Features http://www.guitarworld.com/taxonomy/term/5/all en Richie Kotzen Discusses New 'Essential' Package and Memorable Moments from His Career http://www.guitarworld.com/richie-kotzen-discusses-new-essential-package-and-memorable-moments-his-career <!--paging_filter--><p>With styles ranging from rock and blues to jazz and soul, Richie Kotzen has built an eclectic career as guitarist, singer and songwriter. </p> <p>Over a period of 20 years, Kotzen has accumulated a loyal fan base and has consistently sold out shows throughout the world. </p> <p>Still, there are many who question what Kotzen is capable of musically. Kotzen’s new <em>Essential</em> package is sure to answer that question.</p> <p><em>The Essential Richie Kotzen</em> — which is slated to be released September 2 — contains material curated from Kotzen’s entire career (which has spawned 18 solo albums), not including his work with Poison and the Winery Dogs. </p> <p>The new package was purposely designed to give listeners the most comprehensive, concise introduction to Kotzen’s extensive body of work. </p> <p><em>The Essential Richie Kotzen</em> includes two CDs of classic Kotzen material as well as two new songs, along with a DVD of music videos, acoustic performances and bootleg material. It’s the ultimate collection of music for Kotzen fans.</p> <p>I recently spoke with Kotzen about the <em>Essential</em> package, his upcoming solo album and some of the most memorable moments of his career.</p> <p><strong>GUITAR WORLD: What spawned your new <em>Essential</em> package?</strong></p> <p>It was an idea that actually came from the record label. I have a very nice fan base that's been great to me over the years and has allowed me to tour around the world. But there's also a huge community in the rock world that knows my name but has no idea what it is that I do musically. I remember when I was on tour with the Winery Dogs, people would often come up to me and say, "Man, I didn't know you sang like that and I just found out that you also have a solo career. What record should I get?" </p> <p>I never knew what to say. I wrote my first record when I was 17 (and recorded it at 18), so a lot of time has passed. What we decided to do was make one package that would answer the question. I went through and picked out songs I like to play live and still represent who I am today. So for someone who is curious about what it is that I do, now there's an answer.</p> <p><strong>The package also includes two new tracks (“War Paint” and “Walk With Me”). What can you tell me about them?</strong></p> <p>Those were songs that would have eventually ended up on a solo album or maybe a Winery Dogs record. When I made this package, I knew I wanted to include two new songs, so I decided to put them on. </p> <p><strong>What made you decide to use a Theremin on “Walk With Me”?</strong></p> <p>When I was writing the song, I literally heard the sound of a Theremin playing in my head. So I went online and I bought one. At first, I couldn't do anything with it musically and it was the noisiest two weeks at my house [laughs]. Eventually, it got to a point to where I could play some melodies, so I set it up and ultimately got out what I was hearing in my head.</p> <p><strong>“Fooled Again” has always been one of my favorites. Can you give me a little back story on it?</strong></p> <p>That song definitely came from the riff. I know that when I recorded it, I really wanted that Curtis Mayfield kind of feeling. I love the way it turned out. It exceeded my expectations and a big part of it was because of Franklin Vanderbilt’s drumming and Arlan Schierbaum’s keyboard performance. They really brought the song to life. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/E8ctq4ENhl0" frameborder="0" allowfullscreen></iframe></p> <p><strong>Another cool thing about the package are the demo and acoustic performances. Particularly, the track “Until You Suffer Some (Fire and Ice)." Not many people realize your contribution to Poison. What can you tell me about that experience?</strong></p> <p>It was such a sideways move for me. Two years before I joined the band, my contract with Shrapnel was bought out by Interscope. That’s what brought me to California, and I spent about a year writing songs for what I thought was going to be my solo record. We really wanted to make this R&amp;B, soul/rock record and even got the budget approved. Then at the last minute, the label said, "Wait a minute. I didn't sign you to do this kind of music. I need you to be a hard rock guy." I remember just losing my mind and insisted on being dropped — which they did. </p> <p>At the same time they were dropping me, the A&amp;R guy said, "You know, Bret Michaels just called me. They're interested in you. I think you should do it and then circle back after the album cycle." So I went out and met Bret and really liked what he had to say. They brought me in as a band member and writer and that song that you mentioned was one of the songs I brought in that would have been on that solo record. I never really played the song live and thought it made sense to do a version of me singing it. That's what's on the record.</p> <p><strong>Can you give me an update on your tour plans?</strong></p> <p>I'm going to Europe in September and then to South America and will spend the rest of the year touring the U.S.</p> <p><strong>What do you remember most about your Shrapnel experience?</strong></p> <p>As a teenager, getting into Mike Varney’s column became an obsession for me [laughs]. I had a four-song demo that I sent in a few times but never heard anything back. Then I thought maybe it was because Mike was listening to it for only 30 seconds and didn't hear anything that he liked. So I kept sending it to him but changing up the order of the songs.</p> <p>I still never heard anything until finally one day my friend called me up and said, "Dude, what's wrong with you? You're in the column and you didn't tell me?" I was convinced he was lying until I ran to the newsstand. Sure enough, there was my picture along with a profile.</p> <p>Shortly after that, I got a call from Mike saying that he wanted to do a record with me. Originally, the thought was to do an album with me and another guitar player, similar to what Jason Becker and Marty Friedman had done.</p> <p>During the process, I started writing a lot and for every song that I would write with my partner, there would be five I would send to Mike that I had done on my own. Eventually, it got to the point where Mike started liking my own material and signed me.</p> <p><strong>What was it like opening for the Rolling Stones in 2006?</strong></p> <p>It was pretty surreal. There were six shows on that run and I remember purposely not telling anyone about it at first because in Japan, it’s not normal to have an opening act and from what I was told the Stones never had an opening act when they toured Japan. So I knew there might be a chance that it wouldn’t happen — but it did! After that first show I could say I opened for the Rolling Stones! It was an amazing experience!</p> <p><strong>What can you tell me about your new solo album?</strong></p> <p>It will be out by the end of January. The new CD is called <em>Cannibals</em> and will have 10 songs. One of the ones I'm really excited about is one I wrote with my daughter called "You." It’s a piano/voice piece where I actually play a little bit of Theremin again as well. </p> <p>The song came about in a very interesting way. My daughter is 17 now but back when she was 14 she would often play this piece over and over at the piano. Finally, I asked her what it was she was playing and she said, "I don't know. It’s just something I wrote." It sounded really cool so we recorded a version of it and I filed it away. When I went back and started looking into the archives, I found it and decided to sing something over it. I wrote some words, sang it and it came out really cool. It’s something we did together and one of my favorite tracks on the album. </p> <p><strong>We’ve already mentioned a few memorable moments of your career. Are there any others that really stand out for you?</strong></p> <p>It would have to be the moment when I auditioned to join Stanley Clarke's band. I remember he put a sheet of music in front of me and I just started laughing. It was a funny moment. He asked me what I was laughing at and I told him that I hadn't read since I was a teenager. But then he sat down at the piano and proceeded to show me one of his songs and we spent the better part of the next three hours jamming together. </p> <p>Afterwards, I remember saying, "I know that there's no way I'm going to get this gig but it's been an honor to play with you and I just wanted to thank you for your time." I left and went to a concert that night and when I got home there was a message on my answering machine saying that I got the gig. </p> <p>That's a strong memory for me because it was so outside the realm of what I normally do. It educated me musically and I was really able to grow from the experience. </p> <p><strong><em>For more about Kotzen, visit <a href="http://richiekotzen.com/">richiekotzen.com</a>.</em></strong></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href="http://gojimmygo.net/">GoJimmyGo.net</a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="https://twitter.com/JimEWood">Twitter @JimEWood.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/richie-kotzen">Richie Kotzen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/richie-kotzen-discusses-new-essential-package-and-memorable-moments-his-career#comments James Wood Richie Kotzen Interviews News Features Thu, 21 Aug 2014 20:26:31 +0000 James Wood http://www.guitarworld.com/article/22179 Essential Listening: 10 Stellar Slide Guitar Songs http://www.guitarworld.com/essential-listening-10-great-slide-guitar-songs <!--paging_filter--><p>Not content with the status quo, industrious young guitar players have endeavored over the decades to make things more difficult for themselves. </p> <p>Some have tried playing the guitar behind their back, over their head, with their teeth, with their friends' teeth, etc. </p> <p>And then there was the inventive guitarist who, many decades ago, decided to slip a bottle over his finger and slide it along his guitar's strings to produce a magical sound (He probably emptied the bottle himself, if you know what I mean). </p> <p>While playing the guitar with your teeth is, was and always shall be a novelty, slide guitar — and slide guitarists — is and are here to stay. They actually started digging in their heels long before Robert Johnson made his haunting Delta blues recordings in Texas in the 1930s. </p> <p>Since Johnson's time, players — including guys like George Thorogood, Derek Trucks, Jerry Douglas and Roy Rogers — have built entire careers around slide guitar and its many stylistic varieties.</p> <p>Below, we present 10 tracks that represent essential listening in the world of slide guitar. Please note that we're sticking with regular ol' six-string guitar — no lap steel, sacred steel, pedal steel, etc. (Not that there's anything wrong with that.) These songs are presented in no particular order. I repeat: These songs are presented in no particular order.</p> <p>Also, if you want to track down any of these tracks, you'll find all 10 original album covers in the photo gallery below. Enjoy!<br /> <br /><br /> <strong>The Allman Brothers Band, "Statesboro Blues" (Duane Allman)</strong></p> <p>A generation of blues-influenced rockers toyed with slide guitar for several years, slowly bringing it into mainstream music (Check out Jeff Beck's performance on "Evil Hearted You" by the Yardbirds), but no one dragged it into the modern era quite like Duane Allman of the Allman Brothers Band. He used the slide to imitate the sound of a blues harp — not to mention mesmerize countless concert goers who were knocked out by his dexterity and intensity. Perhaps his quintessential slide performance is the Allmans' <em>At Fillmore East</em> version of Blind Willie McTell's "Statesboro Blues." As <em>Rolling Stone</em> put it, it features the sort of playing that gives people chills. Of course, be sure to seek out other live versions of the song, including the one on the band's recently released <em>SUNY at Stonybrook</em> album.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/ezPZxfS1jys" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Sonny Landreth, "Überesso"</strong></p> <p>Respected Louisiana-based slide player Sonny Landreth started appearing on music fans' radar in earnest after the release of the 2007 Crossroads Blues Festival DVD. It features a few tracks by Landreth (jamming with Eric Clapton and such), including the uber-exciting instrumental, "Überesso." Landreth's unique slide technique lets him fret notes and play chords and chord fragments behind the slide. He plays with the slide on his little finger, so his other fingers have more room to fret. Check out his performance of "Überesso" from the 2007 Crossroads Guitar Festival below. Yes, he's awesome.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/sJ3IVTPPPLw" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Steve Miller Band, "The Joker" (Steve Miller)</strong></p> <p>Although not primarily known as a slide player, Steve Miller put the slide to fun and creative use on his 1973 hit single, "The Joker," playing a hummable, tasteful slide solo for the masses (and imitating a whistle a few times in the process). Although it's no "Überesso" (See above), it shows that slide guitar has been invited to the chart-success party, especially in the early '70s, much like our next selection ...</p> <p><iframe width="640" height="365" src="//www.youtube.com/embed/DzSC2__LXk4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>George Harrison, "Give Me Love (Give Me Peace on Earth)"</strong></p> <p>You'll read it in other roundups of great slide guitar songs — comments like, "Although he wasn't a virtuoso like these other players ... ." Yeah, whatever. OK, he wasn't Jeff Beck, Steve Howe or Ritchie Blackmore, but George Harrison, who, as a member of the Beatles, influenced millions of humans to play guitar, suddenly started playing slide guitar in 1969, inventing an entirely new "guitar persona" for himself. What he came up with was a distinctive, non-blues-based style that incorporated hints of Indian music, some pointers he picked up while learning sitar and other Beatles-esque odds and ends. While "My Sweet Lord" and Badfinger's "Day After Day" (featuring Harrison on slide) are better known, 1973's "Give Me Love" perfectly displays his new-found style. For some quality later work, check out "<a href="http://www.youtube.com/watch?v=I7HGkdDuIZ4">Cheer Down</a>" from 1989 and "Any Road" from 2002.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/s-KAvPbO8JY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Foghat, "Slow Ride" (Rod Price)</strong></p> <p>Staying in the '70s for a moment, let us consider Foghat's "Slow Ride," another slide-based song that topped the charts. Perhaps the polar slide opposite of George Harrison, the heavily blues-influenced Rod "The Bottle" Price (Yes, they called him "The Bottle") let it all hang out in his solo near the fadeout of Foghat's signature track. Be sure to also check out Foghat's "Drivin' Wheel" and "Stone Blue." Price, a product of the UK, died in 2005.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/GcCNcgoyG_0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Led Zeppelin, "In My Time of Dying" (Jimmy Page)</strong></p> <p>Although the "big three" guitarists who emerged from the '60s rock scene in England — Eric Clapton, Jeff Beck and Jimmy Page — flirted with slide guitar at different points in their careers, none took it as far, or used it with as much success, as Page. For proof, just listen to "In My Time of Dying" from <em>Physical Graffiti</em>. The recording (the most popular version of a song Josh White recorded in the mid-'40s), features Page sliding away in open A (E / A / E / A / C# / E). Although Page also played slide on "When the Levee Breaks," "Traveling Riverside Blues" and "What Is and What Should Never Be," his distinctive slide style simply defines the powerful and dark "In My Time of Dying."</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/eoBKd0HXb9o" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Elmore James, "Dust My Broom"</strong></p> <p>We've mentioned a few "blues influenced" players, which is basically another way of saying "players who were influenced by Elmore James." James — who was actually dubbed the "King of the Slide Guitar" — is best known for his 1951 version of "Dust My Broom (I Believe My Time Ain't Long)." The song's opening riff is one of the best-known and most influential slide guitar parts ever. Yes, it sounds a lot like what Robert Johnson played on his "I Believe I'll Dust My Broom" several years earlier, but James played his riff on an electric guitar, pretty much claiming it for himself in the process and sending chills down the spine of a new generation. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/LIGxeQKQs-0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Johnny Winter, "Highway 61 Revisited"</strong></p> <p>The lanky Texan (and former Brit) simply burns it up in his legendary cover of Bob Dylan's "Highway 61 Revisited" from <em>Second Winter,</em> his second album. Be sure to <A href="http://www.youtube.com/watch?v=AjcOSmmTTiE">investigate the acoustic "Dallas" from Winter's self-titled 1969 album</a>. If you can convincingly play these two songs, it's time to hang up your T-square and/or apron and look for session work! </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/yclRjptWlW8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Derek Trucks Band, "Sahib Teri Bandi/Maki Madni" (Derek Trucks)</strong></p> <p>The list takes an exotic turn with this middle-eastern-flavored track by Derek Trucks. With his deep Allman Brothers Band lineage, we know Trucks (and Warren Haynes, of course) can tackle roots rock, extended blues jams and more, but this 10-minute instrumental track from his 2006 album, <em>Songlines</em>, steps way out of those boundaries and truly shows what Trucks is capable of. He makes the guitar sound like an exotic instrument from a distant land and time. Check out this live performance from 2008, below. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/N65cP52NC8s" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Rory Gallagher, "Want Ad Blues/Wanted Blues"</strong></p> <p>For our official acoustic entry, let's not forget the late, great Rory Gallagher, shown here playing a version of John Lee Hooker's "Wanted Blues." It's hard to believe this Irish master of the Stratocaster was also a ridiculously accomplished traditional blues slide player. By the way, <a href="http://www.youtube.com/watch?v=7kGUXtEMbPU">in this brief video (Click here), Gallagher explains some slide basics. Be sure to check it out.</a></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/88eLFmaVDdg" frameborder="0" allowfullscreen></iframe></p> <p><strong><em>Learn Slide Guitar</em> is the ultimate DVD instructional guide to playing slide guitar like a pro. Designed for beginning-to-intermediate guitar players, this DVD contains more than two hours of lessons that will help you develop such skills and techniques as playing in open and standard tunings, slide scales for soloing in all keys, improvising, open-tuning chord forms, muting, vibrato, Delta and electric blues, plus much more! <a href="http://store.guitarworld.com/collections/dvds/products/learn-slide-guitar-dvd/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=SlideGuitarDamian">It's available now at the Guitar World Online Store!</a></strong></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/duane-allman">Duane Allman</a> </div> <div class="field-item even"> <a href="/allman-brothers-band">Allman Brothers Band</a> </div> <div class="field-item odd"> <a href="/jimmy-page">Jimmy Page</a> </div> <div class="field-item even"> <a href="/george-harrison">George Harrison</a> </div> <div class="field-item odd"> <a href="/derek-trucks">Derek Trucks</a> </div> <div class="field-item even"> <a href="/led-zeppelin">Led Zeppelin</a> </div> <div class="field-item odd"> <a href="/johnny-winter">Johnny Winter</a> </div> <div class="field-item even"> <a href="/elmore-james">Elmore James</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/essential-listening-10-great-slide-guitar-songs#comments Allman Brothers Band Derek Trucks Duane Allman Elmore James George Harrison Jimmy Page Rory Gallagher Videos News Features Thu, 21 Aug 2014 17:51:11 +0000 Damian Fanelli http://www.guitarworld.com/article/17948 Guitar World Girls: Meet Tiffany Bontorno! http://www.guitarworld.com/guitar-world-girls-meet-tiffany-bontorno <!--paging_filter--><p>Tiffany is the latest addition to our Girls of Guitar World Gallery.</p> <p>Photos by Scott Bennet.</p> <p>Scroll down to see the complete photo gallery!</p> <p>If you think you have what it takes to be a Guitar World Girl, simply email photos of yourself with a guitar to <a href="mailto:modelsearch@guitarworld.com"><strong>modelsearch@guitarworld.com</strong></a>!</p> Girls of Guitar World Galleries Features Thu, 21 Aug 2014 15:40:02 +0000 Guitar World http://www.guitarworld.com/article/22175 From Another Dimension: ODD 3-D-Printed Guitars http://www.guitarworld.com/another-dimension-odd-3-d-printed-guitars <!--paging_filter--><p>As a professor of mechatronics at Massey University in Auckland, New Zealand, Olaf Diegel has used 3-D printers for more than 15 years to prototype new product ideas. </p> <p>However, 3-D printing technology has recently progressed to the level where Diegel realized he could use the printers to make finished commercial products. </p> <p>That development inspired Diegel, who also plays guitar, to start ODD Guitars, which produces unusual custom guitars with bodies constructed using 3-D printer technology.</p> <p>ODD’s guitars feature skeletal frameworks with complex designs. </p> <p>“3-D printing makes it possible to manufacture ‘impossible’ shapes,” Diegel says. “For example, my Spider guitar has a spider web frame with little spiders crawling around the inside. The body is a single piece made of Polyamide, which is an extremely tough and durable form of nylon. I’ve dropped the guitars a few times without damaging them.”</p> <p>Inside the body frame is a wooden core to which the custom neck, made by Warmoth, attaches, and the core material matches that of the chosen neck material. “Customers can specify mahogany or maple necks and completely customize the electronics. They can also make minor modifications, like having their name, band logo, or other graphics 3-D printed on the back of the instrument at no extra cost. We can even adjust the weight to a player’s preference.”</p> <p>ODD offers five guitar models — the Atom, Hive, Scarab, Spider and Spider LP — and three bass models — Atom, Hive and Spider LP — which range in price from $3,000 to $3,500. More info about ODD Guitars can be found at <a href="http://odd.org.nz/guitars.html">odd.org.nz/guitars.html</a> and at <a href="http://cubify.com/products/guitars">cubify.com/products/guitars</a>.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/zf5LfmP2tzY" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/another-dimension-odd-3-d-printed-guitars#comments GW Archive It Might Get Weird March 2013 ODD ODD Guitars Electric Guitars Galleries News Features Gear Magazine Thu, 21 Aug 2014 14:24:41 +0000 Chris Gill http://www.guitarworld.com/article/18027 Get Note-for-Note Transcriptions for 14 Classic Nirvana Songs http://www.guitarworld.com/get-note-note-transcriptions-14-classic-nirvana-songs <!--paging_filter--><p>A recently published book from Hal Leonard, <em>Nirvana: Note for Note Transcriptions,</em> offers new, note-for-note transcriptions (with guitar and bass tabs) for all the instruments on all 14 songs from Nirvana's 2002 best-of compilation. </p> <p>The book includes these songs from throughout the band's celebrated career: </p> <p>• "About a Girl"<br /> • "All Apologies"<br /> • "Been a Son"<br /> • "Come as You Are"<br /> • "Dumb"<br /> • "Heart Shaped Box"<br /> • "In Bloom"<br /> • "Lithium"<br /> • "The Man Who Sold the World"<br /> • "Penny Royal Tea"<br /> • "Rape Me"<br /> • "Sliver"<br /> • "Smells like Teen Spirit."</p> <p>It also includes their recently released final recording, "You Know You're Right."</p> <p>Includes complete lyrics!</p> <p><strong><a href="http://store.guitarworld.com/collections/guitar-world/products/nirvana-note-for-note-transcriptions/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=NirvanaTranscriptions">The book is available now at the Guitar World Online Store for $24.95</a>.</strong></p> <p><iframe width="620" height="380" src="http://www.youtube.com/embed/AhcttcXcRYY" 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="/nirvana">Nirvana</a> </div> <div class="field-item even"> <a href="/kurt-cobain">Kurt Cobain</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/get-note-note-transcriptions-14-classic-nirvana-songs#comments Nirvana News Features Thu, 21 Aug 2014 14:14:08 +0000 Guitar World Staff http://www.guitarworld.com/article/17589 Guitar World Magazine Covers Gallery: Every Issue from 2008 to 2014 http://www.guitarworld.com/guitar-world-magazine-covers-gallery-every-issue-2008-2014 <!--paging_filter--><p>Below, check out the latest photo gallery of <em>Guitar World</em> magazine covers. This time, we "cover" 2008 through the present — 2014.</p> <p>Because we're in a "completist" mood, this photo gallery also includes all the different variations of certain covers, including four different versions of an Eddie Van Halen cover from 2009.</p> <p>We hope you enjoy this trip through GW's recent history. Because this gallery will go through 2014, you'll have to wait till 2015 for the next one!</p> <p>If you're in the mood for more, be sure to check out our photo gallery of every <em>Guitar World</em> magazine cover from <a href="http://www.guitarworld.com/guitar-world-magazine-covers-gallery-every-issue-1980-1986">1980 to 1986</a>, from <a href="http://www.guitarworld.com/guitar-world-magazine-covers-gallery-every-issue-1987-1993">1987 to 1993</a>, from <a href="http://www.guitarworld.com/guitar-world-magazine-covers-gallery-every-issue-1994-2000">1994 to 2000</a> and from <a href="http://www.guitarworld.com/guitar-world-magazine-covers-gallery-every-issue-2001-2007">2001 to 2007.</a></p> <p><strong>NOTE: Remember, you can click on each photo to take a closer look.</strong></p> http://www.guitarworld.com/guitar-world-magazine-covers-gallery-every-issue-2008-2014#comments Guitar World Guitar World Lists Galleries News Features Magazine Wed, 20 Aug 2014 15:55:49 +0000 Guitar World Staff http://www.guitarworld.com/article/20189 2015 Guitar World Buyer's Guide: Nonstop Gear Plus Playboy Playmates Nikki Leigh, Gemma Lee Farrell and Dani Mathers http://www.guitarworld.com/2015-guitar-world-buyers-guide-nonstop-gear-plus-playboy-playmates-nikki-leigh-gemma-lee-farrell-and-dani-mathers <!--paging_filter--><p><strong>Guitar World Buyer's Guide 2015 is <a href="http://guitarworld.myshopify.com/products/guitar-world-buyers-guide-2015/?&amp;utm_source=facebook&amp;utm_medium=daily_ad&amp;utm_campaign=BuyersGuide15">available NOW at the Guitar World Online Store!</a></strong></p> <p><em>Guitar World's</em> 2015 Buyer's Guide issue features more than 1,000 products and photos. </p> <p>The 2015 Buyer's Guide features more brands and models than any other guide and includes electrics, acoustics, basses, amps, effects and accessories modeled by <em>Playboy</em> Playmates Nikki Leigh, Gemma Lee Farrell and Dani Mathers.</p> <p>The best guitar Buyer's Guide ever — we've got reviews on all the gear:</p> <p> • Electrics<br /> • Acoustics<br /> • Basses<br /> • Amps<br /> • Effects<br /> • Accessories<br /> • and many more!</p> <p><strong><a href="http://guitarworld.myshopify.com/products/guitar-world-buyers-guide-2015/?&amp;utm_source=facebook&amp;utm_medium=daily_ad&amp;utm_campaign=BuyersGuide15">For more information, head to the Guitar World Online Store now!</a></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/MRVRzaQ0I0s" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-07-02%20at%2012.25.57%20PM.png" width="620" height="812" alt="Screen Shot 2014-07-02 at 12.25.57 PM.png" /></p> http://www.guitarworld.com/2015-guitar-world-buyers-guide-nonstop-gear-plus-playboy-playmates-nikki-leigh-gemma-lee-farrell-and-dani-mathers#comments Buyer's Guide News Features Wed, 20 Aug 2014 14:49:53 +0000 Guitar World Staff http://www.guitarworld.com/article/21833 The 50 Greatest Led Zeppelin Songs http://www.guitarworld.com/50-greatest-led-zeppelin-songs <!--paging_filter--><p><strong>From “Dazed and Confused” to “You Shook Me” … from “Tangerine” to “The Lemon Song” … from “Trampled Under Foot” to “Stairway to Heaven” … <em>Guitar World</em> presents a critical analysis of the classic-rock group’s best tracks.</strong></p> <p>With the recent release of <em>Celebration Day</em>, the concert film immortalizing Led Zeppelin’s historic and most likely final reunion concert at London’s O2 Arena on December 10, 2007, guitarist-producer Jimmy Page reminded the world just how profoundly great and enduring his band’s music is. </p> <p>In homage to what is arguably hard rock’s most innovative group (and certainly its most influential), what follows is a tour of 50 of the most celebrated Led Zeppelin songs, with a focus on the guitar playing, songwriting and arranging genius of the quartet’s visionary founder. </p> <p>Compiling such a finite list presents tough choices for anyone, as the band’s recorded output of great music during its heyday was impressively prolific by any standard and includes well over 50 gems.</p> <p><strong>50. “D’yer Mak’er” (<em>Houses of the Holy</em>)</strong></p> <p>This lighthearted but heavy-sounding song, the title of which is intended to be pronounced “D’you Make Her,” was conceived as a playful melding of a Fifties doo-wop-style repeating chord progression and the quirky, syncopated rhythms of Jamaican reggae. </p> <p>Page makes good use of sliding sixth intervals on the song’s verse riff, providing a thin-textured but catchy and harmonically effective accompaniment to Plant’s vocals. His guitar solo, like so many of his others, is noteworthy for its tasteful, lyrical phrasing and emotive use of bends and finger vibratos.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/aoxQBvcKa9Y" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>49. “Tangerine” (<em>Led Zeppelin III</em>)</strong></p> <p>Like “Thank You,” this folky ballad, written exclusively by Page, offers good bang for your musical buck, in terms of packing a lot of expression into a handful of melodically embellished open “cowboy” chords. </p> <p>Jimmy achieved a rich texture by performing the song’s main guitar part on a 12-string acoustic and handsomely decorated the chorus with authentic country-style pedal-steel licks, for which he used lots of oblique bends and a wah pedal to accentuate their weeping sound. </p> <p>The chorus, played in the happy-sounding key of G, provides a welcome contrast to the somber feel of the verse and solo sections, which are in A minor. Also noteworthy is Page’s short and sweet slide solo, played with a thick, overdriven tone that effectively sustains his vibrato-ed notes and enhances their singing quality. </p> <p>He thoughtfully describes the underlying chord changes in his slide melody by closely following the chord tones as he works his way up to the highest note on the neck.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/WCFDo3XSUsQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>48. “Custard Pie” (<em>Physical Graffiti</em>)</strong></p> <p>This opening track from <em>Physical Graffiti</em> features a punchy, Les Paul–through-Marshall–driven “crunch riff” behind Plant’s sexually euphemistic lyrics, many of which were borrowed from songs by early American bluesmen of the Robert Johnson era, specifically “Drop Down Mama” by Sleepy John Estes, “Shake ’Em on Down” by Bukka White, and “I Want Some of Your Pie” by Blind Boy Fuller. </p> <p>Like “Houses of the Holy,” “Custard Pie” is built around a repeating two-bar riff based on an open A chord. </p> <p>As in other songs, Page makes great use of rests in the song’s main riff, which allows it to “breathe” nicely and draws attention to the vocals and drums. Jimmy’s penchant for jazz/R&amp;B harmony is manifested in the G11 chord he plays—in place of the perfectly acceptable straight G chord—near the end of each of the song’s verses, which are loosely based on the 12-bar blues form. </p> <p>The guitarist makes clever use of the wah pedal in his solo, which he begins with a repeating oblique-bend phrase that, with added wah-wah inflections, sounds like a toddler throwing a tantrum. The solo is also noteworthy for the way Page melodically acknowledges the chord changes by touching upon their chord tones as opposed to simply riffing away on the key’s major and minor pentatonic scales.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/0VH6kF8jlwA" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>47. “That’s the Way” (<em>Led Zeppelin III</em>)</strong></p> <p>Like “Bron-Yr-Aur,” this mellow acoustic song was inspired by the serenity and pastoral beauty of the Welsh countryside during Page and Plant’s working vacation at the remote Bron-Yr-Aur cottage in 1970. </p> <p>The band performed the song live in open G tuning, but the studio version sounds in G flat, which is most likely the result of the instruments being tuned down a half step (or a possible manipulation of the tape speed in the mastering process, similar to what Page did with “When the Levee Breaks”). </p> <p>Jimmy strums the song with a pick and makes great use of ringing open strings within his chord voicings, even as he moves away from the open position. Particularly cool are the reverb-soaked pedal-steel licks that Page overdubbed, for which he alternates between major and minor pentatonic phrases—again, a fine example of “light and shade.” </p> <p>Also noteworthy is the climbing outro progression, for which Jimmy again combines open strings with notes fretted in the middle region of the neck to create unusual, lush-sounding chord voicings. </p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/TANKvE3sI3w" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>46. “In the Light” (<em>Physical Graffiti</em>)</strong></p> <p>Jimmy broke out his violin bow once again and put it to great use in this song’s extended intro, providing a low, eerie, sitar-style drone as a backdrop to Jones’ mystical, echoing “bagpipe” melodies, creatively conjured on a synthesizer.</p> <p> Also particularly cool is the ominous-sounding descending blues-scale-based guitar riff that comes crashing in at the end of the intro (at 2:45) and the menacing, angular verse figure that follows, against which Page overdubbed a twangy, ringing open G note, played in unison with the D string’s fifth-fret G and treated with a shimmering tremolo effect.</p> <p>The song’s bright, triumphant-sounding final theme, introduced by Jones on a Clavinet at 4:09, stands in stark contrast to the hauntingly dark minor key-based sections that precede it—another example of “light and shade.” </p> <p>Also worth noting is the ascending major scale-based lead melody Page plays over the theme’s repeating progression at 4:25 and the way it moves in contrary motion to the descending bass line, a compositional technique regarded as one of classical music’s slickest moves.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/C3jRK-sdTSE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>45. “For Your Life” (<em>Presence</em>)</strong></p> <p>Page broke out his 1962 Lake Placid Blue Fender Stratocaster for this darkly heavy song about the excesses of drug use in the L.A. music scene, tastefully employing its whammy bar to create well-placed, woozy sonic nosedives. </p> <p>The song’s midtempo groove features sparse and restrained but fat-sounding guitar-and-bass riffs that include wide, dramatic “holes of silence” that are crossed only by the drums, vocals and a shaken tambourine. </p> <p>The arrangement really starts to develop at 2:07, as Page introduces a more ambitious new riff in a new key that’s propelled by a short machine-gun burst of triplets that further enhances the tune’s earthy midtempo groove. Jimmy’s solo, beginning at 4:17 is noteworthy for its melodic inventiveness, quirky phrasing and wailing, drooping bends.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/YSAtGNFPLXk" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>44. “Friends” (<em>Led Zeppelin III</em>)</strong></p> <p>As mentioned earlier, Page employed the same open C6 tuning on this song that he used on “Bron-Yr-Aur” (low to high, C A C G C E), again employing the open strings as drones to create a mesmerizing, hypnotic effect. </p> <p>In this case, Jimmy is strumming heartily with the pick, as opposed to fingerpicking, and plays double-stop figures against ringing open notes to create hauntingly beautiful melodies, making extensive use of the exotic-sounding sharp-four interval (Fs in this case), as well as the bluesy flat-three (Ef) and Arabic-flavored flat-nine (Df), conjuring an intriguing East-meets-West kind of vibe. </p> <p>As he later did in “The Rain Song” and “Kashmir,” the guitarist moves a compact two-finger chord shape up and down the fretboard, played in conjunction with ringing open strings, in this case to craft an enigmatic-sounding octave-doubled countermelody to Plant’s vocals. As a finishing touch, a string ensemble, arranged by Jones, was brought into the studio to double and dramatically reinforce the countermelody.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/D8240QPQrNI" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>43. “Trampled Under Foot” (<em>Physical Graffiti</em>)</strong></p> <p>Inspired by the cleverly euphemistic lyrics of Delta blues legend Robert Johnson’s 1936 composition “Terraplane Blues” and the funky grooves of James Brown and Stevie Wonder, this muscular song features Jones stretching out on a Hohner Clavinet keyboard and a hard-stomping, almost relentless one-chord vamp that’s broken up periodically by a brief string of accented chord changes, over which Page plays wah-inflected, Steve Cropper–style sixth intervals. </p> <p>Jimmy uses his wah pedal very creatively throughout the song and creates exciting aural images by treating his guitar with ambient reverb, backward echo and stereo panning effects, especially toward the end.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/jBku3rJ0Xe0" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>42. “Houses of the Holy” (<em>Physical Graffiti</em>)</strong></p> <p>Built around a fat-sounding strut riff, this song is nothing but a good time. Particularly cool is the way Page and Bonham shake up the riff’s solid eighth-note groove throughout by playing off each other with quirky, syncopated 16th-note fills, such as those at 0:38 and 0:42. </p> <p>Also noteworthy is Page’s resourceful use, during the verses, of progressively descending triad inversions on the top three strings (not unlike those used by Pete Townshend in the Who’s “Substitute”), which provide an effective contrast to both Jones’ angular bass line during this section and the meaty main guitar riff.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/sn_3s9wmZuQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>41. “The Rover” (<em>Physical Graffiti</em>)</strong></p> <p>This song’s sexy main riff, introduced at 0:23, embodies that trademark “Led Zeppelin swagger,” resulting from Page’s clever application of pull-down bends on the lower four strings, which he uses to “scoop up to” target pitches from a half step below and make his guitar sing, just as he had done earlier on the low E string in his main riff to “Dazed and Confused” and with whole-step bends in the previously mentioned “Over the Hills and Far Away” inter-verse riff. </p> <p>The effect is accentuated in this case by the use of a phaser, which makes Jimmy’s guitar sound almost as if it’s played through a talk box. </p> <p>Also noteworthy are Page’s elegantly crafted, flamenco-flavored solo and the decorative second guitar part heard during the song’s choruses, for which Jimmy arpeggiates the underlying chord progression, in the process adding an attractive countermelody to the theme without obscuring Plant’s vocals.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/XikK2RJdZ18" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>40. “Dancing Days” (<em>Houses of the Holy</em>)</strong></p> <p>Page takes a riff-building approach on this light-hearted yet powerful rocker similar to that used by Keith Richards on many Rolling Stones classics, such as “Brown Sugar,” “Honky Tonk Women” and “Can’t You Hear Me Knocking.” </p> <p>Making great use of open G tuning (low to high, D G D G B D) and the convenient one-finger major barre-chord shapes it affords, he uses his fret hand’s available middle finger, ring finger and pinkie to add harmonic “extensions” and embellishments to index-finger barre chords. </p> <p>Page’s fascination with the Lydian mode, specifically its s4 interval, manifests itself in a musically compelling way in both the song’s sassy intro riff and its punchy verse and chorus riffs, all three of which convey a strong feeling of tension-and-release, as the harmonically turbulent s4 resolves downward in each case to the stable major third. </p> <p>Particularly cool is the soaring slide melody, a neatly executed overdub first appearing at 0:56, which requires quick position shifts and carefully attention to intonation (pitch centering).</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/jBku3rJ0Xe0" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>39. “Bron-Yr-Aur” (<em>Physical Graffiti</em>)</strong></p> <p>Conceived during Page and Plant’s legendary 1970 retreat to Bron-Yr-Aur cottage in rural Wales and recorded during the sessions for Led Zeppelin III, this ingenious fingerstyle-folk instrumental is performed in the same open C6 tuning as “Friends” (low to high, C A C G C E). </p> <p>Page weaves the tune’s melodic themes into an impeccably uninterrupted stream of forward and backward 16th-note arpeggio rolls across the strings, with lots of droning open notes and unisons creating a rich natural chorusing effect and a lush, pastoral soundscape that puts the piece on par with the works of renowned late 19th-century impressionistic composers Claude Debussy and Maurice Ravel.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/Gi76yMCXxtQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>38. “No Quarter” (live version, <em>The Song Remains the Same</em>)</strong></p> <p>This fully realized, extended performance of John Paul Jones’ keyboard showcase piece packs the same kind of dynamic punch and slow-jam rhythmic drama as “Since I’ve Been Loving You” and demonstrates both Jones’ and Page’s penchant for modal jazz and their respective skills at building extended, story-like solos over a one-chord vamp. (Incidentally, it is performed in standard tuning, a half step higher than the studio version from <em>Houses of the Holy</em>, for which the instruments sound a half step below concert pitch.) </p> <p>Also noteworthy are the two jarring, prog-rock-flavored chords in the song’s pre-chorus, Bfadds11 and Efadds11, first heard at 0:58 and 1:06, respectively.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/k5R9MB-edJ8" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>37. “The Wanton Song” (<em>Physical Graffiti</em>)</strong></p> <p>Like “Immigrant Song,” this composition’s main riff demonstrates how alternating octaves combined with a strong, syncopated rhythm can create a compelling, heavy-sounding riff, and it’s safe to say that it probably inspired bands like Living Colour and Rage Against the Machine to pen their similarly styled riffs. </p> <p>And like “Out on the Tiles” and “The Ocean,” the use of wide, recurring “holes of silence” in the guitar and bass parts while the drums and vocals continue, creates pronounced dynamic and textural contrasts, which add to the song’s appeal. </p> <p>The instrumental interlude section that ensues after the second and fourth verses (at 0:59 and 2:03, respectively) provides a stark contrast to the raw power of the alternating-octaves riff and introduces a surprisingly jazzy chord progression within such a heavy rock song, with overdriven diminished seventh chords—something few other rock guitarists outside of Yes’ Steve Howe or Dean DeLeo from Stone Temple Pilots would have the vision and daring to use—employed as harmonic pivots to modulate to new keys. </p> <p>Page’s Leslie-treated minor-seven chord riff that ensues brings to mind the Isley Brothers’ 1973 R&amp;B hit “Who’s That Lady” and further demonstrates the breadth of Page’s stylistic influences.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/nrfQZ_anNYM" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>36. “How Many More Times” (<em>Led Zeppelin</em>)</strong></p> <p>This lengthy final track from Led Zeppelin’s debut album and live set-closer in their early days was a favorite improvisational vehicle for the band, with open-ended jam sections that allowed Page to stretch out with scorching lead licks, reverb-drenched violin bow excursions and wah-wah-inflected chord strumming. </p> <p>As Jimmy told <em>Guitar World</em> in 1993, the song “was made up of little pieces I developed when I was with the Yardbirds, as were other numbers, such as ‘Dazed and Confused.’ ” He adds, “It was recorded live in the studio with cues and nods.” </p> <p>Embodying an eclectic blend of stylistic elements, the song features an interesting variety of rhythmic grooves, from a jazzy swing feel, to a straight-eighths funk beat, to a Latin bolero rhythm somewhat reminiscent of the previously recorded Jeff Beck instrumental “Beck’s Bolero,” on which both Page and Jones had played.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/NBqbuGgt0Us" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>35. “Gallows Pole” (<em>Led Zeppelin III</em>)</strong></p> <p>Led Zeppelin’s creative arrangement of this sardonic, centuries-old, storytelling Celtic folk song titled “The Maid Freed from the Gallows” begins very modestly, with Plant’s pleading vocals accompanied solely by Page’s quiet acoustic strumming. </p> <p>It builds in stages to a full-blown bluegrass-style “hoe-down,” with a mandolin and acoustic 12-string joining the fray midway through, followed by bass, drums and, finally, banjo (played by Page) and overdriven electric lead guitar, on which Page cleverly plays major pentatonic licks to conjure the sound of a country fiddle. </p> <p>The arrangement’s ambitious development is not unlike that of “Stairway to Heaven” in its magnitude and creates a similarly dramatic effect.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/Tza0zaJUW9w" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>34. “Out On the Tiles” (<em>Led Zeppelin III</em>)</strong></p> <p>This “forgotten classic” features another of Led Zeppelin’s signature octave-doubled, single-note “stomp riffs,” this one played at a faster tempo than most of their other similarly crafted songs, with Bonham grooving on one of his favorite funky drumbeats as Page and Jones lock-in on a tricky bass melody that drops an eighth note at the end of the first and third verses (at 0:24 and 1:40, respectively). </p> <p>Particularly cool- and powerful-sounding are the accented pulled bends on the low E string between the A power chords in the intro riff. It’s also worth pointing out that this is one of the very few uptempo Led Zeppelin songs that does not include a guitar solo; it doesn’t need one. </p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/Uv2E8-Irn6c" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>33. “You Shook Me” (<em>Led Zeppelin</em>)</strong></p> <p>Led Zeppelin’s convincingly worthy cover of this Chicago-style slow blues song (written by Willie Dixon and J.B. Lenoir) showcases their thorough assimilation of and deep adulation for the style and ability to take it to the next level of intensity through each band member’s musical virtuosity and artistic depth of feeling. </p> <p>Page’s slide work, performed in the challenging and potentially unforgiving mode of standard tuning, is impeccable here, as he shadows Plant’s vocal melody with spot-on intonation and coaxes sublime vibratos from many of his sustained notes. </p> <p>Equally laudable is Jimmy’s wailing guitar solo, played without a slide, for which he employed tape echo and epic reverb effects to create breathtakingly soaring trails of cascading, screaming licks during the solo’s and song’s climax.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/dbwG0u3hb7M" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>32. “Celebration Day” (<em>Led Zeppelin III</em>)</strong></p> <p>This playful, uptempo rocker was built around a slinky slide riff conceived by Jones, the genesis of which he described in his column in Guitar World July 1997: “I came up with the intro/verse riff to “Celebration Day” while playing and old Danelectro baritone guitar like a lap steel, using an unusual, low open A7 tuning (low to high: A A A E G Cs), a steel bar and a nut saddle to raise the strings.” When performing the song live, Page would adapt this riff to standard-tuned guitar. </p> <p>On the recording, Page crafted a complementary and similarly slinky bend lick to play over the song’s main A-riff following each verse (initially at 0:24). </p> <p>Similar to what he later did between the verses in “Over the Hills and Far Away,” the guitarist uses pulled bends on the bottom two strings to reach up to the last note of each phrase he plays, in this case adding a bold, shimmering vibrato to each bend.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/o5cgrsWnPvo" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>31. “Four Sticks” (<em>Led Zeppelin IV</em>)</strong></p> <p>Named after Bonham’s literal use of four sticks on the track (two in each hand), this tribal dance–like song features exotic rhythms and harmonic modalities that conjure images of Near Eastern and North African wildernesses from an earlier century. </p> <p>The arrangement is built around three guitar riffs, each incorporating an open-string bass pedal tone, or drone. As mentioned previously, Page used, for the song’s primary riff, the same “bending away from a unison” trick he employed in his “Whole Lotta Love” riff, with equally haunting results. In this case, he strums the open G string together with that note’s fretted equivalent on the D string’s fifth fret and pushes the fretted G slightly sharp by bending it upward (away from the palm).</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/jyZc2Xqav_4" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>30. “Thank You” (<em>Led Zeppelin II</em>)</strong></p> <p>Before “Stairway to Heaven” or “The Rain Song” were ever conceived, this well-written, timeless love song displayed, along with “Babe I’m Gonna Leave You,” a sensitive, emotional side of Led Zeppelin, one that didn’t have to do with sexual lust or scorn. (Gee, what was George Harrison complaining about in commenting to Led Zeppelin that their songbook was lacking ballads?) </p> <p>Layering tracks of acoustic and clean 12-string electric guitars, Page weaved a tapestry of warm harmony behind Plant’s tender, low-key vocals and crafted an elegant single-note acoustic solo, one often celebrated and emulated for its melodic appeal by players such as Slash. </p> <p>Also noteworthy in “Thank You” are Page’s melodic 12-string runs behind Plant’s vocals during the song’s final two verses, specifically at 2:31 and 3:14.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/28BAZ_EFSt8" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>29. “Bring It On Home” (<em>Led Zeppelin II</em>)</strong></p> <p>Like their other blues covers, Led Zeppelin’s reading of this Willie Dixon blues song has their unique artistic, stylistic stamp all over it, from its funky bass-and-drums groove, octave-doubled single-note riffs and Page’s soulful use of string bends, which, incidentally, Jones aggressively mirrors an octave lower on bass during the song’s main riff. </p> <p>Page added to the riff, at 1:54, a decorative high harmony line, as he would later do with riffs in “Black Dog,” “The Ocean” “Achilles Last Stand” and other songs, in each case further building the arrangement and enhancing its appeal. His harmony notes here form sweet-sounding sixth and third intervals based on the E Mixolydian mode.</p> <p>The song’s middle verse sections sport a particularly bad-ass guitar riff, first appearing at 2:04 and built around sixth-interval double-stops, again based on the decidedly bluesy-sounding E Mixolydian mode. Notice how Page divides and orchestrates this riff into two separate guitar tracks, which he pans hard left and right in the stereo mix, accentuating the riff’s call-and-response quality.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/N_zTz5A_7Aw" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>28. “Living Loving Maid (She’s Just a Woman)” (<em>Led Zeppelin II</em>)</strong></p> <p>Following on the heels of “Heartbreaker,” this playful and more light-hearted rocker features some of Jimmy’s most tasteful “power-pop” guitar parts. He recorded the song’s primary rhythm tracks on his Fender electric 12-string (the same guitar he used in the studio on “Stairway to Heaven” and “The Song Remains the Same”). </p> <p>As in “Heartbreaker,” “Good Times Bad Times,” “Communication Breakdown” and other songs, he liberally employs his go-to “Hendrix-style” thumbed chord “grips,” which, lacking the low fifth of a conventionally fretted major barre chord, add sonic clarity to his chord voicings. </p> <p>Jimmy’s solo in this song is short and sweet, featuring emotive bends and vibratos and culminating in one of his trademark chromatic climbs up the B string.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/OKI1k7LSAIE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>27. “Going to California” (<em>Led Zeppelin IV</em>)</strong></p> <p>Page also used open strings and unison notes to great effect on this acoustic folk masterpiece. Tuning both his low and high E strings down to D (in what is known as double drop-D tuning), the guitarist plays dreamy hypnotic arpeggio figures that feature lots of ringing, repeated notes played on different strings. </p> <p>With its blend of English and American folk-guitar styles (think Bert Jansch meets Merle Travis), “Going to California” is a finger stylist’s delight. Particularly compelling is the dramatic bridge section beginning at 1:41, played by Page in the parallel minor key, D minor. If you listen closely, you’ll hear two acoustic guitars fingerpicking different inversions of the same chords, thirds apart.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/S0Kbbjw28P4" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>26. “What Is and What Should Never Be” (<em>Led Zeppelin II</em>)</strong></p> <p>Like “Ramble On,” this song is another masterwork study in dynamic and textural contrasts. Page begins each verse by strumming a breezy two-chord vamp using jazzy, George Benson–approved dominant ninth and 13th chords with a clean, mellow tone, as Jones plays one of his celebrated brilliantly lyrical, complementary bass lines. </p> <p>Taking advantage of the wide range of gain and overdrive afforded his Les Paul/non-master–volume Marshall tube amp pairing, Page cranks up his guitar’s volume on the choruses, resulting in a beefy crunch tone that perfectly suits the powerful riff he crafted for that section. </p> <p>The song also features one of Jimmy’s most tasteful slide solos, carefully executed in standard tuning and thus without the harmonic safety net that an open tuning affords.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/doKNr52rHdk" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>25. “The Ocean” (<em>Houses of the Holy</em>)</strong></p> <p>On par with “Heartbreaker” and “Black Dog,” in terms of embodying that trademark Led Zeppelin octave-doubled single-note “stomp groove,” this song’s iconic intro/main riff demonstrates just how effectively heavy-sounding rests, or “holes of silence,” can be when sandwiched between notes in just the right places. </p> <p>This riff, as well as the power-chord-driven and similarly punctuated verse figure, are made to sound even more dramatic by the ambient room sound surrounding John Bonham’s drums, to which Page, the producer, rightfully deserves credit for his visionary use of distant miking techniques.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/JvoG36nUcSU" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>24. “Rock and Roll” (<em>Led Zeppelin IV</em>)</strong></p> <p>The ultimate hot rod–driving song and tribute to Chuck Berry, this uptempo, straight-eighths blues-rock anthem features irresistibly boogie-woogie-like rhythms and a killer guitar solo that begins with Page playfully pulling off to open strings before ascending the neck with a daringly acrobatic chromatic climb somewhat reminiscent of his climactic lead in “Communication Breakdown.”</p> <p>Particularly artistic is the way Page lays back rhythmically during the song’s verses with sustained power chords, providing an effective, welcome contrast to the relentless eighth notes of the bass and drums.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/GonQSHxzb1k" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>23. “The Lemon Song” (<em>Led Zeppelin II</em>)</strong></p> <p>Borrowing from Howlin’ Wolf’s 1964 blues hit and eventual standard, “Killing Floor,” Led Zeppelin created a derivative work that became a classic unto itself, showcasing their own renowned Memphis soul–style interactive blues-rock jamming, dynamic sensibilities and each individual musician’s fat tones. </p> <p>Not content to just play the song’s climbing intro riff on his low E string, Page employs hybrid picking (pick-and-fingers technique) to pair each low melody note with the open B string, creating a pleasing midrange “honk.” </p> <p>Also noteworthy in this arrangement is Page’s substitution, on the five chord in the song’s repeating 12-bar blues progression, of a minor seven chord, Bm7, for the customary dominant seven chord, which would be B7 in this case, creating a darker, more melancholy sound.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/Zyhu2ysqKGk" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>22. “Babe I’m Gonna Leave You” (<em>Led Zeppelin<em>)</em></em></strong></p> <p>Another acoustic masterpiece, this song features a bittersweet circular chord progression presented as ringing, fingerpicked arpeggios. Particularly noteworthy is the way Page spins numerous subtle melodic variations on the theme throughout the song (check out the one at 3:40), sweetening the aural pot with dramatic dynamic contrasts. </p> <p>This may be one of the most perfectly recorded and mixed acoustic guitar tracks ever. Notice how, in the song’s intro, the “dry” (up-front and un-effected) acoustic guitar is in the left channel while the right channel is mostly “wet,” saturated in cavernous reverb.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/iP9xMobANJM" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>21. “When the Levee Breaks” (<em>Led Zeppelin IV</em>)</strong></p> <p>This track is revered for, among other things, its epic drum sound, resulting from the cavernous acoustics of Headley Grange and Page’s ingenious distant microphone placement, as well as his decision, as producer, to slow down the tape speed in the mastering process. </p> <p>Led Zeppelin’s cover of this blues song, written and first recorded in 1929 by Kansas Joe McCoy and Memphis Minnie, also features great slide playing by Page in open G tuning (low to high, D G D G B D). Due to the slowing of the tape speed, however, the pitch of the recording was lowered by a whole step, so the song actually sounds in the key of F.</p> <p>Page performed this song’s two guitar tracks on his Fender electric 12-string. Its additional strings, in conjunction with the open tuning, enhanced the unison and octave-doubling effect of many of the notes in the guitar parts, which already incorporate unison notes. The result is a huge wall of droning G and D notes with a natural chorusing effect that mesmerizes the listener in a way akin to the chorus chords in “Kashmir.”</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/wEKkJHSO8A0" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>20. “The Battle of Evermore” (<em>Led Zeppelin IV</em>)</strong></p> <p>For this mystical-sounding folk-rock gem, Page and Jones traded the instruments they play on “Going to California,” with Page taking up the mandolin and Jones strumming acoustic guitar. According to Page, “ ‘The Battle of Evermore’ was made up on the spot by Robert and myself. I just picked up John Paul Jones’ mandolin, never having played one before, and just wrote up the chords and the whole thing in one sitting.”</p> <p>Page’s mandolin sound on this song is epic, which is partially the result of his taking advantage of the cavernous, majestic natural reverb of the location where he recorded his tracks, which was in the foyer of a large, old stone house in rural Wales called Headley Grange. (This location, by the way, is where several other tracks on <em>Led Zeppelin IV</em> and <em>Physical Graffiti</em> were recorded, most notably Bonham’s drums on “When the Levee Breaks.”) </p> <p>Page additionally doubled/layered his mandolin tracks on this arrangement and employed a tape echo effect, with a single repeat, timed to echo in an eighth-note rhythm relative to the song’s tempo, resulting in a continuous stream of percolating eighth notes.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/WGAKeHQUx-U" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>19. “Immigrant Song” (<em>Led Zeppelin III</em>)</strong></p> <p>With its fiercely galloping rhythms, jagged backbeat accents and ominous-sounding flat-five intervals, this ode to Viking pillage no doubt helped fuel the lustful creative fire behind hordes of heavy metal bands like Iron Maiden, Celtic Frost and Mastodon that came of age in the years following the song’s 1970 release. </p> <p>Particularly sinister-sounding is the way Page plays, during the song’s outro, an atypical second-position G minor chord shape over Jones’ C-note accents, in the process creating a highly unusual voicing of C9(no3).</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/Q1lzfz_TjWI" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>18. “Good Times Bad Times” (<em>Led Zeppelin</em>)</strong></p> <p>This punchy opening track from the band’s debut album set the stage for Zeppelin’s juggernaut conquest of the world of hard rock. Page octave-doubles Jones’ nimble, angular bass line on his slinky-strung Fender Telecaster, adding shimmering finger vibrato at just about every opportunity. </p> <p>The guitarist’s scorching, Leslie-effected lead licks, with their gut-wrenching bends and tumbling triplets, convey a man on fire and poised to win the West.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/6TdDqv0qRqw" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>17. “Nobody’s Fault but Mine” (<em>Presence</em>)</strong></p> <p>Led Zeppelin’s turbo-charged reinvention of this traditional American gospel blues, or Negro spiritual, song was inspired primarily by singer and acoustic slide guitarist Blind Willie Johnson’s 1927 recording of it. Zeppelin’s version is built around a mesmerizing, laser beam-like guitar melody, which Page played with distortion and a flanger effect and doubled, both in unison and an octave higher, with Robert Plant additionally scat singing the line, adding to its mesmerizing, bigger-than-life quality. </p> <p>Page’s aggressive exploitation of string bending and vibrato techniques, in both the main riff and his solo, adds to the soulfulness of the band’s arrangement. Also noteworthy are Jones and Bonham’s lock-step bass-and-drum syncopations, which further add to the power and drama of the band’s arrangement.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/esZ15n6_5JY" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>16. “Black Dog” (<em>Led Zeppelin IV</em>)</strong></p> <p>“Black Dog” was built around a snakey blues riff, initially written on bass by John Paul Jones and doubled an octave higher on guitar by Page. The rhythmic orientation of the song’s main riff to the beat has been the subject of heated debate among working musicians over the years, the point of contention being specifically where “one” is. </p> <p>When pressed for an explanation, Page was vague. But Jones, in his Lo and Behold column in <em>Guitar World</em> December 1996, states that this deceptive riff should be counted with the first A note — the root note of the song’s key and the fourth note of the riff—falling squarely on beat one. (Drummer John Bonham’s big cymbal crash on beat two is one of the things about this riff that throws a lot of people off.) </p> <p>Page enhanced the riff later in the song, at 3:18, by overdubbing a parallel-thirds harmony line. In the 1993 GW interview, the guitarist noted, “Most people never catch that part. It’s just toward the end, to help build the song. You have to listen closely for the high guitar parts.”</p> <p>Page and recording engineer Andy Johns tried a novel and ultimately successful experiment by triple-tracking the song’s rhythm guitar parts. As Page explained, “Andy used the mic preamp on the mixing board to get distortion. Then we put two 1176 Universal compressors in series on that sound and distorted the guitars as much as we could and then compressed them. Each riff was triple-tracked: one left, one right, and one right up the middle.”</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/npQbPpDF6hA" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>15. “Ramble On” (<em>Led Zeppelin II</em>)</strong></p> <p>This song is all about contrasts, or as Page likes to say, “light and shade.” It begins with a mellow, folky acoustic strum riff pitted against a highly melodic Fender bass line for the verse sections, which lead up to a hard-hitting and highly inventive electric guitar–driven chorus riff. </p> <p>Page broadened the definition of the term “power chord” here by using the seemingly odd two-note combination of root and flatted seventh (Fs and E, respectively, played right after Plant sings “Ramble on!”), a pairing made even more unlikely by the fact that he plays it over John Paul Jones’ E bass note. The theoretical discord notwithstanding, it sounds great.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/a3HemKGDavw" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>14. “Black Mountain Side” (<em>Led Zeppelin</em>)</strong></p> <p>Page spices up this traditional Celtic folk melody with East Indian musical flavors, hiring a bona fide tabla drummer to accompany him on the track and injecting his own fiery Indian-style acoustic lead break into the arrangement. </p> <p>Check out <a href="http://store.guitarworld.com/collections/guitar-world/products/guitar-world-jan-13-led-zeppelin">the January 2013 issue</a> of <em>Guitar World</em> to learn the secrets to this iconic song.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/z0OYZm4RhFE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>13. “In My Time of Dying” (<em>Physical Graffiti</em>)</strong></p> <p>This 11-minute track was inspired chiefly by Blind Willie Johnson’s reading of the traditional blues-gospel song “Jesus Make Up My Dying Bed” as well as a similarly titled rendition from the same era by Delta bluesman Charlie Patton. </p> <p>Zeppelin’s inspired interpretation of the song features some of Page’s best slide guitar work (performed in open A tuning: low to high, E A E A Cs E), as well as one of the fattest-sounding drum tracks in this or any other band’s catalog, the result of Bonham’s unique touch and feel and Page’s miking and mixing techniques.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/yZgblTKscX0" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>12. “Kashmir” (<em>Physical Graffiti</em>)</strong></p> <p>Played in DADGAD tuning, which Page had previously used to great effect on both the Yardbirds’ “White Summer” and Led Zeppelin’s “Black Mountain Side,” “Kashmir” is built around four mesmerizing riffs, three of which involve the use of open-string unison- and octave-doubled notes, which create a natural chorusing effect and a huge wall of sound. </p> <p>Particularly noteworthy is the way Jimmy overlaid, at 0:53, the song’s menacing, ascending riff—the James Bond–theme-flavored part—on top of the recurring descending sus4 chord sequence. </p> <p>Page explained in the previously mentioned GW interview, “The descending chord sequence was the first thing I had—I got it from tapes of myself messing around at home. After I came up with the da-da-da, da-da-da part, I wondered whether the two parts could go on top of each other, and it worked! You do get some dissonance in there, but there’s nothing wrong with that. At the time, I was very proud of that, I must say.”</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/nQH3LtNePgI" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>11. “Over the Hills and Far Away” (<em>Houses of the Holy</em>)</strong></p> <p>This song is another study in contrasts, specifically between English/Celtic-flavored acoustic folk and Les Paul–driven hard rock. It begins with a playful, folk-dance–like acoustic riff, which Page initially plays on a six-string and then doubles on a 12-string, that gives way, at 1:27, to crushing electric power chords and a clever single-note riff, for which Jimmy incorporates pulled bends on the bass strings (first heard at 1:37). </p> <p>Particularly cool is the way the guitarist reconciles this electric riff with the strummed acoustic chords previously introduced at 1:17. </p> <p>Also noteworthy is the grooving James Brown–style funk riff behind the guitar solo and the rhythmically peculiar, harmonized ascending single-note ensemble melody that follows at 3:00. To top it all off, Page, the producer, concludes the song with a “false ending.” </p> <p>As the band fades out, at 4:10, a lone guitar emerges with a final variation of the folk riff from the intro, but all you hear is the 100 percent “wet” reverb “return” signal, which creates a mystical, otherworldly, “faraway” effect.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/6bD9t44JUD4" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>10. “Heartbreaker” (<em>Led Zeppelin II</em>)</strong></p> <p>With its menacing, octave-doubled blues-scale riffs and sexy string bends, this song epitomizes the “Led Zeppelin swagger.” Interestingly, the verse riff features Jones strumming root-fifth power chords on bass, treated with overdrive and tremolo, while Page alternately lays back on decidedly thinner-sounding thumb-fretted octaves — a signature technique heard in his and Jimi Hendrix’s rhythm guitar styles — and punches barre-chord accents together with the bass and drums. </p> <p>Page recorded the song with his 1959 Gibson Les Paul Standard, which he had recently bought from Joe Walsh, playing the guitar through his newly acquired 100-watt Marshall amplifier. The song also showcases some of Jimmy’s most aggressive, inspired soloing, including a free-form, tantrum-like a capella breakdown section. </p> <p>Page recorded the breakdown while the band was touring the U.S., using a studio different from the one where the rest of the song’s tracks were cut. He was unaware that his guitar on that particular section was tuned slightly sharp of the rest of the tracks, which are at concert pitch. The discrepancy goes unnoticed to most listeners and only becomes obvious if one goes to play along with the entire recording.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/npoYQMPCOvU" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>09. "The Rain Song" (<em>Houses of the Holy</em>)</strong></p> <p>Performed in an unusual tuning (low to high, D G C G C D) with lots of ringing open strings and unison-doubled notes, this beautiful song features a sophisticated chord progression that was initially inspired by Beatle George Harrison, who challenged Page to write a ballad. </p> <p>After playfully evoking the verse section of Harrison’s “Something” on the first three chords of “The Rain Song,” Page veers off into an ultimately more ambitious and original progression. Particularly inventive and cool sounding is the Hawaiian-flavored dominant-ninth chord slide that precedes the first lyric line of each verse.</p> <p>When asked to explain why the studio version of “The Rain Song” is in the key of G while the live version, as heard in the film <em>The Song Remains the Same</em>, is in A, Page replied, “It surprises me to hear you say that, because I thought they were both in A. Okay, the [live] tuning is [low to high] E A D A D E. </p> <p>The only two strings that change are the G, which goes up to A, and the B, which goes up to D.” Page explained how he arrived at this unusual tuning. “I altered the strings around so that I’d have an octave on the A notes and an octave on the D notes, and still have the two Es,” he said. “Then I just went to see what finger positions would work.”</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/h1d4TLWmmcE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>08. “Ten Years Gone” (<em>Physical Graffiti</em>)</strong></p> <p>Like “The Rain Song,” this heart-warming yet heavy ballad demonstrates Page’s intuitive harmonic depth and sophistication, as he employs jazzy, “expensive”-sounding maj7, maj13, min9, dim7 and maj6/9 chords as effortlessly as Burt Bacharach, minus the associated schmaltz. </p> <p>The song’s instrumental interlude, which begins at 2:31, is particularly sweet and rich sounding. It features a laid-back, phaser-treated lead guitar melody with soulful double-stops over a bass, drums and clean, jangly rhythm guitar accompaniment. Also noteworthy is Page’s doubling of the chorus riff, first heard at 0:32, with an electric sitar.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/jYpydtdlWxA" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>07. “Communication Breakdown” (<em>Led Zeppelin</em>)</strong></p> <p>With its down-picked “pumping” eighth notes and syncopated power-chord stabs, this song’s urgent verse riff embodies the spirit of Chuck Berry–style rock and roll. Not surprisingly, it served as the quintessential prototype for both heavy metal and punk rhythm guitar. </p> <p>Page’s piercing, well-crafted solo, with its climactic, chromatically ascending unison bends, is like Berry on steroids and demonstrates that Page, on his new band’s freshman outing, was already thinking “outside the box,” both figuratively and literally (the physical “box” being a pentatonic fretboard shape).</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/gOZCAjcYurE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>06. “Since I’ve Been Loving You” (<em>Led Zeppelin III</em>)</strong></p> <p>Jimmy’s impassioned guitar solo in this highly dramatic Chicago-style slow blues song is among his most inspired and emotive. </p> <p>The song’s chord changes and structure are truly original, and in his rhythm guitar part Page plays an inventively slick turnaround phrase at the end of each chorus (initially from 1:06–1:12) that mimics a steel guitar, with a bent note woven into and placed on top of two successive chord voicings. </p> <p>What makes this phrase so interesting and enigmatic is how, over the second chord, Dfmaj7 (played on organ by John Paul Jones) Page bends a C note up to D natural—the flat nine of Dfmaj7—and manages to make it sound “right.” It’s something few musicians apart from Miles Davis would have the guts to do.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/8RfOaAj7E5g" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>05. “Whole Lotta Love” (<em>Led Zeppelin II</em>)</strong></p> <p>This song has one of the coolest intro and verse riffs ever written. Not content to play it “straight,” as his blues-rock contemporaries might have done, Page inserts a subtle, secret ingredient into this part, giving it that x factor and a spine-tingling quality. </p> <p>Instead of playing the riff’s second and fourth note—D, on the A string’s fifth fret—by itself, he doubles it with the open D string (akin to the way one would go about tuning the guitar using the traditional “fifth-fret” method), then proceeds to bend the fretted D note approximately a quarter step sharp by pushing it sideways with his index finger. </p> <p>The harmonic turbulence created by the two pitches drifting slightly out of tune with each other is abrasive to the sensibilities and musically haunting, but the tension is short-lived and soon relieved, as Page quickly moves on to a rock-solid E5 power chord. “I used to do that sort of thing all over the place,” said Page. “I did it during the main riff to ‘Four Sticks’ too.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/OhmmAFHwlEk" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>04. “The Song Remains the Same” (<em>Houses of the Holy</em>)</strong></p> <p>Like a getaway chase on a stolen horse, this ambitiously arranged song, with its galloping rhythms and fleet-footed solos, is guaranteed to give you an adrenaline rush. Particularly noteworthy is Page’s decision to overlay two electric 12-string guitars during the song’s opening chord punches, each playing different and seemingly irreconcilable triads, such as the pairing of C major and A major. </p> <p>“I’m just moving the open D chord shape up into different positions,” Page told <em>Guitar World</em> in 1993. “There actually are two guitars on this section. Each is playing basically the same thing, except the second guitar is substituting different chords on some of the hits.”</p> <p>He adds, “ ‘The Song Remains the Same’ was originally going to be an instrumental, like an overture to ‘The Rain Song,’ but Robert [Plant] had some other ideas about it! I do remember taking the guitar all the way through it, like an instrumental. It really didn’t take that long to put together — it was probably constructed in a day. And then of course I worked out a few overdubs.”</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/mmQ35xMxzd4" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>03. “Stairway to Heaven” (<em>Led Zeppelin IV</em>)</strong></p> <p>Jimmy Page trampled over two rules of pop music with this masterpiece: it’s more than eight minutes long, a previously prohibitive length for pop radio formats, and the tempo speeds up as the song unfolds. </p> <p>“Stairway” is the epitome of Page’s brilliance as not only a guitarist, but also as a composer and arranger, as he layers six-string acoustic and 12-string electric guitars throughout the song in a gradual crescendo that culminates in what many consider to be the perfect rock guitar solo, performed on his trusty 1959 Fender “Dragon” Telecaster (his go-to guitar in the early days of Led Zeppelin).</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/9Q7Vr3yQYWQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>02. “Dazed and Confused” (live version, <em>The Song Remains the Same</em>)</strong></p> <p>Clocking in at more than 28 minutes, this marathon performance marks the apex of this song’s evolution and showcases some of Led Zeppelin’s most intense jamming and collective improvisation in a variety of styles. Page is at the height of his powers here, in terms of both chops and creative vision, never at a loss for a worthwhile musical idea. </p> <p>The otherworldly violin-bow interlude, beginning in earnest at 9:10 and spanning nearly seven minutes, is particularly inspired, and Page’s use of tape echo and wah effects in conjunction with the bow is absolutely brilliant.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/ZQgYn23Xvck" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>01. “Achilles Last Stand” (<em>Presence</em>)</strong></p> <p>This epic, 10-minute song is Page’s crowning achievement in guitar orchestration. </p> <p>The ensemble arrangement, bookended by a swirling, unresolved arpeggio loop, really begins to blossom at 1:57, and from this point on, Page spins numerous melodic variations over top of the jangly, plaintive Em-Cadd9s11 chord progression that underpins most of the composition. </p> <p>Interestingly, Page previewed this chord vamp in the 1973 live version of “Dazed and Confused” that appears on <em>The Soundtrack to The Song Remains the Same</em>, beginning at 5:52.</p> <p>Thoughtful consideration was put into the stereo image of each guitar track, which keeps the entire recording crisp despite the dense arrangement. The song also features one of Page’s most lyrical guitar solos (and one of his personal favorites).</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/p6S9oqJRclo" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/led-zeppelin">Led Zeppelin</a> </div> <div class="field-item even"> <a href="/jimmy-page">Jimmy Page</a> </div> <div class="field-item odd"> <a href="/robert-plant">Robert Plant</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/50-greatest-led-zeppelin-songs#comments GW Archive January 2013 Jimmy Brown Jimmy Page John Paul Jones Led Zeppelin Robert Plant Guitar World Lists News Features Magazine Wed, 20 Aug 2014 14:45:03 +0000 Jimmy Brown http://www.guitarworld.com/article/17825 Guitar Strength: 10 Commandments of Playing Guitar in the Style of Dimebag Darrell, Part 1 http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-1 <!--paging_filter--><p>This is a two-part column; part 1 is below, <a href="http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-2">and part 2 is right here.</a></p> <p><strong>Commandment 1: Honor Thy Van Halen</strong></p> <p>... and ZZ Top, Kiss, Judas Priest, Black Sabbath, Ted Nugent, Pat Travers, early Metallica (<em>Kill ‘em All</em>, <em>Ride the Lightning, Master of Puppets</em>) and Randy Rhoads.</p> <p>Van Halen’s impact on Dimebag’s playing is unmistakable. The “vibe” of early Van Halen is by far the most recognizable influence in Dimebag’s playing. From the grooving rhythms played like leads of their own, to the tone, to the phrasing in his lead playing, Dimebag took the inspiration of Edward Van Halen and forged his own identity.</p> <p>Pieces such as “Eruption” and “Spanish Fly” were favorites of Dimebag, who would play them in his unaccompanied guitar solos back in Pantera’s early club days.</p> <p>Dime has been noted as being Texas’ “Van Halen clone,” the local hotshot who could play all of the most impressive licks of his hero. Further, the brotherly bond of the Van Halen brothers (Eddie on guitar and Alex on drums) was mirrored in Pantera (Vinnie on drums and Dime on guitar).</p> <p>Van Halen’s impact is further felt as the words “Van Halen” were actually Dimebag’s last words spoken before he was tragically murdered. “Van Halen” was something Dime would say to his brother Vinnie before a live performance to inspire them both to play a fun, lively, rocking show. Also, Dime was actually buried with the guitar that inspired him most -- Eddie Van Halen’s yellow and black striped guitar featured on the back cover of <em>Van Halen II</em>.</p> <p>To truly understand Dimebag’s playing, it is crucial to absorb the “Van Halen” feel, as well as the techniques and attention to tone that were such a part of the early Van Halen experience.</p> <p><strong>[[ 2012 marks the 20th anniversary of Pantera's <em>Vulgar Display of Power</em>. What better way to celebrate the greatest album by one of the greatest metal band ever than with the collector's box-set edition of <em>Revolver</em>'s new special issue devoted to the group? The box set comes with five copies of the issue with four exclusive covers not available anywhere else, a massive 15" x 21" double-sided poster, and <em>Guitar World</em>'s <em>Learn the Best of Pantera</em> DVD with 90 minutes of shredding lessons, all packaged in a cool collector's box. <a href="http://store.guitarworld.com/collections/revolver/products/revolver-presents-the-pantera-box-set/?&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign">It's available now at the Guitar World Online Store.</a> ]]</strong></p> <p><strong>Commandment 2: Thou Shalt Use the Major 3rd</strong></p> <p>Always wearing his Van Halen influence on his sleeve, Dimebag was never one to shy away from using the interval of a major 3rd in his heavy playing. Shunned by most “metal” players, the major 3rd was an essential tool in Dime’s bag of tricks.</p> <p>When playing in E (minor), the major third is G#, which adds a unique feel to riffs and licks that also utilize the minor 3rd (G). Theoretically, this major 3rd lends lines a Mixolydian quality, though it essentially gives a bluesy type of sound and adds tension/dissonance to minor key tonalities (For more information, check out <a href="http://www.guitarstrength.com/">Guitar Strength Volume 1: Mastering the Modes</a>.)</p> <p>Example 1 is a Dimebag-inspired riff using this major 3rd in a minor key.</p> <p><img src="/files/imce-images/Example1_0.jpg" width="620" height="156" alt="Example1_0.jpg" /></p> <p>Notice also how Dime gets extra mileage out of the interval by using it in a pattern that also makes use of the flat 9 (F in E minor). Example 2 is another Dimebag-inspired riff using the same intervals. (For another riff using the major 3rd, which was clearly an influence on Dimebag, check out the end of “Sabbath Bloody Sabbath” by Black Sabbath.)</p> <p><img src="/files/imce-images/Example2.jpg" width="620" height="140" alt="Example2.jpg" /></p> <p>The major 3rd was not just essential to Dimebag’s riffs, it was also extensively used in his lead playing. Example 3 is an E minor fingering of the “Dimebag Scale,” a minor pentatonic scale with the addition of a flat 5, major 6th (omitted on the A string and used only on the B string, 14th fret for ease of fingering), and major 3rd. </p> <p><img src="/files/imce-images/Example3.jpg" width="620" height="141" alt="Example3.jpg" /> </p> <p>Example 4 is a Dimebag-inspired lick using this scale.</p> <p><img src="/files/imce-images/Example4.jpg" width="620" height="161" alt="Example4.jpg" /></p> <p>When attempting to conjure the influence of Dimebag in your own playing, experimentation with the integration of this major 3rd into more “standard” minor phrases is highly encouraged. Don’t be afraid of sounding “happy”; play the note like you mean it and you’ll be amazed at its versatility and its ability to make your playing substantially more interesting.</p> <p><strong>Commandment #3: Embrace Symmetry</strong></p> <p>Another Van Halen-inspired technique employed by Dimebag was the use of symmetrical fingerings. This technique is extremely easy to learn but requires taste and skill for successful implementation. To perform this technique, simply devise a fingering shape on one string and apply it across all six. </p> <p>Example 5 is a Van Halen-esque lick, based on a root, major 3rd, 5th shape in E, continuing down to the A string and resolving on a B string bend from D to E (and back down to D for some minor 7th tension).</p> <p><img src="/files/imce-images/Example5.jpg" width="620" height="300" alt="Example5.jpg" /></p> <p>Clearly inspirational to Dime, example 6 is a variation in the same (12th) position, this time using the minor 3rd (G), 5th (B), and a slide to and from the flat 6th (C). This expanded symmetrical shape still uses a simple 1-2-4 fret hand fingering across all six strings, yet the pinky slide gives it some extra range and movement.</p> <p><img src="/files/imce-images/Example6.jpg" width="620" height="170" alt="Example6.jpg" /></p> <p>Further examples of simple, yet effective symmetrical patterns used by Dimebag can be seen in examples 7 and 8. Example 7 is another shape, this time using the major 7 (Eb in E), the root (E), and the minor 3rd (G) as its basis. In this case, the pattern is an ascending climb combining both picking and legato phrasing, again using the 1-2-4 fingering. </p> <p><img src="/files/imce-images/Example7.jpg" width="620" height="212" alt="Example7.jpg" /></p> <p>In example 8, based on one of Dimebag’s favorite patterns, the shape uses a 4-3-1 fingering in a descending sequence on the top three strings. This shape in this position is a throwback to the playing of Pat Travers, and can be quite effective when playing over rhythms in A minor and E minor. </p> <p><img src="/files/imce-images/Example8.jpg" width="620" height="145" alt="Example8.jpg" /></p> <p>Feel free to transpose it into other keys and use it often, just as Dime did.</p> <p>It is important to notice that though Dimebag possessed astounding picking technique, he tended to favor executing most of his lines in a legato fashion (another homage to Mr. Edward Van Halen). Dimebag’s love of legato gave his lines a fluid, lively quality, and his powerful left hand technique was extremely important when effectively implementing these symmetrical patterns into his lead licks.</p> <p><strong>Commandment 4: Give Chords New Found Power</strong></p> <p>Never content with “standard” guitar techniques, Dimebag was an avid user of the “other” power chords. Instead of relying on normal root-5th and root-4th (inverted 5th) power chords (though he was an obvious master when it came to using them), Dimebag would often come up with and use alternative dyads (two-note chords) in place of standard power chords. These chords were usually major or minor thirds stacked on top of the root. Example 9 is the two basic versions of these chords with 6th and 5th string roots. The first is the “major 3rd” variation and the second is the “minor 3rd” version.</p> <p><img src="/files/imce-images/Example9.jpg" width="620" height="195" alt="Example9.jpg" /></p> <p>Example 10 is a figure using the minor 3rd power chord. Notice how the chords act to add texture and movement to the riff, as they work well when used in the same riff as the more pedestrian root-5th power chords. The chords also add a nice tension, as they are not as “homogenous” and “neutered” sounding as the standard root-5th chords. Also, when used with a rocking distorted tone, these chords have an extremely powerful sonic fingerprint with their unique overtones. </p> <p><img src="/files/imce-images/Example10.jpg" width="620" height="132" alt="Example10.jpg" /></p> <p>These overtones are, in fact, what makes these chords so special and useful. With usual major or minor chords and triads, playing them with distortion often results in a cluttered, un-musical noise. There is just too much information present to allow sonorous, musical sounds when using the standard major or minor chord shapes. However, by just playing the root and 3rd, a vibrant, tense, rich sound is created, really putting the “power” in power chord.</p> <p>Experiment often with substituting these root-3rd power chords for standard root-5th chords in your riffs. Also, try varying your usage of major and minor 3rds, as often times the “wrong” (out of key) 3rd will sound most interesting in a riff. Example 11 is a Dimebag inspired riff using these harmonically “wrong” power chords. </p> <p><img src="/files/imce-images/Example11.jpg" width="620" height="278" alt="Example11.jpg" /></p> <p><strong>Commandment 5: Know your Nodes</strong></p> <p>No discussion of Dimebag would be complete without mentioning his penchant for playing with harmonics. Dimebag’s playing was peppered with any and every type of harmonics: natural, artificial, tapped, etc.</p> <p>Playing with an overtone-rich, distorted sound, harmonics (whether naturally or artificially produced) are an integral component in the beast of electric guitar. Harmonics can occur almost anywhere and can be produced by a myriad of means, and can occur many times as an accidental consequence of playing with a loud, distorted sound.</p> <p>Dimebag, however, excelled at controlling the beast, and was able to skillfully use harmonics as one of the most expressive elements in his playing. To understand how Dime would use harmonics, we’ll first look at the naturally occurring harmonic nodes that occur across the fretboard. Example 12 is a basic depiction of the most common, “easy” harmonics that occur when a fret hand finger is used to lightly touch a plucked string (without actually pushing it down and fretting it) and produce a harmonic. </p> <p><img src="/files/imce-images/Example12.jpg" width="620" height="154" alt="Example12.jpg" /></p> <p>Example 13 shows some more difficult to produce harmonics along the same string, many of which were used extensively by Dime.</p> <p><img src="/files/imce-images/Example13.jpg" width="620" height="159" alt="Example13.jpg" /></p> <p>Dime was never content to just play the harmonics, though, as he would often use a variety of techniques to produce and manipulate them. The most famous of these techniques was Dime’s signature “harmonic scream” technique. The basic maneuver is depicted in example 14. </p> <p><img src="/files/imce-images/Example14.jpg" width="620" height="388" alt="Example14.jpg" /></p> <p>To perform this technique as Dimebag would, a floating tremolo bridge (able to bend a note below and above) is necessary (preferably a locking Floyd Rose or its equivalent). First, get the string moving by “plucking” it with a silent fret hand pull-off while simultaneously dumping / depressing the bar and bending the tremolo down. As the open string is lowered in pitch and its tension is reduced, lightly tap the selected harmonic node with the fret hand “bird”/middle finger. Next, after the harmonic has been sounded, slowly return the bar to pitch, pull it up higher, and apply vibrato with the whammy bar. Note that the actual time the open/dumped string rings is only a fraction of a second, it is only sounded so as to allow the string movement enough to produce the fret hand “tapped” harmonic. </p> <p>Also note the importance of fret hand muting, being sure to use the fret hand thumb (wrapped over the top of the neck) and fret hand fingers to mute any unwanted noise from the unused strings. Experiment with different harmonic nodes, as some will be easier to execute and some will sound more interesting than others. </p> <p>While Dimebag was also quite adept at using Zakk Wylde/John Sykes/George Lynch/Billy F. Gibbons style “pings” (artificial harmonics, A.K.A. pick harmonics) he was especially adept at using multiple, combined harmonics as a way to spice up his rhythm playing. </p> <p>Example 15 shows this technique at play. </p> <p><img src="/files/imce-images/Example15.jpg" width="620" height="164" alt="Example15.jpg" /></p> <p>Notice first that Dime loved using “in-between” harmonics, those that had a particularly shrieking/squealing sound. Also notice that in combining two or more harmonics, an extremely cool set of screaming, dissonant overtones is created. Try any and all combinations of harmonics on various string sets and at various node points, and also experiment with manipulating the combinations with your whammy bar and/or effects pedals. Example 16 is several available combinations.</p> <p><img src="/files/imce-images/Example16.jpg" width="620" height="365" alt="Example16.jpg" /></p> <p>The possibilities are endless. <a href="http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-2">Check out Part 2!</a></p> <p><em>Scott Marano has dedicated his life to the study of the guitar, honing his chops at the Berklee College of Music under the tutelage of Jon Finn and Joe Stump and working as an accomplished guitarist, performer, songwriter and in-demand instructor. In 2007, Scott developed the Guitar Strength program to inspire and provide accelerated education to guitarists of all ages and in all styles through state-of-the-art private guitar lessons in his home state of Rhode Island and globally via Skype. <a href="http://www.guitarstrength.com/">Visit Scott and learn more at www.GuitarStrength.com.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/dimebag-darrell">Dimebag Darrell</a> </div> <div class="field-item even"> <a href="/pantera">Pantera</a> </div> <div class="field-item odd"> <a href="/damageplan">Damageplan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-1#comments Damageplan Dimebag Darrell Guitar Strength Pantera Scott Marano Blogs Features Lessons Wed, 20 Aug 2014 14:44:16 +0000 Scott Marano http://www.guitarworld.com/article/13074 Stevie Ray Vaughan on 'Austin City Limits' — Three Songs from SRV's 30 Greatest Recordings http://www.guitarworld.com/stevie-ray-vaughan-austin-city-limits-three-songs-srvs-30-greatest-recordings <!--paging_filter--><p><em>This is an excerpt from the October 2014 issue of </em>Guitar World<em>. For the rest of this story, including the remainder of our Stevie Ray Vaughan "Top 30" list, Steve Howe/Yes, the 60th anniversary of the Fender Strat, lessons, tabs and reviews of new gear from TC Electronic, Seymour Duncan, Prestige Guitars and more, <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-october-14-stevie-ray-vaughan/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=John5Excerpt">check out the October 2014 issue at the Guitar World Online Store.</a></em></p> <p>For someone who spent a mere seven and a half years as a heavy player on the world stage, Texas guitar-slinger Stevie Ray Vaughan left behind a wealth of recorded material—and one hell of a legacy.</p> <p>In that blink of an eye between his incongruous appearance on David Bowie’s <em>Let’s Dance</em> in 1983 and his death in a freak helicopter crash in 1990, Vaughan unleashed four indispensable studio albums that hijacked the trajectory of modern blues guitar. </p> <p>Without the aid of light shows, edgy haircuts and goofy rock-star posturing, he introduced the MTV generation to passion-fueled guitar music—not to mention the work and importance of Jimi Hendrix, Albert King, Buddy Guy and Howlin’ Wolf.</p> <p>He even had time to star in his own mini rock-star drama of drug and alcohol addiction, breakdown, recovery and triumphant return.</p> <p>In the all-new October 2014 issue—in honor of what would have been Vaughan’s 60th birthday (It’s about as difficult to picture SRV at 60 as it is to picture Hendrix at 72)—<em>Guitar World</em> looks back at what we consider his 30 greatest guitar moments. Our list digs deep into his six-string artistry, while taking historical importance and other factors into account. </p> <p>In terms of material, we’ve considered everything, including his official studio work and numerous posthumous studio and live releases—basically everything that will be included on Legacy Recordings’ new 13-disc box set, <em>Stevie Ray Vaughan and Double Trouble: The Complete Epic Album Collection</em>, which is slated to be released in October, the anniversary of Vaughan’s birth. </p> <p>We also considered his DVDs and videos available on YouTube—pretty much everything and anything he recorded with a Fender Strat, a guitar that, as reported elsewhere in this issue, also happens to be celebrating its 60th anniversary this year. </p> <p><strong>FOR THIS EXCERPT FROM OUR OCTOBER COVER STORY</strong>, we focus on three performances from Vaughan's October 1989 performance on <em>Austin City Limits</em>. These recordings represent numbers 5, 11 and 12 on our Top 30 list. Enjoy!</p> <p><strong>05. “Leave My Girl Alone”</strong><br /> <strong>(<em>Austin City Limits</em>, 1989; released on <em>The Real Deal: Greatest Hits 2</em>, 1999)</strong></p> <p>One of the most frustrating things about Vaughan’s tragic death in August 1990 was the fact that, in the last two years of his life, his playing had somehow improved. Vaughan’s (and the rest of the band’s) coke-induced distractions were snuffed out, and his portal—that magical gateway that connected the guitarist to his unique source of inspiration, divine or otherwise—was wide open. </p> <p>A perfect example is this live 1989 version of Buddy Guy’s “Leave My Girl Alone,” recorded on the <em>Austin City Limits</em> TV show. </p> <p>Eric Clapton has mentioned how Jeff Beck “pulls” notes from his guitar; in this case, Vaughan is clearly “pushing” the notes out of his Strat, all in relentless, lightning-fast bursts that make you wonder what you’ve been doing with your life. </p> <p>His ominous groans between phrases underscore the passion and excitement he felt during every performance, especially when he was able to experience his surroundings as a clean and sober guitar god. — <strong><em>DF</em></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/lJXwZFwC3mw" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>11. “Mary Had a Little Lamb”</strong><br /> <strong> (<em>Austin City Limits</em>, 1989)</strong></p> <p>“When I go out and play [“Mary Had a Little Lamb”], I can hear people say, ‘Oh, that's Stevie's number,’ ” Buddy Guy once said. “So I say, ‘Okay man, that's Stevie's number.’ But Stevie knows whose number it was.” </p> <p>“Mary,” the first Guy composition to be recorded by Vaughan, was the perfect canvas for Vaughan and keyboardist Reese Wynans to slather with their mad skills. </p> <p>Like the rest of this priceless 1989 <em>Austin City Limits</em> broadcast, Vaughan is simply on fire. </p> <p>Between the song’s funked-up sections, he delivers a series of stellar, note-perfect solos that careen and soar with the aid of some nifty whammy-bar action. — <strong><em>DF</em></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/4cGphy7XeZk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>12. Tightrope </strong><br /> <strong>(<em>Austin City Limits</em>, 1989)</strong></p> <p>When Stevie cut 1989’s <em>In Step</em>, his last studio effort with Double Trouble, he showcased more of an R&amp;B/soul approach than ever before, evidenced by the hit tracks “Crossfire” and “Tightrope.” “Tightrope” is a straightforward 4/4 groover with a James Brown–meets–Albert King type of feel. </p> <p>Shot on October 10, 1989, for <em>Austin City Limits</em>, Stevie’s performance is extraordinary, displaying a combination of raw power, deep emotion and technical brilliance in perfect measure. </p> <p>His Fuzz Face–drenched solo is crushing in its power while also beautifully melodic and precise. </p> <p>The intense multi-string bent vibratos at the start of his outro solo (3:42–3:46) are just the tip of the iceberg as he closes out this truly masterful performance. <strong>— <em>Andy Aledort</em></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/GX5ioDq1m5I" frameborder="0" allowfullscreen></iframe></p> <p><em>This is an excerpt from the October 2014 issue of </em>Guitar World<em>. For the rest of this story, plus the rest of our Stevie Ray Vaughan Top 30 feature, Yes, the 60th anniversary of the Fender Strat, columns, tabs and reviews of new gear from TC Electronic, Seymour Duncan, Prestige Guitars and more, <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-october-14-stevie-ray-vaughan/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=John5Excerpt">check out the October 2014 issue at the Guitar World Online Store.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/stevie-ray-vaughan-austin-city-limits-three-songs-srvs-30-greatest-recordings#comments Damian Fanelli October 2014 Stevie Ray Vaughan Videos News Features Magazine Tue, 19 Aug 2014 16:09:58 +0000 Damian Fanelli http://www.guitarworld.com/article/22153 New Book/CD: Learn Slide Guitar from Warren Haynes http://www.guitarworld.com/new-bookcd-learn-slide-guitar-warren-haynes <!--paging_filter--><p>Learn the slide guitar stylings of Warren Haynes from the man himself! </p> <p>In <em>Warren Haynes — Guide to Slide Guitar</em>, the legendary guitarist of Gov't Mule, Phil Lesh and Friends, the Grateful Dead and the Allman Brothers Band offers instructions on choosing a slide, perfecting left- and right-hand techniques, playing rhythm and blues soloing-on electric and acoustic. </p> <p><em>Warren Haynes — Guide to Slide Guitar</em> will give you the most in-depth and personal lessons ever on how to play slide guitar in the style of Warren Haynes. </p> <p>Also includes a split-channel CD of the exercises, played by Haynes with a full band. </p> <p>Listen to the master or solo along to the backing tracks!</p> <p><strong><a href="http://store.guitarworld.com/collections/tab-books/products/warren-haynes-guide-to-slide-guitar/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=WarrenHaynesSlide">'Warren Haynes — Guide to Slide Guitar' is available now at the Guitar World Online Store for $19.99.</a></strong></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/warren-haynes">Warren Haynes</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/new-bookcd-learn-slide-guitar-warren-haynes#comments Warren Haynes News Features Tue, 19 Aug 2014 15:15:17 +0000 Guitar World Staff http://www.guitarworld.com/article/18876 John 5 Shows Off His Telecaster Collection and Discusses New Album, 'Careful with That Axe' http://www.guitarworld.com/john-5-shows-his-telecaster-collection-and-discusses-new-album-careful-axe <!--paging_filter--><p><em>This is an excerpt from the October 2014 issue of </em>Guitar World<em>. For the rest of this story, plus features on Stevie Ray Vaughan (a 60th-birthday bash!), Yes, the 60th anniversary of the Fender Strat, columns, tabs and reviews of new gear from TC Electronic, PureSalem Guitars, Martin, Seymour Duncan, Prestige Guitars and more, <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-october-14-stevie-ray-vaughan/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=John5Excerpt">check out the October 2014 issue at the Guitar World Online Store.</a></em></p> <p>“It all starts when you get your first guitar for Christmas or your birthday,” John 5 explains. “You never know what that guitar is going to bring you. Is it going to bring you happiness or sadness, fortune or poverty?”</p> <p>In John’s case, that first guitar, acquired at the tender age of seven, has led to a stellar career as one of recent rock’s most admired and sought-after guitarslingers. He’s enjoyed high-profile stints with everyone from Marilyn Manson to David Lee Roth to k.d. lang to Lynyrd Skynyrd. </p> <p>Since 2005, he’s been guitarist-in-chief for Rob Zombie and is currently working on the score for Zombie’s newest horror flick, <em>31</em>. In the past decade, the man born John William Lowery has also emerged as a solo artist and all-around virtuoso guitar hero in his own right. He pioneered the now-popular, if unlikely, hybrid of shred guitar and wild country pickin’, and serves it up with his own twisted sense of campy goth panache. </p> <p>John’s newest solo album, his eighth to date, is called <em>Careful with That Axe</em> and features bassist Matt Bissonette (Joe Satriani, David Lee Roth, Elton John) and drummer Rodger Carter (Lita Ford, Gene Simmons, Glen Campbell). The album is packed with all the speed-demon riffology and feats of fretboard acrobatics that his fans have come to expect. “I wanted to make this record so intense,” he says. “You know, it’s a guitar record. It’s not like anything else. So I just wanted to make it absolutely insane. Really crazy playing.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/pVPvCctULYk" frameborder="0" allowfullscreen></iframe></p> <p>The album’s title is a nod to Pink Floyd’s 1968 tour de force psychedelic jam “Careful with that Axe, Eugene.” But given the macabre side of John’s persona, he feels that the name has a special resonance in his case. “An axe is a guitar, obviously,” he says. “But the phrase ‘careful with that axe’ could also be about ax murders, and some of the song titles revolve around ax murders.”</p> <p>While his over-the-top playing style is always reckless and daring, John has indeed been careful with his ax, steering it from triumph to triumph amid the meltdown vicissitudes of the music business. And he’s especially careful with the axes in his legendary collection of mint-condition vintage Telecasters. </p> <p>“I’m a Telecaster connoisseur, and I love my Teles,” he says. “I have one from almost every year since the very beginning, in 1950. I’m so obsessed with them. I just really enjoy the history of Fender—the story of Fender and how it all came about. I have a collector’s soul.” </p> <p>For <em>Careful with That Axe</em>, John mainly stuck with his favorite contemporary Fender, a gold John 5 signature model Tele. “I’ve had that guitar for about six years now, and it’s just worn in beautifully,” he says. “I play it all the time. I didn’t use a lot of other guitars on the album just because we were playing everything live in the studio and just this one guitar gave me pretty much everything I needed. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/j49brlQpsoc" frameborder="0" allowfullscreen></iframe></p> <p>"I only used one Marshall JVM combo amp with a Boss Super Overdrive, Boss Noise Supressor and Boss Chorus. That’s pretty much what I use live too, when I’m playing with Zombie, and I wanted to have that vibe in the studio. I didn’t use a lot of gear this time because I just wanted to do everything with my hands. I went into this kind of like a boxer. I trained and trained, and I rehearsed quite a bit with Rodger and Matt. I think they both did a phenomenal job with this, just sounding out of control at times, but then pulling back on the songs that called for that.”</p> <p>The album reflects on John’s formative years as a guitar monster in training, starting with the opening track, “We Need to Have a Talk About John.” A chaotic collage of wild sounds and spoken-voice snippets, it sets the mood for what’s to come. “When my parents gave me that first guitar, I became totally obsessed,” John says. </p> <p><em>Photo: Sean Murphy</em></p> <p><em>This is an excerpt from the October 2014 issue of </em>Guitar World<em>. For the rest of this story, plus features on Stevie Ray Vaughan (a 60th-birthday bash!), Yes, the 60th anniversary of the Fender Strat, columns, tabs and reviews of new gear from TC Electronic, PureSalem Guitars, Martin, Seymour Duncan, Prestige Guitars and more, <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-october-14-stevie-ray-vaughan/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=John5Excerpt">check out the October 2014 issue at the Guitar World Online Store.</a></em></p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-12%20at%203.40.45%20PM_1.png" width="620" height="806" alt="Screen Shot 2014-08-12 at 3.40.45 PM_1.png" /></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="/john5">John5</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/john-5-shows-his-telecaster-collection-and-discusses-new-album-careful-axe#comments John 5 October 2014 Interviews News Features Magazine Mon, 18 Aug 2014 16:28:08 +0000 Alan di Perna http://www.guitarworld.com/article/22091 October 2014 Guitar World: Stevie Ray Vaughan's 30 Greatest Guitar Moments, Steve Howe and Yes, 60 Years of the Fender Strat and More http://www.guitarworld.com/october-2014-guitar-world-stevie-ray-vaughans-30-greatest-guitar-moments-steve-howe-and-yes-60-years-fender-strat-and-more <!--paging_filter--><p><strong><a href="http://guitarworld.myshopify.com/products/guitar-world-october-14-stevie-ray-vaughan/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWOCT14">The all-new October 2014 issue of Guitar World is available now!</a></strong></p> <p>In the new issue, we celebrate blues giants <strong>Stevie Ray Vaughan</strong> with an in-depth examination of his 30 greatest recordings — from “Texas Flood” to “Riviera Paradise,” from “Couldn’t Stand the Weather” to “The Sky is Crying." Read about how Stevie Ray Vaughan and Double Trouble (bassist <strong>Tommy Shannon</strong> and drummer <strong>Chris Layton</strong>) didn’t walk into Jackson Browne’s Down Town Studio in Los Angeles in late 1982 with highfalutin plans about recording their monster debut album. In fact, their sites were set much lower. </p> <p>Also, <strong>Metallica’s Kirk Hammett</strong> teaches you how to play like the great bluesman SRV. Then blues legend <strong>Buddy Guy</strong> pays tribute to his late friend. We go up close and personal with Stevie’s favorite Strat, which is now on display at the Grammy Museum in L.A.</p> <p>Then, <em>Guitar World</em> features <strong>John 5</strong>, the prophet of the Telecaster who shows us some rare mint-condition Teles from his collection and talks about his latest album, <em>Careful with That Axe</em>.</p> <p>Next, as the prog legends take their classic <em>Fragile</em> and <em>Close to the Edge</em> albums on the road, guitar virtuoso <strong>Steve Howe</strong> sits down for a talk about the making of those groundbreaking productions.</p> <p>Finally, as the curvaceous <strong>Fender Stratocaster</strong> marks six decades of innovation and influence, <em>Guitar World</em> celebrates its legacy via 60 players, songs, solos and historical moments.</p> <p>PLUS: An ode to the late <strong>Johnny Winter</strong>, a PureSalem guitar review, Satchel's Man of Steel column returns and much more!</p> <p><strong>Five Songs with Tabs for Guitar and Bass</strong></p> <p> • Stevie Ray Vaughan - "Look at Little Sister"<br /> • Stevie Ray Vaughan - "Testify"<br /> • Scorpions - "Rock You Like a Hurricane"<br /> • Within The Ruins - "Gods Amongst Men"<br /> • Magic - "Rude"</p> <p><strong><a href="http://guitarworld.myshopify.com/products/guitar-world-october-14-stevie-ray-vaughan/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWOCT14">Head to the Guitar World Online Store now!</a></strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-12%20at%203.40.45%20PM.png" width="620" height="806" alt="Screen Shot 2014-08-12 at 3.40.45 PM.png" /></p> http://www.guitarworld.com/october-2014-guitar-world-stevie-ray-vaughans-30-greatest-guitar-moments-steve-howe-and-yes-60-years-fender-strat-and-more#comments October 2014 News Features Mon, 18 Aug 2014 16:27:07 +0000 Guitar World Staff http://www.guitarworld.com/article/22141 Dear Guitar Hero: Former Kiss Guitarist Bruce Kulick Talks Getting Shot, His Proudest Guitar Moments, Signature Guitar and More http://www.guitarworld.com/dear-guitar-hero-former-kiss-guitarist-bruce-kulick-talks-getting-shot-his-proudest-guitar-moments-signature-guitar-and-more <!--paging_filter--><p><em>He’s a former Kiss guitarist from their makeup-free era in the late Eighties and early Nineties. But what </em>Guitar World<em> readers really want to know is…</em></p> <p><strong>What is the story behind your new Rock N’ Roll Relics guitar? — Michael Steadman</strong></p> <p>I was first introduced to Billy Rowe, the owner of Rock N’ Roll Relics, at the NAMM show, and I saw that he was very talented at taking vintage Gibson-style guitars and reliquing them. </p> <p>And it made me think immediately of my Les Paul Junior from the [1992] Revenge/Alive III tour. It was one of the most beat-up Les Paul Juniors ever. I got it at Guitars R Us on Sunset Boulevard, and we recorded with it a lot. Gene [Simmons] loved it. Kiss even rented it for [1998’s] <em>Psycho Circus</em>, because they wanted that sound. It had a humbucker in it—a Seymour Duncan JB—but there was just something about the mahogany body. </p> <p>It had “that sound.” So Billy from Rock N’ Roll Relics was the perfect person to make a copy of it. The new model has all the elements: a mahogany flat body and rosewood neck and a humbucker—an Antiquity JB, because obviously a new JB wouldn’t look really good in a reliqued guitar. Because this is a small company, we’re just doing this limited run of 25, and it’s available online [<a href="http://www.rocknrollrelics.net/">rocknrollrelics.net</a>]. We’ve sold half of them already.</p> <p><strong>What do you consider your proudest guitar moment on record? — Chris</strong></p> <p>With Kiss, I think the solo in “Tears Are Falling” [from <em>Asylum</em>, 1985], which is melodic and tricky, and the acoustic solo on “Forever” [from <em>Hot in the Shade</em>, 1989], which shows another side of my style. And then something like “Unholy” [from <em>Revenge</em>, 1992], where I’m really balls to the wall in your face, using a wah-wah and distortion. I really got a chance to show the range of my playing during my Kiss years.</p> <p><strong>Do you think you, Vinnie [Vincent], Tommy [Thayer], Mark [St. John], Eric [Carr] and Eric [Singer] were cheated by not being inducted into the Rock and Roll Hall of Fame? — SFC Damion Thompson, U.S. Army</strong></p> <p>I’m totally unhappy with how the Hall of Fame handled this. We deserved to be inducted, and I know Gene and Paul’s intention was to present that argument to them, which according to Paul was a non-starter. I’m still extremely flattered that I’m related to a band that’s been inducted, and I certainly don’t have any issue with the fact that without the original four there would be no Kiss. But Kiss survived successfully for 40 years, and I know at least seven million records were sold with my name on them. So for the Hall to ignore that, I think that’s a travesty. </p> <p><strong>I saw you were recently married. Congratulations! I also saw that Gene and Paul were at your wedding. What do Gene Simmons and Paul Stanley give as wedding presents? — Henry McGee</strong></p> <p>I didn’t get an envelope or any gift from them that night, but technically, you have up to a year to give a gift. I kind of feel like there is something coming up that’s going to be a gift to me. Lisa and I, we’ve talked about it a few times, and them being there was a huge gift to me, and she felt the same way. </p> <p>Our history is very unusual: We fell in love four and a half years ago, but I did actually meet her backstage in 1986. She was there for a meet and greet, to see Paul Stanley, you know? I wasn’t involved with anybody, but I wasn’t necessarily looking to hit on any girl in a meet and greet that day. I find it kind of ironic that things have always centered around this Kiss connection, even with Lisa. So I’m just looking at the big picture of things. Gene and Paul’s gift is related to the respect that they show me. You can’t put a price tag on that. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/lEwnfhuPJGs" frameborder="0" allowfullscreen></iframe></p> <p><strong>What was it like getting shot? — Billy Sing</strong></p> <p>One of the songs on BK3, the last solo record I put out four years ago, is called “I’ll Survive,” and it’s about that event. It was surreal. I was leaving the Key Club on Sunset Boulevard after seeing my buddy Brent Fitz, the drummer with Slash, who is playing with Vince Neil. It was about 1:20 in the morning. </p> <p>The shots came from a block and a half away, in front of the Rainbow Club. I couldn’t tell if it was a car backfiring or a gun shot. And then I got hit in the leg. It was as if someone was taking a hot poker and sticking it through your leg, but it happens so fast that you don’t know what the hell happened. My knee buckled, and I went down. What was weirder was that a ricochet bullet whizzed right by my ear and actually grazed my head. I heard the whistle from it as it went past. That was even more bizarre than having a bullet pass through my leg. </p> <p>But I was lucky. The bullet could have shattered my kneecap; instead, it went completely through muscle. The paramedics showed up über fast, and the guy asked me to move my toes, which I did. And he says to me, “You’re going to be fine.”</p> <p><strong>I read that your brother Bob tried out for Kiss before Ace got the gig. Did he help advise you on your audition process? — Chip Douglas</strong></p> <p>My brother’s acquaintance with the guys was a good thing, but I think it also took other people to mention my name to Gene and Paul. I actually wound up doing a little ghost guitar work for Kiss on Animalize, but I’m not credited. At the time, Mark St. John was playing lead. Paul asked me to play a solo, and he happened to say, “Don’t cut your hair.” </p> <p>I wasn’t aware that Mark was not going to be able to tour. [St. John was diagnosed with the arthritic condition Reiter’s Syndrome.] Then they asked me to kind of fill in on the tour, and that wound up becoming a 12-year stint in the band. Those people who go back and think, “Well, the first time I saw Kiss was in 1985”—if they’re not sure who it was, now it’s a matter of record: they saw me. Yay! </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/kfmrX_WlM2w" frameborder="0" allowfullscreen></iframe></p> <p><strong>When did you become aware that Ace and Peter would be rejoining the band? Were you nervous when they guested on Unplugged? — Lazlo Kovacs</strong></p> <p>I actually was happily ignorant to any behind-the-scenes talk of a reunion. I certainly didn’t think that <em>Kiss Unplugged</em> [1996] would be the catalyst to make it happen. We had recorded probably 75 to 80 percent of <em>Carnival of Souls</em> [released in 1997], and that’s when Gene and Paul had a meeting with Eric and me explaining that it was time for them to try this reunion and that it would only be for a year, but that they were going to take care of us—which they did. Kiss had to lose the makeup in the Eighties, because it just didn’t seem cool anymore. When they brought it back in 1996, it was the right time for it. But I didn’t really think anything like that was brewing behind the scenes. </p> <p><strong>Was the period after you left Kiss difficult for you, or were you ready to move on? — Phil Leech</strong></p> <p>It was difficult. To see the hoopla surrounding them putting the makeup on, and then hearing, “First concert, sold out, stadium in Detroit…” I was like, That’s it, no more Kiss for me! That reality was hard, and then it got even worse. Because by the time Carnival of Souls came out, it had already been bootlegged, and the copies were terrible. I was doing a clinic tour in Europe, and some friends of mine from the Kiss world were like, “Check it out, I got a bootleg of Carnival of Souls”—which obviously hurt. </p> <p>I had nine co-writes on it, so I didn’t want to hear about bootlegs. I think having <em>Carnival of Souls</em> kind of raped was more painful even than not being in Kiss. But from tough things in life, you hopefully really strap up your boots tightly and get going. And that’s what I did. I had my own band with John Corabi called Union, and I just forged on and never looked back really.</p> <p><strong>How did you get the gig in Grand Funk? You’ve been in the band for, like, 14 years now. — Dennis Maloney</strong></p> <p>I met [Grand Funk drummer] Don Brewer back in the days when I worked with Michael Bolton. Michael had just put out his first solo record [1983’s self-titled release], and we opened for Bob Seger. [At the time, Brewer was drumming for Seger’s Silver Bullet Band.] We got to party with the Seger guys and hang out with everybody. And I was always a Grand Funk fan, so it was like, Oh, my god, Don Brewer! So when Grand Funk went through its changes again after 1998, after the last time [guitarist] Mark Farner was involved, I was on the short list. You never know who you’re working with that even 20 years down the line could be relevant to your career.</p> <p><em>Photo: Angela Boatwright</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="/kiss">Kiss</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/dear-guitar-hero-former-kiss-guitarist-bruce-kulick-talks-getting-shot-his-proudest-guitar-moments-signature-guitar-and-more#comments Bruce Kulick Dear Guitar Hero Grand Funk Railroad Kiss September 2014 Interviews News Features Magazine Mon, 18 Aug 2014 15:43:56 +0000 Brad Angle http://www.guitarworld.com/article/22140 John Petrucci's 'Wild Stringdom' DVD Offers More Than 60 Minutes of Lessons http://www.guitarworld.com/john-petruccis-wild-stringdom-dvd-offers-more-60-minutes-lessons <!--paging_filter--><p>There's a new <em>Guitar World</em> DVD at the <a href="http://guitarworld.myshopify.com/products/john-petruccis-wild-stringdom/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=JohnPetrucciDVD">Guitar World Online Store!</a></p> <p><em>John Petrucci's Wild Stringdom</em> is <a href="http://guitarworld.myshopify.com/products/john-petruccis-wild-stringdom/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=JohnPetrucciDVD">available now</a> for $14.99!</p> <p>The DVD, which features Dream Theater's guitarist, offers more than 60 minutes of instructional lessons. This master lead guitarist shows you:</p> <p>• Prog-style shred runs<br /> • Melodic shapes<br /> • Scale and arpeggio patterns<br /> • Unusual fretboard paths</p> <p>... and much more!</p> <p>This DVD is an exclusive to the Guitar World Online Store. You won't find this anywhere else! Get your copy today!</p> <p>About your instructor: Petrucci is best known as the Grammy-nominated guitarist and founding member of the progressive metal band Dream Theater, whose latest, self-titled album is available form Roadrunner Records. He is also the band's producer and main lyricist, as well as an original member of the acclaimed Liquid Tension Experiment with Tony Levin. </p> <p>John is a long-standing veteran of Joe Satriani's prestigious G3 tours along with Steve Vai, Eric Johnson, and Paul Gilbert. John has received many notable awards in various guitar publications throughout the world, and has been featured in Guitar World magazine many times over the years, offering numerous outstanding lessons to its readers, including this collection of Wild Stringdom columns and other special articles and videos.</p> <p><strong><a href="http://guitarworld.myshopify.com/products/john-petruccis-wild-stringdom/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=JohnPetrucciDVD">Head to the Guitar World Online Store now!</a></strong></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/john-petruccis-wild-stringdom-dvd-offers-more-60-minutes-lessons#comments John Petrucci News Features Thu, 14 Aug 2014 12:03:51 +0000 Guitar World Staff http://www.guitarworld.com/article/22066