician is to sing through his chosen instrument. </p> <p>And thankfully, advances in technology have made that possible- literally. </p> <p>In the 1970's, someone had the bright idea to take an amp's signal and run it in to the guitarist's mouth via a plastic tube, allowing him to, in a sense, speak to the audience through single notes. At the time, it blew the wah pedal out of the water. </p> <p>So what makes a great talk-box player? Good question. </p> <p><strong>10. Bon Jovi, "Livin' on a Prayer"</strong></p> <p>Damn, man! This is the Jovi at their funkiest! A round of applause to Richie Sambora for laying down some sweet-ass talk box over that rolling bass groove. Keep that dream alive!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/lDK9QqIzhwk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. Mötley Crüe, "Kickstart My Heart"</strong></p> <p>Mick Mars is not one of metal's more remarkable soloists. Yet he may have been the first to send a flurry of tremolo-picked notes flying out of his mouth. It's a sound as scary as his makeup. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/CmXWkMlKFkI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. Nazareth, "Hair of the Dog"</strong></p> <p>To some Scottish accents render words unintelligible. So while Nazareth guitarist Manny Charlton is probably just making electronic noises in the breakdown of this cock-rocker, there's a chance he's actually issuing a cry for Scottish independence. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/kyXz6eMCj2k" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. Weezer, "Beverly Hills"</strong></p> <p>The talk box makes a comeback in the 21st century (we can't keep picking stuff from 1972, folks)! Oddly, because the song hints at the excess of Seventies rock, Rivers Cuomo's talk-box embellishments feel totally appropriate. For some reason, the Muppets come to mind when he cuts loose. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/HL_WvOly7mY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. Steely Dan, "Haitian Divorce"</strong></p> <p>One of the most melodic talk-box solos ever recorded is also a prime example of studio trickery. Session man Dean Parks played the lead, but Walter Becker added the effect later—which required him essentially to ghost-play the exact same solo, and jack his jaw accordingly. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/iWYchJI0Cv8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>05. Pink Floyd, "Pigs"</strong></p> <p>David Gilmour was already one of the most articulate lead players in the prog-rock pantheon. Give him a talk box and... look out! He's literally wailing on this track; a string bend becomes a drawing syllable that never ends. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/gOqblSqx_VI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. Alice in Chains, "Man in the Box"</strong></p> <p>Rather than using the talk box as other guitarists had—to make an ordinary solo sound like it was recorded by space aliens—Jerry Cantrell broke new ground by using it to "sing" harmonies with Layne Staley. Grunge reinvented <em>some</em> rock clichés for the better. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/TAqZb52sgpU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. Joe Walsh, "Rocky Mountain Way"</strong></p> <p>This song is a classic not just for its chunky riff but also for how Walsh takes robot scat singing to new heights. Live clips reveal that Walsh really gets into his box work; you can actually see the drool dripping from the tube. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/mmWWl65_juQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. Jeff Beck, "She's a Woman"</strong> </p> <p>Beck is a weird-guitar-sound pioneer, so it made perfect sense when he used the talk box to slur some syllables on this funked-up Beatles cover (Note: Although it's attributed to Lennon/McCartney, this is a Paul McCartney number all the way). Which raises the question: Is <em>Blow by Blow</em> truly an instrumental album?</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Khmsksk5w_o" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. Peter Frampton, "Do You Feel Like We Do"</strong></p> <p>Not only is <em>Frampton Comes Alive!</em> one of the biggest-selling live albums of all time, but with its biggest hit Frampton singlehandedly increased the vocabulary of the talk box, spitting out phrases previously unattempted by guitarists and easily one-upping Beck on articulation. Just listen to how the audience roars when the guitar asks the immortal question: "Do you feel like we do?" Stoned, maybe? </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/V9Yq5m9eLIQ" 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="/joe-walsh">Joe Walsh</a> </div> <div class="field-item even"> <a href="/peter-frampton">Peter Frampton</a> </div> <div class="field-item odd"> <a href="/jeff-beck">Jeff Beck</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/top-10-talk-box-moments#comments GO May 2006 Guitar One Jeff Beck Joe Walsh Peter Frampton talk box News Features Tue, 02 Jun 2015 14:24:49 +0000 Guitar World Staff 24596 at http://www.guitarworld.com Learn Guitar World's '50 Greatest Rock Songs of All Time' http://www.guitarworld.com/learn-guitar-worlds-50-greatest-rock-songs-all-time <!--paging_filter--><p>The name says it all: <em>Guitar World's 50 Greatest Rock Songs of All Time</em> presents the 50 best as decided by the editors at <em>Guitar World</em> magazine, transcribed note-for-note. </p> <p><strong>The 512-page book Includes: </strong></p> <p> All Along the Watchtower<br /> All Day and All of the Night<br /> Barracuda<br /> Bohemian Rhapsody<br /> Carry on Wayward Son<br /> Crazy Train<br /> Detroit Rock City<br /> Enter Sandman<br /> Free Bird<br /> Highway to Hell<br /> Hotel California<br /> Iron Man<br /> Layla<br /> Misirlou<br /> Pride and Joy<br /> School's Out<br /> Smells like Teen Spirit<br /> Smoke on the Water<br /> Sweet Child O' Mine<br /> Tush<br /> Welcome to the Jungle<br /> You Really Got Me </p> <p> ... and more! </p> <p><strong><a href="http://store.guitarworld.com/collections/new-products/products/guitar-worlds-50-greatest-rock-songs-of-all-time/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=50GreatestRockSongs">The book is available now at the Guitar World Online Store for $35. Head there now for more info!</a></strong></p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/zUwEIt9ez7M" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/learn-guitar-worlds-50-greatest-rock-songs-all-time#comments News Features Tue, 02 Jun 2015 12:18:36 +0000 Guitar World Staff 18457 at http://www.guitarworld.com Mark Tremonti Talks New Solo Album, 'Cauterize' http://www.guitarworld.com/alter-bridges-mark-tremonti-talks-new-solo-album-working-wolfgang-van-halen <!--paging_filter--><p>Mark Tremonti is not the kind of guy who likes to sit still. </p> <p>Between his stint in Creed, his regular gig in Alter Bridge and with his latest project Tremonti, he consistently finds himself amidst a never-ending cycle of writing, recording and touring. </p> <p>It takes a tremendous amount of work ethic and drive to juggle two and sometimes three projects at a time, which is why it should hardly surprise anyone that he’s decided to record two simultaneous follow-up records to 2012’s <em>All I Was</em> rather than just one.</p> <p><em>Cauterize</em> is the first of a set of two albums Tremonti recently laid down with the help of his backing band and producer Michael “Elvis” Baskette and will hit the shelves this summer. Another record, <em>Dust</em>, will follow along sometime thereafter. </p> <p>“I’ve always considered myself as more of a songwriter than a guitar player, and with this huge mountain of song ideas that I needed to whittle down, having a couple of bands to do that with really helps to get those songs to see the light of day.”</p> <p>A key addition this time around to the Tremonti recording unit was bassist Wolfgang Van Halen, who had spent the previous summer on the road with the group. </p> <p>“As soon as we started touring he was just kind of a member of the band,” says Tremonti. “He keeps the rhythm section super tight…and he’s just real creative. When Wolfgang was a part of the whole writing process he came up with things in his mind that by the time we went into the studio it was just perfectly laid down.” </p> <p>With so much material saved up, most other artists might have just released a double record and called it a day, but Tremonti’s old-school ideas of what an album is supposed to convey prevented him from taking that route. </p> <p>“A lot of times when I hear an album and it’s too long I feel like I lose track of the album,” he said. “I wanted this record to be concise, like so many of the albums I grew up listening to. A record you could live with for a year and a half before the next one comes out.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/YmoMjMl_Jxw" 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="/creed">Creed</a> </div> <div class="field-item even"> <a href="/alter-bridge">Alter Bridge</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/alter-bridges-mark-tremonti-talks-new-solo-album-working-wolfgang-van-halen#comments Alter Bridge Creed July 2015 Mark Tremonti Interviews News Features Magazine Mon, 01 Jun 2015 21:31:47 +0000 Corbin Reiff 24577 at http://www.guitarworld.com Built To Spill's Doug Martsch Talks New Album, 'Untethered Moon' http://www.guitarworld.com/built-spills-doug-martsch-discusses-recording-process-behind-untethered-moon <!--paging_filter--><p>For more than 20 years, Boise, Idaho–based Built to Spill have been carving out a distinct niche in the rock and roll universe, balancing a tuneful, indie-pop aesthetic against a tendency to fly off on long, distorto-guitar excursions that recall the work of Dinosaur Jr’s J. Mascis and Neil Young in full-on Crazy Horse mode. </p> <p>The band’s new and eighth studio album, <em>Untethered Moon</em>, lays out this paradox right from the get-go—leadoff track “All Our Songs” builds to a finale that explodes in a skronky guitar lead (“I wanted it to sound like the Stooges or something, sorta belligerent” says singer and guitarist Doug Martsch), and doesn’t let up until closer “When I’m Blind,” which gives over roughly six of its eight-and-a-half minutes to Martsch to wring out as many frenzied notes from his Fender Strat as possible.</p> <p>Despite the multitude of tones and textures layered throughout these songs, Martsch recorded all the guitars on <em>Untethered Moon</em> on his own, accompanied only by the new BTS rhythm section of bassist Jason Albertini and drummer Steve Gere. </p> <p>“Though that changes from record to record,” he says about his guitar duties, pointing out that he sometimes utilizes additional players in the studio. </p> <p>“But this time I had the songs done, and I wanted to work on them with just the rhythm section to get stuff all figured out. I thought maybe I’d bring the other guys in at the end to put on some finishing touches, but by then it just seemed like it was fine and didn’t need anything else.”</p> <p>Those “other guys” are guitarists Brett Netson and Jim Roth, both of whom play with Built To Spill live. In fact, the band has long been known for its triple-guitar attack onstage, a configuration that helps to bring Martsch’s multifarious six-string studio work to life. “Most of our catalog, we’re kind of known for having a lot of textures in our songs,” he says. “There’s a lot going on. So it’s cool to be able to cover that stuff onstage.”</p> <p>As for the fact that Martsch has been able to pursue his unique vision for Built to Spill for close to a quarter century now, it’s something that the frontman says still amazes him. “I never dreamed of having even a shitty music career,” he says. “So to have one I feel pretty good about, that’s unbelievable to me.”</p> <p><em>Photo: Rene Gomez</em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/LZ1VqwPmKkw" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/built-spills-doug-martsch-discusses-recording-process-behind-untethered-moon#comments Built To Spill Doug Martsch July 2015 Interviews News Features Magazine Mon, 01 Jun 2015 21:22:42 +0000 Richard Bienstock 24579 at http://www.guitarworld.com 'Red Light District': Kicking Harold Guitarist Tim David Kelly Talks New Album, Gear and More http://www.guitarworld.com/kicking-harold-guitarist-tim-david-kelly-discusses-red-light-district-kicking-harolds-new-album <!--paging_filter--><p>Kicking Harold—a band featuring Tim David Kelly (lead vocals, guitar), Bret Domrose (bass) and Michael Odabashian (drums)—consider themselves modern rock alchemists, with "modern" being the operative word.</p> <p>In fact, the first single from their latest album, <em>Red Light District,</em> fits that philosophy rather nicely. </p> <p>After years of unsuccessful attempts to re-release the original song, the band decided to give a 21st-century upgrade to the fan-favorite, "Kill You," a song that originally appeared on their 1996 debut album, <em>Ugly and Festering</em>. </p> <p>A video for “Kill You,” which features an appearance by adult film star Mary Carey, has already racked up more than 50,000 views.</p> <p>I recently spoke with guitarist Tim David Kelly about <em>Red Light District,</em> his gear and more.</p> <p><strong>GUITAR WORLD: If I asked you to describe the sound of <em>Red Light District</em>, what would you say?</strong></p> <p>I would say it’s a combination of all of our albums put together. There are elements of our early days when we were a little bit grungier to the more current style of where we are now. We’ve really tried to evolve the band without reducing where we’ve come from. </p> <p><strong>What’s your songwriting process like?</strong></p> <p>Over the years, it’s been different for every album. The last album we did was more of a personal studio project built up layer by layer. As a songwriter, I’m constantly writing. I’ll usually keep small, one-minute demos of verses, choruses and lyrics, and then when it’s time to make an album, I’ll start going through all of the different ideas to find the ones that work best. </p> <p><strong>Let’s talk about a few tracks from <em>Red Light District,</em> starting with “Underneath It All."</strong></p> <p>That’s a good example of how songs can hang around for a long time. I originally wrote that song around 2006. It was something I had worked up and played but never got around to recording. When we started looking for songs for this album, I wanted to choose something from around that time period. I really liked the riff and revamped it to what it is now. Once you hit the studio everything comes to life!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/wE8U8gBAcUI" frameborder="0" allowfullscreen></iframe></p> <p><strong>"Drinkin’ to Forget You"</strong></p> <p>That song was actually written with completely different lyrics. It started out as more of a love song. I had tracked the whole song and really liked the music and melody but when I was listening back, I realized the love lyrics didn’t seem to work. So I pulled them off and re-wrote the song around the opposite theme! [laughs].</p> <p><strong>Why did you decide to do a remake of "Kill You"?</strong></p> <p>That was originally the first single off of our very first album when we got signed. In the late Nineties our old record label let the album go out of print. So even though the song was still in rotation on radio, it was no longer available. I remember approaching the label about buying back the masters to release to the fans, but they basically told us no. That’s when our manager suggested we re-track it. So we decided to change things up and include it on the new album. </p> <p><strong>The INXS song "Need You Tonight" was an interesting cover selection. How did this song make it on to the album?</strong> </p> <p>I’ve always loved INXS, and we used to do a heavy version of “Devil Inside." I remember wanting to do a cover of a Number 1 song for this album, so what I did was buy the Number 1 hits of the Eighties. I listened to every song from 1980 to 1990, trying to figure if any of them would work. I actually had no idea that “Need You Tonight” was one of the songs that went to Number 1. I loved it and knew right away it was the one to do!</p> <p><strong>When did you know you wanted to have a career in music?</strong></p> <p>The genesis of the whole thing actually began in high school. I had two friends who played guitar and piano and were starting a band. I didn't want to be left out so I had one of them teach me guitar. I learned the chords to “Fly by Night” by Rush and that was it. That’s when I was hooked and really started immersing myself in it. I started playing when I was 15 and about a year later was already doing four sets a night in bars. I even remember having to hide in the kitchen in between sets because we weren’t old enough to be in the bar when we weren’t playing [laughs].</p> <p><strong>What’s your current setup like?</strong></p> <p>I’ve had the same amp for 20 years now. It’s a 1990 Marshall 50-watt JCM 900. I’ve had to re-tube it over the years, and I like to run it through 75-watt 4x12 speakers because they don’t crunch out as much. For the past few albums, I’ll usually have my Les Paul as my main guitar and a newer 335 with the double coils. They sound like Les Pauls but are a little rounder.</p> <p><strong>What gives you the most excitement about music?</strong> </p> <p>For me, it’s about playing and connecting with fans. There’s nothing like going into a rehearsal room or playing a gig, cracking open a beer, firing up the guitar and having that camaraderie with a band and audience. That’s really what it’s all about!</p> <p><em>For more about Kicking Harold, visit <a href="http://www.kickingharold.com/">kickingharold.com.</a></em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/8f9hP29MwYc" frameborder="0" allowfullscreen></iframe></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href="http://gojimmygo.net/">GoJimmyGo.net</a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="https://twitter.com/JimEWood">Twitter @JimEWood.</a></em></p> http://www.guitarworld.com/kicking-harold-guitarist-tim-david-kelly-discusses-red-light-district-kicking-harolds-new-album#comments James Wood Kicking Harold Tim David Kelly Interviews News Features Mon, 01 Jun 2015 20:51:32 +0000 James Wood 24582 at http://www.guitarworld.com Guitar World Rounds Up 15 of the Tastiest Seven- and Eight-String Guitars on the Market Today http://www.guitarworld.com/sweet-and-low-roundup-15-tastiest-7-and-8-string-axes-market-today <!--paging_filter--><p>Today—in the photo gallery below—we bring you "Sweet and Low: A Roundup of 15 of the Tastiest Seven- and Eight-String Axes on the Market Today," a gear feature that appears in the all-new <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-july-15-lynyrd-skynyrd?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=7and8stringguitars">July 2015 issue</a> of <em><a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-july-15-lynyrd-skynyrd?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=7and8stringguitars">Guitar World</a> </em>magazine.</p> <p>We've made sure to include models for every guitarist's budget, not to mention a wide assortment of manufacturers.</p> <p>Note that these guitars are presented in no particular order.</p> <p>Remember you can click on each photo to take a closer look!</p> <p>For more information about these guitars, check out:</p> <p>• <a href="http://www.schecterguitars.com/guitars/banshee-elite-8-detail">Schecter Banshee Elite 8</a><br /> • <a href="http://www.schecterguitars.com/guitars/hellraiser-c-7-passive-detail">Schecter Hellraiser Passive 7</a><br /> • <a href="http://www.epiphone.com/Products/Les-Paul/Matt-Heafy-Les-Paul-Custom-7.aspx">Epiphone Ltd. Ed. Matt Heafy Les Paul Custom-7</a><br /> • <a href="http://www.jacksonguitars.com/guitars/soloist/models/slathxq-3-8-dark-rosewood-fingerboard-transparent-black/">Jackson X Series SLATHXQ 3-8</a><br /> • <a href="http://www.jacksonguitars.com/guitars/soloist/models/slattxmg3-7-soloist-rosewood-fingerboard-black/">Jackson X Series SLATXM 3-7</a><br /> • <a href="http://www.prsguitars.com/secustom7string/">PRS Guitars SE Custom 24 7-String</a><br /> • <a href="http://www.caparisonguitars.com/en/products/tat/item/tat-special-7">Caparison TAT Special 7</a><br /> • <a href="http://www.caparisonguitars.com/en/products/brocken">Caparison Brocken 8 FX</a><br /> • <a href="http://www.espguitars.com/products/13498-frx-407-blk">ESP LTD FRX-407</a><br /> • <a href="http://www.espguitars.com/products/13504-h-408b-fm-stblksb">ESP LTD H-408B FM</a><br /> • <a href="http://www.carvinguitars.com/catalog/guitars/scb7">Carvin/Kiesel SCB7</a><br /> • <a href="http://www.carvinguitars.com/catalog/guitars/v8">Carvin/Kiesel Vader Series V8</a><br /> • <a href="http://www.music-man.com/instruments/guitars/artisan-majesty.html">Ernie Ball/Music Man John Petrucci Artisan Majesty</a><br /> • <a href="http://www.sterlingbymusicman.com/jp-guitars/jp170d-series">Sterling By Music Man JP170D-RRB</a><br /> • <a href="http://www.ibanez.co.jp/products/u_eg_page15.php?year=2015&amp;cat_id=1&amp;series_id=1&amp;data_id=162&amp;color=CL01">Ibanez RG Prestige RG852MPB-GFB</a></p> <p><strong>For more about the new July 2015 issue of GW, head to <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-july-15-lynyrd-skynyrd?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=7and8stringguitars">the Guitar World Online Store now.</a></strong></p> <p><em>Top photo: Damian Fanelli (ESP LTD FRX-407 in Snow White); other photos supplied by the manufacturers</em></p> http://www.guitarworld.com/sweet-and-low-roundup-15-tastiest-7-and-8-string-axes-market-today#comments Caparison Guitars Carvin Guitars Epiphone ESP Guitars Ibanez Jackson Guitars July 2015 PRS Guitars Schecter Guitars Sterling by Music Man Electric Guitars News Features Gear Magazine Mon, 01 Jun 2015 18:04:53 +0000 Guitar World Staff 24589 at http://www.guitarworld.com The Top 10 Misspelled Band Names http://www.guitarworld.com/photo-gallery-top-10-misspelled-band-names <!--paging_filter--><p>When the whole cheeky-misspelling nonsense started in the Sixties, it was cute, inspiring names like the Monkees, the Byrds, the Cyrkle and the Human Beinz.</p> <p>And after all, the psychedelic era brought with it certain liberties. It wasn’t until the Eighties that the whole misspelling idea began spiraling out of control, when hair-metal bands started twisting up their names with extra letters, missing letters, backward letters, random lowercasing and overzealous umlauting.</p> <p>Years later, nü-metal acts (who couldn’t even spell their own genre properly) mucked things up beyond all recognition. The confusion kept editors proofreading at their cubicles well into the night, and sent graphic designers prone to ducking deadlines out to even longer lunches.</p> <p>The bad news is, given today’s txt-msg and e-mail trends, we may B n 4 sum dp sht.</p> http://www.guitarworld.com/photo-gallery-top-10-misspelled-band-names#comments GO April 2006 Guitar One Galleries News Features Mon, 01 Jun 2015 15:29:13 +0000 Guitar World Staff 2000 at http://www.guitarworld.com Guitar World's Top 50 Guitar Albums of the Eighties http://www.guitarworld.com/guitar-worlds-top-50-guitar-albums-eighties <!--paging_filter--><p>In early 1990, the editors of <em>Guitar World</em> magazine sat back, grabbed some coffee and painstakingly selected what they considered the top 50 guitar albums of the just-ended Eighties.</p> <p>In the photo gallery below, you can see what they came up with! </p> <p>The albums are listed in order, from "killer" to "jaw-droppingly awesome." Or from 50 to 1, depending on your perspective. </p> <p>Please note that there are actually 51 albums in the gallery (There was a tie somewhere along the way).</p> <p>Don't agree with the vintage editors' vintage choices? As always, let your voice be heard! Share your opinion in the comments below or on <a href="https://www.facebook.com/GuitarWorld">Facebook!</a></p> <p>Head back to the ... past!</p> http://www.guitarworld.com/guitar-worlds-top-50-guitar-albums-eighties#comments GW Archive Guitar World Lists Galleries News Features Magazine Mon, 01 Jun 2015 14:57:20 +0000 Guitar World Staff 13083 at http://www.guitarworld.com Harmonic Minor and Beyond: Killer Scales for Modern Heavy Metal Guitar http://www.guitarworld.com/harmonic-minor-and-beyond-great-scales-heavy-metal-guitar-playing <!--paging_filter--><p>For this column, I've responded to a great question from a reader — Zachary in Houston, Texas.</p> <p><em>"Dave: What is your favorite scale to use when playing heavy metal?"</em></p> <p>Thanks for the question! Harmonic minor is always a very cool choice and a favorite of mine. It’s great to use when you’re improvising or coming up with song ideas and lead parts. </p> <p>So many impressive players have made great use of it in their songs—guys like Uli Jon Roth, Yngwie Malmsteen, Ritchie Blackmore, Steve Vai and many others. Mozart also was a big fan.</p> <p>If you want to hear how I use it, check out my song “Devils Roadmap” below: </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/t1nDO69kLxY" frameborder="0" allowfullscreen></iframe></p> <p>Listen to my guitar solo from 3:22 to 3:40 to hear the scale in action. It’s a fun scale; you can map out crazy three-note-per-string runs all across the fretboard.</p> <p>I also like the pentatonic scale. Pentatonic is huge in metal for a reason: It sounds good in so many situations. Zakk Wylde, Frank Marino and Dave Mustaine are amazing players who have used it to great effect over the decades.</p> <p>• <strong>Pentatonic Scale</strong> (1, b3, 4, 5, b7). For example, in the key of E, that would be E, G, A, B, D.</p> <p>My solo on “I Just Don’t Want to Say Goodbye” is a favorite of mine, and I basically stick to straight-up minor pentatonic. The solo is from 3:26 to 4:37:</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/ObL-XYTdy24" frameborder="0" allowfullscreen></iframe></p> <p>Even though I'm a trained musician, I'm still very much a self-taught player in my heart and mind and in the way I think and approach things. </p> <p>I use the approach of just going for it and seeing what happens when I play leads and improvise. Knowledge is great as a guide, but when I’m writing, I just go for it. Usually, my best stuff happens when I'm not over-thinking it.</p> <p>I come from the Marty Friedman school of thought when it comes to scales. Marty had a great instructional DVD out where he talked about how players can get caught up thinking that they need to know tons of scales. He goes on to say you can just make up your own scales.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/uSaTAGsIBEI" frameborder="0" allowfullscreen></iframe></p> <p>I teach my students to think in this freethinking style. For example, take the simple pentatonic scale and improvise over a riff or chord progression and throw in any chromatic passing tones you like. Practice this approach and see what sounds cool to your ears!</p> <p>The so-called “wrong notes” people might tell you to not play are sometimes the ones that sound amazing against the riff and really make your playing stand out. Take Marty's playing on Megadeth's <em>Rust In Peace.</em> He is throwing in all kinds of exotic scales and interesting note choices all over the place. </p> <p>Below, check out some great scales to add into your arsenal when you're trying to write. I’ll put these in the key of E to keep it easy, but you can move these to any key.</p> <p>• <strong>Harmonic Minor</strong> (1, 2, b3, 4, 5 b6, 7) or (E, F#, G, A, B, C, D#). Like I said, Yngwie Malmsteen and Uli Jon Roth love this scale, but you can hear it from Michael Schenker, Ritchie Blackmore and many others.</p> <p>• <strong>Phrygian Dominant</strong> (1, b2, 3, 4, 5, b6, b7) or (E, F, G#, A, B, C, D). This scale is simply the 5th mode of the harmonic minor scale. If you listen to Iron Maiden’s “Powerslave” you can hear this scale in action: </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/0NYiOHGapRk" frameborder="0" allowfullscreen></iframe></p> <p>Al Di Meola’s “Egyptian Danza” is another great example of this scale in action. Notice a theme? This scale gets a very Egyptian-type sound! </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/XrO29hsWgto" frameborder="0" allowfullscreen></iframe></p> <p>• <strong>Gypsy Scale</strong> (1, b2, 3, 4, 5, b6, 7) or (E, F, G#, A, B, C, D#). This scale is the same as Phrygian dominant except for the natural 7, which this scale has. Any time you are improvising over a chord progression that has major chords that are a half step apart, this scale (as well as the Phrygian dominant) is a good choice. The Gypsy scale is cool to use when you're going for that whole snake-charming, exotic, "magic carpet ride" sound. Blackmore captured it very well on many tunes. “Gates of Babylon” by the Ronnie James Dio-fronted Rainbow is a good example.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/qu8HiZepRWo" frameborder="0" allowfullscreen></iframe></p> <p>• <strong>Hungarian Minor</strong> (1, 2, b3, #4, 5, b6, 7) or (E, F#, G, A#, B, C, D#). This is a cool-sounding scale. This works well over a minor (major 7) chord. The Hungarian gypsy minor and harmonic minor scales are used on Chris Broderick’s solo on Megadeth's “Head Crusher” from 2:58 to 3:24.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/XurU3TPHjzY" frameborder="0" allowfullscreen></iframe></p> <p>• <strong>Persian</strong> (1, b2, 3, 4, b5, b6, 7) or (E, F, G#, A, Bb, C, D#). This scale is cool and has that whole dark Middle Eastern feel to it. It’s got the flat 5 or “tri-tone” in there, which is always great for metal. That’s the interval that Marilyn Manson used on “The Beautiful People” or that Black Sabbath used on one of my all-time favorite songs, “Symptom of the Universe." You can get some crazy-sounding metal riffs out of this scale. It also works well for soloing over a (maj 7 #11) chord.</p> <p>• <strong>Japanese Scale</strong> (1, b2, 4, 5, b6) or (E, F, A, B, C). Friedman, Jason Becker and so many other greats have used this one. Give it a try in your soloing. It works well in minor and major key progressions. Also, with the b2 in there, it makes for a good choice when working in a Phrygian-style situation. </p> <p>• <strong>Chinese Scale</strong> (1, 2, 3, 5, 6) or (E, F#, G#, B, C#) In the Western world, we know this scale by its other name: major pentatonic. Bands like the Allman Brothers really dig its sound and use it quite a bit, as well as bluesmen like B.B. King.</p> <p>Don’t forget the different modes of the major scale. These can be very helpful. Learn them and practice how to apply them all over your fretboard. I will put these in C to keep things easy.</p> <p>• Ionian (Major Scale) (1, 2, 3, 4, 5, 6, 7) or (C, D, E, F, G, A, B)<br /> • Dorian (1, 2, b3, 4, 5, 6, b7) or (D, E, F, G, A, B, C)<br /> • Phrygian (1, b2, b3, 4, 5, b6, b7) or (E, F, G, A, B, C, D)<br /> • Lydian (1, 2, 3, #4, 5, 6, 7) or (F, G, A, B, C, D, E)<br /> • Mixolydian (1, 2, 3, 4, 5, 6, b7) or (G, A, B, C, D, E, F)<br /> • Aeolian (Minor Scale) (1, 2, b3, 4, 5, b6, b7) or (A, B, C, D, E, F, G)<br /> • Locrian (1, b2, b3, 4, b5, b6, b7) or (B, C, D, E, F, G, A)</p> <p>Here's a cool trick someone showed me to help remember what order these modes go in: “I Don’t Punch Like Muhammad A Li.”</p> <p>I= Ionian<br /> Don’t= Dorian<br /> Punch= Phrygian<br /> Like= Lydian<br /> Muhammad= Mixolydian<br /> A= Aeolian<br /> Li= Locrian.</p> <p><em><a href="http://en.wikipedia.org/wiki/Dave_Reffett">Dave Reffett</a> is a Berklee College of Music graduate and has worked with some of the best players in rock and metal. He is an instructor at (and the head of) the Hard Rock and Heavy Metal department at The Real School of Music in the metro Boston area. He also is a master clinician and a highly-in-demand private guitar teacher. He teaches lessons in person and worldwide via Skype. As an artist and performer, he is working on some soon-to-be revealed high-profile projects with A-list players in rock and metal. In 2009, he formed the musical project Shredding The Envelope and released the critically acclaimed album The Call Of The Flames. Dave also is an official artist endorsee for companies like Seymour Duncan, Gibson, Eminence and Esoterik Guitars, which in 2011 released a Dave Reffett signature model guitar, the DR-1. Dave has worked in the past at Sanctuary Records and Virgin Records, where he promoting acts like the Rolling Stones, Janet Jackson, Korn and Meat Loaf.</em></p> <p><em>Dave Reffett headshot photo by Yolanda Sutherland</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/deep-purple">Deep Purple</a> </div> <div class="field-item even"> <a href="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/harmonic-minor-and-beyond-great-scales-heavy-metal-guitar-playing#comments Dave Reffett Blogs Features Lessons Mon, 01 Jun 2015 14:18:01 +0000 Dave Reffett 12389 at http://www.guitarworld.com The Top 10 Pick Squealers of All Time http://www.guitarworld.com/top-10-pick-squealers-all-time <!--paging_filter--><p>There has always been a good deal of mystery surrounding the pinch harmonic, or, as hip players like to call it, “pick squeal.” </p> <p>A pick squeal is simply an artificial harmonic, or high-pitched sound, produced by choking up on the pick and allowing the thumb or thumbnail to catch the string in just as it is picked. </p> <p>The result, of course, resembles a squeal. Or a squawk. Or a scream. (It could take several tries before you get the desired s word.)</p> <p>Anyhow, what was once the domain of blues-rock string benders is now a staple for most metal guitarists. </p> <p>Here be the dudes who made it so.<br /> <br /><br /> <strong>10. Greg Howe</strong> </p> <p>Sure, he’s moved on to smoother and faster fusion pastures, but early on in his rock career, velocity merchant Greg Howe used the pinch harmonic like it was going out of style. Listen to <em>Howe II</em> to hear him bend notes into frequencies perceptible only by canines. Sure, it went out of style. But it came back.<br /> <br /><br /> <strong>09. John Sykes</strong> </p> <p>A speed freak of the scalar variety, Sykes really showed his know-how for the squeal upon joining Thin Lizzy for their 1983 swan song <em>Thunder and Lightning</em>. </p> <p>The repeated, howling fills in “Cold Sweat” were the precursor of the exaggerated squeals that became rampant in metal guitar playing during the decade. Later, Sykes would Top 40-fy the technique on Whitesnake’s “Still of the Night.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/jIvBpe7q1Cg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. Shadows Fall</strong> </p> <p>Jonathan Donais and Matthew Bachand haven’t merely led the return of melodic thrash to the America. No. </p> <p>They’ve punctuated their intricate leads with pinch harmonics, helping to bring the technique back into prominence in extremely heavy music. It’s like havin’ Zakk Wylde and John Sykes in one band!<br /> <br /><br /> <strong>07. Skid Row</strong> </p> <p>A Skid Row song without a scream or 300 from the guitar just wasn’t complete. In fact, the band’s self-titled debut may have more pick squeals than Van Halen had David Lee Roth squeals. And speaking of frontmen, the pinch harmonics of guitarists Scotti Hill and Snake Sabo were the antidote Sebastian Bach Eighties-metal wailing.<br /> <br /><br /> <strong>06. Eddie Van Halen</strong> </p> <p>Look no further than Van Halen’s landmark debut. With his aggressive pick attack, Ed sounds almost as if he’s using some weird wah-wah effect when he pinches the strings in the hyperboogie riffs of “I’m the One” and “Jamie’s Crying.” </p> <p>And how about the opening riff of “Ain’t Talkin’ Bout Love”? Rock guitar changed at this point.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/mPP7fshTtv4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>05. Dimebag Darrell</strong> </p> <p>By the time Pantera made the transformation to Metallica-inspired power metal, the Dime had moved from inserting EVH squeals in his solos to writing riffs around pinch harmonics, as in “Cemetary Gates.” </p> <p>When that song came out, death-metal bands immediately started taking their cues from Mr. Abbott.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/0hzX88bzlnQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. Steve Vai</strong></p> <p>The Big V has been making weird guitar noises since his infancy—when Frank Zappa’s wolf pack adopted and raised him. </p> <p>But it all came together, pinchwise, on <em>Flexable</em>’s chromatic <em>tour de force</em> “Attitude Song.” </p> <p>Later, Vai merged commercial success, whammy bar, and pick squeals on David Lee Roth’s version of “Tobacco Road,” and the technique all but dominated the boogie tune “Juice,” from <em>Alien Love Secrets.</em></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/f0-OvL2pHsM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. Roy Buchanan</strong></p> <p>The late and lamented Buchanan gets credit for inventing the technique, back in the Sixties. The way he laid into his strings made it so that virtually every bend had a harmonic overtone of some sort. </p> <p>Yep, he was chicken pickin’, and the notes they were squawkin’. Some of his most over-the-top pinch harmonics—produced without the aid of ridiculous distortion—can be found on the album <em>Live Stock</em>.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Ka7yHdNzpVA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. Zakk Wylde</strong> </p> <p>A 19-year-old feller rejuvenates Ozzy’s band by twisting steroid-enhanced riffs into “Miracle Man” and interspersing pick squeals in just about any gap that opens up. </p> <p>Wylde realized he was onto something; the technique is now integral to his rowdy playing style. Indeed, when he touches off his A squeal, it sounds as though the string is screaming for help.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/gkeFtDVCZMo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. Billy Gibbons</strong> </p> <p>The fact that The Beard sustained a large portion of his “La Grange” solo with harmonic squeals puts him in the books as a master of the technique. The fact that song is a tribute to a house of ill repute makes the sound effects—the squeals—ever more appropriate.</p> <p>According to lore, Gibbons attains his signature squeals by picking with an old coin. The thicker the pick, the louder the squeal louder, or so they say.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/SE1xO44FlME" 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="/dimebag-darrell">Dimebag Darrell</a> </div> <div class="field-item even"> <a href="/zz-top">ZZ Top</a> </div> <div class="field-item odd"> <a href="/eddie-van-halen">Eddie Van Halen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/top-10-pick-squealers-all-time#comments Billy Gibbons Dimebag Darrell Eddie Van Halen Greg Howe John Sykes Roy Buchanan Steve Vai Guitar World Lists News Features Mon, 01 Jun 2015 12:04:37 +0000 Guitar World Staff 2008 at http://www.guitarworld.com The Gretsch Electric Guitar Book: 60 Years of White Falcons, 6120s, Jets, Gents and More http://www.guitarworld.com/gretsch-electric-guitar-book-60-years-white-falcons-6120s-jets-gents-and-more <!--paging_filter--><p>Tony Bacon's new book, <em><a href="http://guitarworld.myshopify.com/products/the-gretsch-electric-guitar-book/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GretschElectricGuitar">The Gretsch Electric Guitar Book: 60 Years of White Falcons, 6120s, Jets, Gents and More,</a></em> is available now at the Guitar World Online Store for $29.99.</p> <p>Gretsch guitars have a style all their own: a glitzy, wacky, retro charm that over the years has drawn players from all kinds of popular music, from timeless stars to unknown teens. </p> <p>The Beatles, Chet Atkins, Duane Eddy and Brian Setzer all made their mark with Gretsch, and new bands continually discover and fall in love with the Falcons, Gents, 6120s, Jets and the rest.</p> <p><em>The Gretsch Electric Guitar Book</em> comes right up to the present, including Gretsch's alliance to the powerful Fender company, a move that has done wonders for the reliability and playability of the modern Gretsch axe. </p> <p>Every great model is here, but the book also tells the story of the lesser-known guitars and the projects that almost never happened. There are archival and fresh interviews with Gretsch personnel over the years and with many leading Gretsch players, including Chet Atkins, Billy Duffy, Duane Eddy and Brian Setzer.</p> <p>In the tradition of Tony Bacon's best-selling series of guitar books, his updated and revised story of Gretsch is three great volumes in one: a compendium of luscious pictures of the coolest guitars; a gripping story from early exploits to the most recent developments; and a detailed collector's guide to every production electric Gretsch model ever made.</p> <p><strong><a href="http://guitarworld.myshopify.com/products/the-gretsch-electric-guitar-book/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GretschElectricGuitar">Head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/gretsch-electric-guitar-book-60-years-white-falcons-6120s-jets-gents-and-more#comments Gretsch News Features Mon, 01 Jun 2015 11:58:29 +0000 Guitar World Staff 24593 at http://www.guitarworld.com