Features http://www.guitarworld.com/taxonomy/term/5/all en New Book Chronicles 140-Year History of Epiphone Guitars http://www.guitarworld.com/new-book-chronicles-140-year-history-epiphone-guitars <!--paging_filter--><p>In 2013, Epiphone celebrates its 140th anniversary. To help honor the milestone, longtime Epiphone fan and former Gibson historian Walter Carter has published <em><a href="http://store.guitarworld.com/collections/new-products/products/the-epiphone-guitar-book/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=EpiphoneGutiarBook">The Epiphone Guitar Book: A Complete History of Epiphone Guitars.</a></em></p> <p>The epic story of Epiphone spans three centuries, from its old-world roots in the 19th century to the golden age of American guitar makers in the 20th century and onward into the global market of the new millennium. </p> <p>Along the way, the story of Epiphone includes virtually every great artist in popular music including Les Paul, the Beatles, the Rolling Stones, Joe Pass, Jack Casady, The Band, Paul McCartney, Gary Clark Jr., Slash, Tommy Thayer of Kiss, Zakk Wylde, John Lee Hooker, My Chemical Romance, Joe Bonamassa, Tak Matsumoto, Matthew K. Heafy, Django Reinhardt, Duke Robillard, Paul Weller and Oasis.</p> <p>“Epiphone fans are some of the most dedicated guitar fans in the world,” said Epiphone President Jim Rosenberg. “Walter has been a friend of Epiphone and Gibson for a long time and he’s written an engaging and thorough history of the ‘House of Stathopoulo.’ All of us at Epiphone are grateful and delighted that this book should be published in time for our 140th Anniversary. It will be a resource for generations to come.”</p> <p><em><a href="http://store.guitarworld.com/collections/new-products/products/the-epiphone-guitar-book/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=EpiphoneGutiarBook">The Epiphone Guitar Book: A Complete History of Epiphone Guitars</a></em> follows the history of the Stathopoulo family from their home in Greece to their ascension as the premier archtop maker of the jazz age. The story continues as Epiphone becomes part of the Gibson family of instruments and guitars like the Casino and the Wilshire influence the British Invasion, through the modern age as the world’s No. 1 choice for professional, affordable instruments.</p> <p>Carter highlights the fascinating story of how an iconic name helped shape the world of the guitars with beautifully illustrated photographs chronicling the evolution of Epiphone instruments and the extraordinary musicians who played them. The book also features a collector’s section that provides specifications for every Epiphone guitar made from the 1920s to the present.</p> <p>For more information on <em>The Epiphone Guitar Book: A Complete History of Epiphone Guitars,</em> visit <a href="http://store.guitarworld.com/collections/new-products/products/the-epiphone-guitar-book/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=EpiphoneGutiarBook">the Guitar World Online Store.</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/bXiKbll-32Y" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/new-book-chronicles-140-year-history-epiphone-guitars#comments Epiphone News Features Tue, 03 Mar 2015 16:34:49 +0000 Guitar World Staff http://www.guitarworld.com/article/18034 The Top 10 Uses of Guitar in Hip-Hop http://www.guitarworld.com/top-10-uses-guitar-hip-hop <!--paging_filter--><p>So you think rap and the six-string are mutually exclusive? Time to do your homework—which includes reading this list!</p> <p>Be it sampling or guest appearances, there have been countless cool matchups of axemen, MCs and turntablists over the years. After all, hip-hop, at its best, is a musical culture that's all about experimentation and the commingling of styles. </p> <p>(These 10 mentions only scratch the surface; to dig deeper, look for Buckethead's work with the Invisbl Skratch Piklz or Charlie Hunter's recordings with the Disposable Heroes of Hiphoprisy.)</p> <p><strong>10. Eminem, "Lose Yourself"</strong></p> <p>It's not the most interesting example of a riff in a rap context, but thanks to 2002's <em>8 Mile</em>, this song was huge. Not since the Run-D.M.C.-Aerosmith tag team had a totally guitar-driven rap song been such a big deal. Interestingly, 50 Cent nicked Ol' Potty Mouth's hooky D-minor riff for his own hit "In Da Club."</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/bmXumtgwtak" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. Ice-T, "The Girl Tried to Kill Me"</strong></p> <p>Already prone to throwing Sabbath samples in his jams, this O.G.—that's "original gangsta"—provided a taste of things to come when he had guitarist Ernie C. throw down the incessant lead lines and crunchy power chords on this blush-worthy rhyme from 1989's <em>Freedom of Speech...Just Watch What You Say.</em> </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/tGIA1hgaqis" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. Mos Def, "Rock 'n' Roll"</strong></p> <p>Keeping up the East Coast underground tradition of rap and rock crossover, this MC-cum-actor waxes lyrical about the history of African-American rock to a background of sparse yet chimey funk guitar—at least until the piping-hot hardcore beatdown kicks in.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Yfh9HgkBLK8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. Time Zone, "World Destruction"</strong></p> <p>Formed by original hip-hop DJ Afrika Bambaata and producer Bill Laswell, this early rock-rap alliance found Bambaata matching words with original punker John "Rotten" Lydon. New York session man Nicky Skopelitis' power chords and dive bombs helped put meat on the tune's bones.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/4VgLkk_drx4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. The Beastie Boys, "No Sleep Till Brooklyn"</strong></p> <p>The garage-rockin' riff from the smash platter "Fight for Your Right" gets the most recognition, but it's Kenny King's spastic, out-of-left-field lead that steals the show on the band's 1986 debut, <em>Licensed to Ill.</em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/07Y0cy-nvAg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>05. Geto Boys, "Mind Playing Tricks on Me"</strong></p> <p>For all the controversy that has dogged them, these Houston heavyweights did boast some pretty top-drawer sampling. For this number, they conjured the vibe of classic Seventies funk, a la Curtis Mayfield, by mixing layers of octave double stops and choral melodies.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/-M8GszEN9MM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. The Roots, "The See 2.0"</strong></p> <p>They were a live rap band from the start, but with <em>Phrenology,</em> they really brought the guitar to the forefront of their sound. This Stonesy riff, played by Cody Chestnutt, is pure bait and hook. </p> <p>And he's not the only player to get in on the action; free-jazz-rock monsters James Blood Ulmer and Jef Lee Johnson also make an appearance on the disc.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/wRtGc4OnEXI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. The whole <em>Judgement Night</em> soundtrack</strong> from 1993</p> <p>At some point during the Nineties, someone finally noticed the kinship between alt-rockers and rappers, and so assembled a whole disc's worth of collaborations, including Helmet/House of Pain, Faith No More/BooYa T.R.I.B.E., and Cypress Hill/Sonic Youth.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/AXM_nDH2RvM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. Public Enemy, "She Watch Channel Zero?!"</strong></p> <p>This may be the coolest sample in music history: Slayer's "Angel of Death" recontextualized into angry funk. PE had already taken Run-D.M.C.'s influence to heart when they featured Vernon Reid on "Sophisticated Bitch" from their 1987 debut. Later, with Anthrax, they rerecorded their own "Bring Tha Noize" as a thrash-metal meltdown, with surprising success.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ONAIgFuIiCU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. Run-D.M.C., "Rock Box"</strong></p> <p>Pioneers? Hell, yeah! The D.M.C. were the first band to use hard-rock riffs in their raps. </p> <p>Eddie Martinez's searing lead work puts this track from the group's 1984 debut over the top—and ahead of its time. It stood to reason that Run D.M.C. could raise Aerosmith's career from the toilet with a fresh take on "Walk This Way" (from <em>Raising Hell</em>, whose title track featured Rick Rubin's brawny power chords.) </p> <p>Also, check out the early nugget "King of Rock." Point taken? Word.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/GND7sPNwWko" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/top-10-uses-guitar-hip-hop#comments GO September 2006 Guitar One News Features Mon, 02 Mar 2015 22:23:38 +0000 Guitar World Staff http://www.guitarworld.com/article/23635 Jimmy Page and Soundgarden's Chris Cornell Talk Led Zeppelin History and More — Video http://www.guitarworld.com/jimmy-page-and-soundgardens-chris-cornell-talk-led-zeppelin-history-and-more-video <!--paging_filter--><p><strong>NOTE: This story was updated Monday, March 2, with a new video!</strong></p> <p>To celebrate the release of Jimmy Page’s new photo book, <em>Jimmy Page by Jimmy Page</em>, the guitar legend appeared with Chris Cornell, guitarist and singer for Soundgarden, at the Theater at Ace Hotel in downtown Los Angeles for a relaxed question-and-answer session that spanned the entirety of Page’s 50-year career.</p> <p>Sponsored by Genesis Publications, Gibson Custom, <em>Guitar World</em> and <em>Guitar Aficionado</em>, the hour-and-a-half event, which took place last November, enthralled a packed house of 1,400 fans as Cornell quizzed Page about the rare photos and memorabilia—many drawn from Page’s personal archives—which were projected on an enormous screen hovering above both men.</p> <p>The 70-year-old Page, with his silver hair, scarf and black leather jacket, looked as sharp as a James Bond super villain, while Cornell, in thick-rimmed glasses, evoked a hipster newsman. </p> <p>The subject matter ran the gamut from extremely light and frothy to the serious matter of drummer John Bonham’s untimely death, of which Page commented, “when we lost 25 percent of the band, we really lost the whole thing.”</p> <p>Among the more humorous moments was when Cornell took note of a photo of Page wearing a bright—but very tight—red sweater emblazoned with his “Zoso” symbol. Page explained that a friend’s girlfriend had knit it for him, but when he sweated onstage, it immediately started to shrink. </p> <p><strong>Below, we present parts 1, 2, 3 and 4 of this <em>Guitar World</em> video series. Be sure to check back every week for the next episode!</strong></p> <p><strong>PART FOUR (Posted March 2):</strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/BXbvlMqYh20" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>PART THREE (Posted February 23):</strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/14ol9XXsS7Q?feature=player_embedded" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>PART TWO (Posted February 16):</strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/w8p5jf1aEQI?feature=player_embedded" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>PART ONE (Posted February 9):</strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/j0Q5V3k46xA" 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="/jimmy-page">Jimmy Page</a> </div> <div class="field-item even"> <a href="/led-zeppelin">Led Zeppelin</a> </div> <div class="field-item odd"> <a href="/soundgarden">Soundgarden</a> </div> <div class="field-item even"> <a href="/chris-cornell">Chris Cornell</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/jimmy-page-and-soundgardens-chris-cornell-talk-led-zeppelin-history-and-more-video#comments Chris Cornell Jimmy Page Led Zeppelin Soundgarden Videos News Features Mon, 02 Mar 2015 17:49:00 +0000 Guitar World Staff http://www.guitarworld.com/article/23474 Ibanez JS25ART Guitars Offer a Chance to Own Original Joe Satriani Artwork — and Great Instruments http://www.guitarworld.com/ibanez-js25art-guitars-offer-chance-own-original-piece-joe-satriani-artwork-and-great-instrument <!--paging_filter--><p>For longtime Ibanez fan <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-april-15-abasi-satriani-govan?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=SatchArtGuitars">(and current Guitar World cover star)</a> Joe Satriani, sketching and drawing have always been as much of a creative outlet as his game-changing, guitar-driven rock music. </p> <p>These two different hemispheres of his artistry converge beautifully in Ibanez’s new, limited 25th anniversary edition of Joe’s iconic signature JS guitar, the JS25ART. The body of each guitar bears a full color illustration, hand drawn by Satriani himself. </p> <p>Each one is different and there are only 50 of them, 25 of which are slated for sale in the U.S. Offering a unique opportunity to be a guitar collector and art collector all in one, this very special JS edition commemorates the birth of Satriani’s Ibanez signature model 25 years ago. </p> <p>“Ibanez approached me and asked if I’d do something special for the 25th anniversary,” Satriani recalls. </p> <p>“They didn’t know what I was going to do, but I decided to illustrate some guitars myself. The idea took a lot of setup, because I had to figure out, ‘Am I going to paint them or use pens? What would the process be? Could I erase?’ So I wound up using these color pens. I spent about a week down in L.A. late in 2014 doing the illustrations and it was a lot of fun. But it was intense. With the pens, you can’t really put color on color. Nor can you erase. Some of the ones I did are more detailed; others are just line drawings. They’re all signed.” </p> <p>Technically speaking, the JS25ART embodies all the design refinements distilled over Satriani’s quarter century of collaboration with Ibanez. This includes a maple, JS Prestige neck with hand-rolled fret edges, Satriani’s signature DiMarzio pickups (the Satch Track and Mo’ Joe), a hi-pass filter on the volume pot, a coil tap on the tone pot and a low-profile Edge tremolo bridge. </p> <p>Longtime fans of Satriani’s visual art many recognize some of the bizarre faces and characters depicted on some of the guitars. Many of these characters are soon to come to life in an animated sci-series, tentatively titled <em>Crystal Planet,</em> that Satch is working on with fretless guitarist and digital animator Ned Evett.</p> <p><strong><em>Below, be sure to check out our comprehensive photo gallery of all of Ibanez's current signature Satch guitars, including electrics and acoustics!</em></strong></p> <p><strong>For more about Satch's signature Ibanez electric guitars, <a href="http://www.ibanez.co.jp/products/u_eg_sig_series15.php?year=2015&amp;cat_id=1&amp;series_id=27">head here</a>. For more about his acoustic models, <a href="http://www.ibanez.co.jp/products/u_ag_sig_series15.php?year=2015&amp;cat_id=3&amp;series_id=81">head here.</a> For more about Ibanez Guitars, visit <a href="http://www.ibanez.co.jp/usa/index.php">ibanez.co.jp.</a></strong></p> <p><strong><em><a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-april-15-abasi-satriani-govan?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=SatchArtGuitars">Remember Satch is on the cover of the new April 2015 issue of GW! It's available now!</a></em></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="/joe-satriani">Joe Satriani</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/ibanez-js25art-guitars-offer-chance-own-original-piece-joe-satriani-artwork-and-great-instrument#comments April 2015 Ibanez Joe Satriani Acoustic Guitars Videos Electric Guitars News Features Gear Magazine Mon, 02 Mar 2015 13:47:37 +0000 Alan Di Perna http://www.guitarworld.com/article/23606 Ron "Bumblefoot" Thal Discusses His Eclectic New Album, ‘Little Brother Is Watching’ http://www.guitarworld.com/ron-bumblefoot-thal-discusses-his-eclectic-new-album-little-brother-watching <!--paging_filter--><p>For the better part of 20 years, guitar virtuoso Ron “Bumblefoot” Thal has performed at sold-out shows and festivals around the world.</p> <p>Thal, whose unique guitar work is an undisputed highlight of Guns N' Roses' <em>Chinese Democracy</em> album (2008), also headlines as a solo act and helps raise awareness for several constructive causes, including the Red Cross, Operation Smile and the Earthquake Relief Fund.</p> <p>Although it’s been nearly seven years since he’s released a solo album, Bumblefoot is back with <em>Little Brother Is Watching,</em> his 10th full-length solo release. </p> <p>It's an inspired collection of eclectic, modern rock that's packed with tasty guitar work and lyrics about life in the digital age and beyond. The songs, including the album’s title track, reflect a change in perception of who’s watching who, while “Don’t Know Who to Pray to Anymore” and “Livin’ the Dream” focus on self-reflection and the need to question everything.</p> <p>Although he’s unable to discuss his current Guns N' Roses status, you can tell in speaking with Thal that he’s at a good place in his life right now, and it’s even more obvious when listening to <em>Little Brother Is Watching.</em></p> <p>I recently spoke with Bumblefoot about the new album, his songwriting, gear and another new project, Art of Anarchy.</p> <p><strong>GUITAR WORLD: What spawned or inspired this new album?</strong></p> <p>It’s been too long since I’ve done an album. Although I did some one-off singles in 2011, it’s been a while since I did a full collection of music. Due to touring, there was never enough time to dedicate and keep momentum in a studio. Now that I’ve got that time, it was time to make that happen. </p> <p><strong>How would you describe <em>Little Brother Is Watching</em> in terms of how it relates to some of your previous work?</strong> </p> <p>The foundation for everything I’ve done has been punk and classic rock. That’s what I grew up on. Everything else is icing on that cake. As I got older and with all of the time that’s passed and life experiences, there were more stories to tell. I just got more direct about telling them.</p> <p><strong>What’s your writing process like?</strong></p> <p>It’s always different. The end result is a song and you know all of the pieces that lead up to it, but they always happen in a different order. It could start with drum groove, a title, a guitar riff and melody, or maybe it’s just something you want to say. The process usually starts in my head. </p> <p>Then once everything sounds right I’ll get together with my drummer [Dennis Leeflang] and play it for the first time with an acoustic guitar, and we’ll start talking about the vibe. When the time comes to lay drums, I’ll start laying down spontaneous, one-take scratch tracks. And because I don’t over-think it, they tend to become the best ideas. Just letting who I am navigate where it goes. The guitar melodies and solos I did were all scratch tracks and my first ideas.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/mOraCzpL89s" frameborder="0" allowfullscreen></iframe></p> <p><strong>I’d like to ask you about a few individual tracks from the new album. Let's start with “Little Brother Is Watching."</strong></p> <p>It’s a subject that hasn’t really been touched upon very much. It’s just a statement on how we all live. I felt like I needed to write a song that talks about the whole change that’s occurred in how people always felt the government was too invasive into our lives and were keeping tabs on what we do. The truth is we do that to ourselves. If the police are doing something wrong, you know people are going to be putting it on their cell phones and posting it on YouTube. Now it’s more like we watch the power instead of the power watching us. We’ve become a million armies of one.</p> <p><strong>“Don’t Know Who to Pray to Anymore”</strong></p> <p>That’s one of my favorite songs from the album. It has a singable guitar melody and is really about something everyone goes through at some point. Where you start to question everyone and everything, including your faith.</p> <p><strong>“Argentina”</strong></p> <p>That’s one of those epic songs with three different movements. The first section has a tango kind of feel and is about throwing caution to the wind and jumping into something. The second part is about expecting things to be different and how the two sides of the relationship don’t necessarily see eye to eye. The third part is about how all of that positive energy can be challenged and go dark and how love can become vengeance. It’s about a relationship but not in the way a man and a woman fall in love.</p> <p><strong>“Livin’ the Dream”</strong></p> <p>It’s a real song about what it’s like to be on the road touring. A lot of people from the outside might see it as something glamorous. But it’s really about what you go through when you have to make the transition from putting the life you know at home on pause and hitting the road. </p> <p><strong>What was the recording process like?</strong></p> <p>It was therapeutic. I love being creative. When you do a show, you do it and it’s over. But when you make a song and put music into the world, it’s something that’s going to out live you.</p> <p><strong>You’ve done a lot of work with charities lately. How important is it for you to be able to give something back?</strong></p> <p>It’s everything. Over the last few years, I’ve begun to figure out what matters and have started making a lot of decisions. I would rather play for 10 little kids and put a smile on their faces instead of playing for 100,000 people. The world might not agree, but that’s me and that’s how I’m going to live.</p> <p><strong>Can you give me an update on another one of your projects, Art of Anarchy?</strong></p> <p>It’s an interesting album that we actually started working on in 2011. Scott Weiland wrote and recorded all of the vocals on the album, and it will be coming out in late spring.</p> <p><strong>Did you always know music would be your calling?</strong></p> <p>I did. From the time I heard the Kiss <em>Alive</em> when I was 5, I knew it was something I wanted to do. By the time I was 6 I already had my first band and was writing songs with my friends. We would play in basements, back yards and elementary school. Anywhere that we could. </p> <p>I still remember spending all day cutting up little pieces of paper and putting them in Solo cups so everyone could throw the confetti into the air during the last song. I still laugh about that now 30 years later because nothing has changed. At the end of the show, there are always the confetti canons. Same stuff just bigger proportions! [laughs].</p> <p><strong>What’s your current setup like?</strong></p> <p>I’ve got my Vigier Signature double neck, a fretted/fretless backbreaker beast of a guitar, and usually go out just with that. For amps, I like the ENGL Invader 100-watt head and a nice Marshall cabinet.</p> <p><strong>I know you can’t speak about your current situation with Guns N’ Roses, but what was/is it like being part of such an iconic band?</strong></p> <p>I’ve done a lot of things and played and recorded with a lot of people, but it actually felt normal. You don’t think of it as being iconic or this or that. You think about it as we’re a bunch of musicians getting together because this is what we do!</p> <p><strong>What are you most looking forward to this year?</strong></p> <p>Putting out all of this music this year makes me feel alive. It makes me feel that the dimmer switch has been turned all the way up. I feel at peace inside knowing I’m doing what I should be doing and what I want to be doing.</p> <p><em>For more about Bumblefoot, visit <a href="http://www.bumblefoot.com/">bumblefoot.com.</a></em></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href="http://gojimmygo.net/">GoJimmyGo.net</a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="https://twitter.com/JimEWood">Twitter @JimEWood.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/bumblefoot">Bumblefoot</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/ron-bumblefoot-thal-discusses-his-eclectic-new-album-little-brother-watching#comments Bumblefoot James Wood Ron Bumblefoot Thal Interviews News Features Mon, 02 Mar 2015 00:55:51 +0000 James Wood http://www.guitarworld.com/article/23627 The Amazing Stories Behind Rock's Greatest Guitar Anthems http://www.guitarworld.com/amazing-stories-behind-rocks-greatest-guitar-anthems <!--paging_filter--><p><em><a href="http://guitarworld.myshopify.com/collections/guitar-legends/products/guitar-legends-classic-rock-explosion/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=LegendsClassicRockExplosion">Guitar Legends: Classic Rock</a></em> takes you back in time to late Sixties, the Seventies and the Eighties. </p> <p>In this one jam-packed issue, you get a look at the greatest bands that shaped rock and roll, including Led Zeppelin, Pink Floyd, Van Halen, AC/DC and many others. Plus, <em>Guitar Legends: Classic Rock</em> tells you the stories behind the era's most important albums and songs. </p> <p>To make the package complete, we give you the TAB, including bass lines, for five hit songs from the classic rock canon.</p> <p><strong><em>Guitar Legends: Classic Rock</em> articles include:</strong></p> <p>• 1969 - The Greatest Year in Rock: Guitar Legends takes a month-by-month look at the albums and events that shaped 1969, the most pivotal year in rock and roll.<br /> • The Seventies: With Black Sabbath, Led Zeppelin, Queen and Kiss at the height of their powers, it's no wonder this is remembered as the classic rock era.<br /> • The Making of Pink Floyd's <em>The Wall</em>: The chronicle of rock's grandest concept album and how it nearly destroyed its creators.<br /> • The Eighties: From Metallica to Mötley Crüe, from Van Halen to Iron Maiden…this was the golden age of virtuoso guitar playing, thrash metal, long hair and groupies.<br /> • The Making of AC/DC's <em>Back in Black</em>: Guitar Legends celebrates the enduring appeal of an all-time classic album that nearly wasn't made.<br /> • The Making of Guns N' Roses' <em>Appetite for Destruction</em>: Slash recalls the making of the band's landmark album.<br /> • Greatest Guitar Stories: Keith Richards, Edward Van Halen, Ozzy Osbourne, Pete Townshend and other heroes tell incredible tales of rock and roll legend.<br /> • Prime Cuts: The tales behind the tunes, told by the artists who wrote and recorded them, including ZZ Top's Billy Gibbons, Jethro Tull's Ian Anderson and Martin Barre, Kiss' Paul Stanley and Gene Simmons, Edward Van Halen and AC/DC's Angus Young.</p> <p><strong><a href="http://guitarworld.myshopify.com/collections/guitar-legends/products/guitar-legends-classic-rock-explosion/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=LegendsClassicRockExplosion">Head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/amazing-stories-behind-rocks-greatest-guitar-anthems#comments News Features Sun, 01 Mar 2015 23:39:48 +0000 Guitar World Staff http://www.guitarworld.com/article/23624 Take Advantage of Guitar World's Annual February Clearance Sale: 40 Percent Off Everything! http://www.guitarworld.com/take-advantage-guitar-worlds-february-clearance-sale-40-percent-everything <!--paging_filter--><p><strong><a href="http://guitarworld.myshopify.com/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=FEB40215">It's time once again for Guitar World's annual 40 Percent Off Clearance Sale!</a></strong></p> <p>Take 40 perfect off everything in our <a href="http://guitarworld.myshopify.com/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=FEB40215">Online Store!</a></p> <p>This sale runs through February 28, 2015.</p> <p>Just be sure to enter code <strong>FEB40215</strong> at checkout.</p> <p><strong>Once again, that's FEB40215.</strong></p> <p><strong><a href="http://guitarworld.myshopify.com/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=FEB40215">Head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/take-advantage-guitar-worlds-february-clearance-sale-40-percent-everything#comments News Features Fri, 27 Feb 2015 16:47:04 +0000 Guitar World Staff http://www.guitarworld.com/article/23546 Top 10 Weirdest Guitar Sounds Ever Recorded http://www.guitarworld.com/top-10-weirdest-guitar-sounds-ever-recorded <!--paging_filter--><p>Electricity can do strange things. </p> <p>When it was added to the guitar, some years ago, it opened up new possibilities for players of the old box o’ six strings. </p> <p>The following sonic scientists, using varying proportions of technique and effects, set out to discover just what these possibilities were. </p> <p>The result? Guitars that don’t sound like guitars! </p> <p><strong>10. Jeff Beck and Jimmy Page, “Happenings Ten Years Time Ago”</strong></p> <p>This is a rare occasion—Jimmy Page and Jeff Beck playing guitar together in the Yardbirds. </p> <p>Before the solo kicks in, the two guitar heroes, in tandem, unleash 15 seconds of controlled feedback that sounds like an air-raid siren. Think context: this was the 1960s, before everyone started using signal processing. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/EHtmjIwx4oo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. Johnny Marr “How Soon is Now?”</strong></p> <p>What is that pulsing sound in the Smiths' coolest song? Marr cranking the tremolo setting on his Fender Twin to make his one-chord riff sound like an automated machine. </p> <p>Actually, the effect was studio enhanced: he re-recorded the part with <em>five</em> twins.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/pEq8DBxm0J4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. Eddie Van Halen, “Eruption”</strong></p> <p>Again, it’s the context, mang. In 1978, Eddie’s fingerboard tapping and whammy-bar divebombs were like the shape of video-game soundtracks for years to come. </p> <p>Then, of course, every guitarist in L.A. jumped on the bandwagon, and before long things got much more sophisticated than Space Invaders.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/OCwigPhpiXs" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. Paul Gilbert, “Solo” from <em>Live Extreme, Vol. 1</em></strong></p> <p>Some players use effects as tools. Paul Gilbert uses tools as effects. </p> <p>One pick wasn’t enough to get the tremelo-picking sound he wanted. The solution? A cordless drill, on whose bit were mounted <em>three</em> picks. This produces overtones that make it sound as if he’s playing in unison with himself, if that makes sense.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/hnJj1Cg_7Yw" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. Tom Morello, “Revolver”</strong></p> <p>The intro sounds like R2D2 on a bad trip, while the start of the solo calls to mind a factory treadmill. </p> <p>It just goes to show that if you give a man a DigiTech Whammy pedal, an Ibanez Talman with a sturdy toggle switch and few Allen wrenches, he can make all the same noises as a turntablist—and then some.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/CjJxDzisFwI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>05. Buckethead, “Dead Man Walking”</strong></p> <p>From Praxis <em>Transmutation</em>, this is the next level of video-game soundtracks played by electric guitar. The masked man’s hyper-frenetic tapping here out-blips a computer in heat.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/3UBNro8IkGw" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. Jimi Hendrix, “The Star Spangled Banner”</strong></p> <p>Jimi performed this at the height of the Vietnam War, and his revolutionary use of feedback and tremolo bar was the perfect musical correlative to “bombs bursting in air.” </p> <p>When you first listened to this, did your mom come into the room and ask if the stereo was broken?</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/sjzZh6-h9fM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. Steve Vai, “Next Stop Earth”</strong></p> <p>From his solo-debut, <em>Flex-Able</em>, this gem finds Vai imitating the inflections of a human voice via finger slides, micro-bends and a wah pedal. Can you tell he used to play with Zappa?</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/RKakWOedVQ4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. Fred Frith, “Should Old Arthur”</strong></p> <p>On his 1974 album, <em>Guitar Solos</em>, this former member of obscure prog-rockers Henry Cow pioneered the concept of “preparing” guitars: tuning them to unorthodox pitches, attaching alligator clips to the strings, and playing them by any means other than picking. </p> <p>This particular track sounds like a drunken ghost talking.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/VirpSKcYHrY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. Adrian Belew, “Elephant Talk”</strong></p> <p>When Belew joined Robert Fripp’s reformed King Crimson for 1981’s <em>Discipline</em>, he stunned guitarists by harnessing the effects in his rack to sound like a herd of animals. </p> <p>In this case, an Electro-Harmonix Big Muff running into a Deluxe Electric Mistress flanger helps transform a guitar into a roaring elephant.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/PKIoEr2ZXD8" 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="/paul-gilbert">Paul Gilbert</a> </div> <div class="field-item even"> <a href="/steve-vai">Steve Vai</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/top-10-weirdest-guitar-sounds-ever-recorded#comments GO October 2006 Guitar One Guitar World Lists News Features Thu, 26 Feb 2015 21:15:09 +0000 Guitar World Staff http://www.guitarworld.com/article/1939 ‘Aerosmith Rocks Donington’: Bassist Tom Hamilton Talks New Film/DVD, Gear and Memorable Moments http://www.guitarworld.com/aerosmith-rocks-donington-bassist-tom-hamilton-talks-new-filmdvd-gear-and-memorable-moments <!--paging_filter--><p>When Fathom Events, Cinema 1 and Eagle Rock Entertainment decided to partner up to present a monthly classic music series, they figured what better way to kick things off than by bringing in one of the most beloved rock bands of all time: Aerosmith.</p> <p>Taken from the band’s headlining appearance at last year’s Download Fest at Donington Park in Leicestershire, England, <em>Aerosmith Rocks Donington</em> is a one-night-only concert event that will screen on 300 theaters nationwide 7 p.m. today, Thursday, February 26.</p> <p> The Donington show once again finds the band at the top of their game. It features a 19-song set that features many of band’s iconic hits, including “Sweet Emotion,” “Walk This Way,” “Dream On,” “Love in a Elevator,” “Janie’s Got a Gun,” “Don’t Wanna Miss a Thing” and “Dude Looks Like a Lady.” </p> <p>Aerosmith is one of the biggest rock bands of all time. Together, Steven Tyler, Joe Perry, Tom Hamilton, Brad Whitford and Joey Kramer have sold more than 150 million albums worldwide in addition to receiving four Grammys and being inducted into the Rock and Roll Hall of Fame. </p> <p>In addition to releasing a DVD of the live show this spring, Aerosmith also has announced they will hit the road this summer.</p> <p>I spoke with bassist Tom Hamilton about <em>Aerosmith Rocks Donington</em>, music, gear and some of his most memorable moments.</p> <p><strong>GUITAR WORLD: How did this live project begin?</strong></p> <p>It’s something that’s been building for a long time. This isn’t the first time we’ve filmed a show and presented it, but the ability to capture it and have it sound great and have the visuals for it be really strong has gotten better and better over the years. </p> <p>Our feelings about playing at Donington is what really inspired us. We’ve played there several times in the past. It’s a festival that’s been going on for years and is very historic. So we got together with Dick Carruthers, who’s one of the best rock filmmakers around, and said, “Ok, let’s see how good we can make it!”</p> <p><strong>As a performer, do you feel a sense of added pressure knowing that this is live and there’s no going back?</strong></p> <p>Of course. Knowing it’s live always makes your brain concentrate a little more on making it work. We knew going in that we were filming and that we had a great director and great cameras. But we always try to out do ourselves every night, whether we’re recording or not. For us, it was more of an opportunity to make something exciting!</p> <p><strong>Aerosmith’s last studio album, <em>Music From Another Dimension</em> was released in 2012. Has the band given any thought to releasing more new music? Maybe something from the archives?</strong></p> <p>We have so much in our archives that we could put out. It’s all just a matter of finding the time to sit down and watch it and then come up with something. As far as a new album, we’re not really talking about it at this point. For me as an individual, I would love to go back into the studio within the next year and do it again. </p> <p><strong>You originally started out as a guitarist but then made the switch to bass. How did that happen?</strong></p> <p>That happened when I was twelve and had only being playing guitar for a few years. I came from a very small town in New Hampshire and there was really only one band in town I thought was any good. I really wanted to join them but they told me they already had two guitar players. That’s when they said they needed someone to play bass and even had one that I could use. They wound up talking me into it and I found myself really enjoying being able to fulfill that role in the band. The bass guitar is the translator between the drums and the guitar and it’s an interesting instrument to play physically.</p> <p><strong>What’s your live setup like these days?</strong></p> <p>I’ve been using Gallien Krueger amplifiers for years. For bass, there’s a G&amp;L that I use. It was Leo Fender’s third guitar company. Their instruments are just fantastic!</p> <p><strong>Can you tell me how you came up with the music for “Sweet Emotion”?</strong> </p> <p>I think it was during one of those days where I probably partook in some “flammable materials” [laughs]. In that mode of consciousness where inspiration seems to come in great big chunks is where I came up with that intro bass part. It really was just a daydream. </p> <p>I do remember that around the same time that I wrote it the band was listening to a lot of Jeff Beck’s album, <em>Rough and Ready.</em> That album had a lot of very funky, energetic bass playing on it and it inspired me for those sessions in between verses. Then Steven came up with a vocal for it that was just perfect. When I heard it all in one piece for the first time I knew something good was going to happen from it. </p> <p><strong>Joe Perry and Steven Tyler have written autobiographies about the band. Have you ever given thought to writing a book about your own life and career?</strong></p> <p>I’ve been thinking about it more and more because people keep asking me. I do have a lot to say, but it’s just a matter of having the discipline to sit down every morning and just write and write so I can get the story out. Its something that I think I’ll probably wind up doing at some point by popular demand.</p> <p><strong>Of all the band’s highlights over the years, is there one that stands out to you as most memorable?</strong></p> <p>That’s a tough question because there have been so many special moments. But I’d have to say having the chance to play in places like Russia, India, Dubai and Argentina. </p> <p>The idea that we have fans in places like that is a fantastic thought. I remember years ago when Russia was still communist and our music was basically against the law. I would hear through the grapevine that we had a lot of fans there that wanted to see us. Then when the system changed and we could go there we were able to close the loop, finish the thought and play our songs live there. Playing some of the places we weren’t sure we would ever be able to is something that’s very inspiring to me.</p> <p><em>For more information, visit <a href="http://www.aerosmith.com/">aerosmith.com.</a></em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/faitvLcgY7w" frameborder="0" allowfullscreen></iframe></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href="http://gojimmygo.net/">GoJimmyGo.net</a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="https://twitter.com/JimEWood">Twitter @JimEWood.</a></em></p> <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="/aerosmith">Aerosmith</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/aerosmith-rocks-donington-bassist-tom-hamilton-talks-new-filmdvd-gear-and-memorable-moments#comments Aerosmith James Wood Tom Hamilton Interviews News Features Thu, 26 Feb 2015 15:54:40 +0000 James Wood http://www.guitarworld.com/article/23605 White's Lightning: Ode to the Original B-Bender, Clarence White of The Byrds and Kentucky Colonels http://www.guitarworld.com/white-lightning-ode-original-b-bender-clarence-white-byrds <!--paging_filter--><p>Clarence White was a genuine double threat. </p> <p>His brilliant, Doc Watson-inspired acoustic flatpicking, which incorporated lightning-fast fiddle lines played on a vintage Martin D-28, helped the bluegrass world recognize the guitar as a lead instrument. </p> <p>Several masters of the genre, including Tony Rice and Norman Blake, site him as a key influence.</p> <p>As an electric guitarist, White built the bridge between country and rock in the late Sixties. His work with the <a href="http://www.stringbender.com/bender/classic.php">Parsons/White StringBender</a> — an ingenious B-string-pulling device invented and installed in White's 1954 Fender Telecaster by fellow Byrd, multi-instrumentalist and machinist <a href="http://en.wikipedia.org/wiki/Gene_Parsons">Gene Parsons</a> — is legendary. </p> <p>Whether employing a crisp, bell-like tone (<a href="https://www.youtube.com/watch?v=O_12IyhedQs">the Byrds' "Tulsa County"</a>) or a touch of fuzz (the Flying Burrito Brothers' "The Train Song"), White inserted his dancing, whimsical runs into songs with confidence, knowing that a little can often go a long way.</p> <p>White, a member of the Byrds, Nashville West, Muleskinner and the Kentucky Colonels (and the New Kentucky Colonels), also was an in-demand session player who recorded with Arlo Guthrie, Wynn Stewart, Wayne Moore, Gary Paxton, the Monkees, Joe Cocker and Jackson Browne, to name just a few. He was killed by a drunk driver after a gig in California on July 14, 1973, never getting to fully grasp the influence he'd have on bluegrass, country and rock.</p> <p>There really aren't that many "Clarence White in action" videos to be found on YouTube, but I hope I've collected a decent sampling of clips that represent his skills.</p> <p>Before we get started, if you want to know more about White — before, during and after the Byrds — check out this well-researched and well-compiled site, <a href="http://www.burritobrother.com/clarencewhite.htm">burritobrother.com</a>. Enjoy!<br /> <br /><br /> <strong>"You Ain't Going Nowhere," The Byrds</strong></p> <p>Because the Byrds' <em>Sweetheart of the Rodeo</em> version of this Bob Dylan tune highlights pedal steel guitar (courtesy of the great Lloyd Green, who I'd love to interview), we suggest you check out a slightly later live rendition instead — like this one from a 1968 TV appearance. </p> <p>It puts the emphasis on White, his still-Nudie-sticker-free Fender Telecaster and his Parsons/White StringBender (not to mention some fine-looking Sixties women). </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/Q21BF38W3Gs" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong> "I Am a Pilgrim" / "Soldier's Joy," Clarence White, Roland White and Bob Baxter</strong></p> <p>Here's White (on the left, with the beard) on the <em>Bob Baxter Guitar Workshop</em>, a local LA-area TV show from 1973, performing a — what I consider — mind-blowing medley of "I Am a Pilgrim" and "Soldier's Joy" with his brother, Roland, on mandolin and the show's host, Bob Baxter, on second guitar (later joined by Byron Berline on fiddle and Alan Munde on banjo). </p> <p>What I can say about this video? First of all, it's rare in that it shows White's fingering and fretwork up close. Second, there's White unusual sense of timing in the first tune ("I Am a Pilgrim"); it's as if he's throwing in chord substitutions like a jazzer, while Roland plays it straight on mandolin. It can be disconcerting and confusing, but I love it.</p> <p>This performance is from a DVD called <em>Clarence White: Guitar Workshop,</em> which is available through Sierra Records, <a href="http://sierrarecords.goestores.com/storename/sierrarecords/dept/269836/ItemDetail-10632728.aspx">right here.</a> </p> <p>To hear White playing more bluegrass, check out the <em>Flatpick</em> album on <a href="http://www.amazon.com/Flatpick-Clarence-White/dp/B000JE000W/ref=sr_1_1?ie=UTF8&amp;qid=1363278074&amp;sr=8-1&amp;keywords=clarence+white">Amazon.com</a> and the extended Collector's Edition of <em>Flatpick</em> on <a href="http://sierrarecords.goestores.com/storename/sierrarecords/dept/269836/ItemDetail-10633388.aspx"> sierrarecords.goestores.com</a>.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/CMQuuZNvwLU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Nashville West," Nashville West</strong></p> <p>No Clarence White playlist would be complete without what some would consider his signature song. </p> <p>Although White recorded the official studio version with the Byrds (plus an earlier studio version under his own name), here's a stripped-down 1968 (several sources say 1967) El Monte, California, club-date version by another of White's bands, Nashville West, which featured Gene Parsons on drums. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/_Ztj15SkjHg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Time Between," The Byrds</strong></p> <p>Feel free to argue, but if you had to choose one album that best demonstrates White's electric-guitar prowess, it would be <em><a href="http://www.amazon.com/Live-Fillmore-West-February-1969/dp/B00004OCE7/ref=sr_1_1?s=music&amp;ie=UTF8&amp;qid=1363280292&amp;sr=1-1&amp;keywords=byrds+fillmore">Live at the Fillmore: February 1969</a></em> by the Byrds. </p> <p>The musicians on the album are Roger McGuinn on a 12-string Rickenbacker 360, Gene Parsons on drums, John York on bass and Clarence White on the B-Bender Tele. He never puts it down, so there's no escaping it. </p> <p>While the most impressive guitar track on the album is the band's cover of Buck Owens' "Buckaroo," that song isn't available on YouTube. Here, however, is a Chris Hillman composition, "Time Between," from the same live album. It's a nice coincidence that White appeared on the Byrds' original 1967 version of this song, back when he was an LA session musician.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/U3-NLCkZ6SI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Dark Hollow," Muleskinner</strong></p> <p>Did I mention White could sing? He was actually a fine vocalist with a distinctive, deep voice that was just right for bluegrass and the spaced-out-Americana material the Byrds were recording from 1969 to 1972. Here's another live YouTube appearance by White, this time with Muleskinner, one of his post-Byrds bands, in 1973.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/0RkxpFvo__k" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Hummingbyrd," Marty Stuart</strong></p> <p>OK, here's a bonus for you. White's legendary B-Bender-equipped Telecaster is still in action, courtesy of country music artist Marty Stuart, who bought the guitar from White's family several years ago. </p> <p>Check out this live performance of "Hummingbyrd," an instrumental B-bending piece Stuart wrote — and titled — as a tribute to White. The studio version of "Hummingbyrd" can be found on Stuart's 2010 album, <em>Ghost Train: The Studio B Sessions</em>.</p> <p>"I always felt a little guilty about not having a recital piece for that guitar," Stuart told <em><a href="http://www.guitarplayer.com/miscellaneous/1139/marty-stuart/11782">Guitar Player</a></em> in 2010. "With 'Hummingbyrd,' I feel like I finally recorded a song that honors that guitar properly."</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/YfU7ybajWes" frameborder="0" allowfullscreen></iframe></p> <p><em>Damian Fanelli is the online managing editor at </em>Guitar World<em> (and a B-bending guitarist who collects B-bender-equipped guitars; he has three at the moment). Follow him on <a href="https://twitter.com/DamianFanelli">Twitter</a>.</em></p> http://www.guitarworld.com/white-lightning-ode-original-b-bender-clarence-white-byrds#comments Clarence White Damian Fanelli Kentucky Colonels Nashville West The Byrds Videos Blogs Features Thu, 26 Feb 2015 11:34:50 +0000 Damian Fanelli http://www.guitarworld.com/article/17999 The Fab 50: The Beatles' 50 Greatest Guitar Moments http://www.guitarworld.com/fab-50-beatles-50-greatest-guitar-moments <!--paging_filter--><p>In 2014, on the 50th anniversary of the Beatles' arrival in the United States (and legendary February 1964 appearance on the <em>Ed Sullivan Show</em>), <em>Guitar World</em> celebrated the 50 best guitar moments from the band's hit-making history.</p> <p>The Beatles were such talented songwriters that it’s easy to overlook the fact that their music has some great—and occasionally groundbreaking—guitar work. </p> <p>In assembling this list, we looked beyond our personal favorite songs and reflected on where John Lennon, George Harrison and Paul McCartney showed their talents as guitarists, whether in a solo, a riff, a technique or by their astute selection of instrument and arrangement. </p> <p>For some songs, we’ve gone a step further and analyzed the guitar work to give you insights into the magic that makes these moments so special. Enjoy! And be sure to share your thoughts in the comments below or on Facebook!</p> <p><strong>50. Across the Universe</strong><br /> <strong><em>Let It Be… Naked</em> (2003)</strong></p> <p>John Lennon considered the Beatles’ recording of this 1967 composition “a lousy track of a great song,” dismissing even his own work on it. </p> <p>He was too hard on himself: his imperfect acoustic guitar work and vocal delivery effectively work in service of the song’s sincere devotional message, though overdubs of strings, background vocals and electric guitar obscured the delicacy and intimacy of his performance. </p> <p>The release of <em>Let It Be… Naked</em> in 2003 set the record straight, offering a bare-bones acoustic mix of the track that even Lennon might have approved of. </p> <p><strong>49. Flying</strong><br /> <strong><em>Magical Mystery Tour</em> (1967)</strong></p> <p>The strongly pulsing tremolo on the rhythm guitar makes the instrument sound as if it’s riding slightly behind the beat, giving the song a druggy languor appropriate to its title. (In the film <em>Magical Mystery Tour</em>, “Flying” accompanies scenes shot high above the clouds). </p> <p>The crystalline acoustic guitar that appears about 13 seconds in lends the song a country vibe, culminating in a tasty double-stop lick that lazily meanders down the fretboard. Heavenly.</p> <p><strong>48. Helter Skelter</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>It’s not a stretch to say the Beatles prefigured heavy metal’s doomier side with this 1968 Paul McCartney track. </p> <p>For this recording, McCartney set aside his bass duties and strapped on his Fender Esquire to deliver the track’s brash rhythm work, while Harrison performed the searing leads on Lucy, the 1957 Les Paul Standard gifted to him by Eric Clapton. </p> <p>But the best work here is performed by Lennon on, of all things, a bass (either a Fender Bass VI). His sloppy but inspired playing propels the song along and provides its main rhythmic interest.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/QWuXmfgXVxY" frameborder="0" allowfullscreen></iframe></p> <p><strong>47. Yesterday</strong><br /> <strong><em>Help!</em> (1965)</strong></p> <p>McCartney’s melancholy, acoustic guitar–driven ballad marked a symbolic, pivotal point in the Beatles’ career as a band in that it was their first song in which any of the members—three in this case—did not participate in the performance. </p> <p>McCartney tuned his guitar down one whole step for this song (low to high, D G C F A D) and performed it as if it were in the key of G, with the detuning transposing it down to the concert key of F. </p> <p>This may have been made for the sake of putting the vocal melody in a more optimal key for McCartney; it certainly made the bass notes sound deeper and richer, while the slackened string tension contributed to the thicker texture of the chord voicings. </p> <p><strong>46. For You Blue</strong><br /> <strong><em>Let It Be</em> (1970)</strong></p> <p>Written by Harrison, this seemingly straightforward blues workout in D stands out as a bouncy oddball in the Beatles’ catalog. </p> <p>Not only is it one of the band’s few forays into 12-bar-blues territory; it also finds Lennon stepping into the uncommon role of lead guitarist, supplying a spirited solo and fills on a Hofner Hawaiian Standard lap-steel guitar in open D tuning. </p> <p>To make things even weirder, he uses a shotgun shell as a slide. In addition, there’s no bass on the recording; McCartney performed on piano and the song received no overdubs. </p> <p><strong>45. Free As a Bird</strong><br /> <strong><em>Anthology 1</em> (1995)</strong></p> <p>Released in 1995 as a post-mortem Beatles track built upon a John Lennon home demo, “Free As a Bird” makes a valiant attempt to resurrect the spirit of the group’s glory days. </p> <p>While some will quibble about the lackluster songwriting, it’s hard to find fault with Harrison’s stinging slide work. Starting off with a few restrained lines, Harrison lets his playing soar on the solo, the one moment in which the song truly takes flight. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/J4PGoJuKvTM" frameborder="0" allowfullscreen></iframe></p> <p><strong>44. Sgt. Pepper’s Lonely Hearts Club Band (Reprise)</strong><br /> <Strong><em>Sgt. Pepper’s Lonely Hearts Club Band</em> (1967)</strong></p> <p>Recorded quickly in a single session, this rocking reprise of the album’s opening track features some fiery lead guitar work from Harrison. </p> <p>Written as a bookend to the album-opening title track, the reprise is both faster and a whole step lower than the original, although halfway through it modulates up a whole step. (Modulation is a technique rarely found in the Beatles compositions, “And I Love Her” being another example from the group’s catalog [see entry 30].) </p> <p><strong>43. I Will</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>This quiet love song, written by McCartney, features only him on lead and harmony vocals, two acoustic guitars and scat-sung “vocal bass,” with Lennon and Starr providing percussion. </p> <p>McCartney overdubbed, on top of his main, strummed guitar part, a second, melodic part played in a rockabilly lead style reminiscent of Elvis Presley’s lead guitarist Scotty Moore, picking out syncopated, ringing melodies built around a first-position F6 chord shape with decorative, bluesy hammer-ons from the minor third to the major third. </p> <p>Years later, Cars guitarist Elliot Easton played a similar line on the chorus tags to “My Best Friend’s Girlfriend.” </p> <p><strong>42. The Ballad of John and Yoko</strong><br /> <strong><em>1967–1970</em> (1973)</strong></p> <p>In this 1969 musical telling of Lennon and Yoko Ono’s wedding and honeymoon, Lennon’s acoustic strumming sets up the song’s infectious rhythm, while his electric guitar fills play call-and-response with his vocals. </p> <p>The track was written and recorded in April of that year, fresh off the sessions for <em>Let It Be</em>, in which the group attempted to get back to their rock and roll roots. That might have inspired Lennon’s musical direction with this track, which he closes with an electric guitar riff reminiscent of Dorsey Burnett’s “Lonesome Tears in My Eyes,” which the Beatles covered early in their career. </p> <p><strong>41. Yer Blues</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>Lennon wrote this 1968 song as a rude sendup of the electric blues boom that had taken London by storm, but the suicidal feelings he expresses were a sincere articulation of how he felt trapped both in his unhappy first marriage and in the Beatles. </p> <p>Likewise, his primitive two-note solo could be regarded as mocking disdain for the genre’s slick white imitators, but he plays the riff until it’s as raw as his emotions. He would pursue this protopunk style of guitar playing further on his 1970 solo debut, <em>John Lennon/Plastic Ono Band.</em></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/6dDw_3H0XKg" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>40. Help!</strong><br /> <strong><em>Help!</em></strong> </p> <p>The Beatles’ mix of acoustic rhythms and electric guitar leads from 1964 through the end of 1965 helped greatly to define the sound of folk-rock. </p> <p>Written in the midst of his “Bob Dylan phase,” “Help!” shows Lennon continuing to divulge the vulnerability express on previous songs like “No Reply” and “I’m a Loser,” with the acoustic guitar providing the requisite balladeer instrumentation. </p> <p>Here, Lennon robustly strums out the rhythm on his 1964 Framus Hootenanny 5/024 acoustic 12-string, with Harrison contributing jangly lead lines and three-note descending passages on the choruses with his Gretsch Tennessean. </p> <p><strong>39. Dear Prudence</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>This 1968 composition is arguably one of Lennon’s greatest achievements as a guitarist and demonstrates his development at the time into a bona fide acoustic fingerpicker. </p> <p>Having recently learned a basic eighth-note Travis-picking-like pattern from British pop star Donovan, Lennon put the newly learned pattern to great use in compositions like “Julia,” “Happiness Is a Warm Gun” and, most brilliantly, “Dear Prudence,” applying it to an ethereal modal chord progression he invented, which he performed in drop-D tuning (low to high, D A D G B E), using the two open D strings (the fourth and sixth) as ringing drones, or pedal tones throughout the majority of the song. </p> <p>The thumb-picking pattern goes fifth string, fourth string, sixth string, fourth string and repeats consistently through the changing chords, interrupted briefly at the end of each verse.</p> <p><strong>38. If I Needed Someone</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>Although the Beatles were rock’s foremost trendsetters, they still were influenced by other artists. </p> <p>Case in point: George Harrison’s 12-string riff on “If I Needed Someone.” Played in a second-position D-chord shape with a capo on the seventh fret, the line was based on Jim McGuinn’s chiming guitar work in the Byrds’ mesmerizing 1965 track “The Bells of Rhymney.” </p> <p>In the mid Sixties, Harrison and McGuinn had formed a mutual-admiration society: “If I Needed Someone” featured Harrison’s second Rickenbacker 360/12, a rounded-off 1965 model that resembled McGuinn’s 1964 Rickenbacker 360/12, which McGuinn bought after seeing Harrison’s first Rick in the film <em>A Hard Day’s Night.</em></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/jjm28jTZDw8" frameborder="0" allowfullscreen></iframe></p> <p><strong>37. Day Tripper</strong><br /> <strong><em>1962–1966</em> (1973)</strong></p> <p>Lennon and McCartney’s hip-shaking 1965 hit is a thinly veiled ode to “weekend hippies” who embrace the drug counterculture when they’re not pursuing their careers. </p> <p>McCartney referred to this song and “Drive My Car” (recorded just days earlier) as “songs with jokes in” them, but there’s nothing laughable about this track’s swaggering guitar riff, borrowed from the Temptations’ 1964 hit “My Girl” and given a liberal dose of self-assured attitude. </p> <p>Lennon reportedly plays the solo, most likely using his Sonic Blue Fender Strat, while Harrison’s guitar parts were probably recorded with his Gretsch Tennessean. </p> <p><strong>36. Think for Yourself</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>The Beatles had been interested in creating distorted guitar tones since at least 1964, when they attempted unsuccessfully to use a Gibson Maestro Fuzz-Tone on “She Loves You” and “Don’t Bother Me” (see entry 23). </p> <p>They were more successful with Harrison’s excellent 1965 composition “Think for Yourself,” for which McCartney plugged his Hofner bass into an early version of the Tone Bender fuzz pedal, created by electronics designer Gary Hurst and eventually marketed by Vox. The result is the harsh-sounding “lead bass” tone that bobs menacingly—and memorably—alongside Harrison’s lead vocal. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/L0Rd1KVfdEc" frameborder="0" allowfullscreen></iframe></p> <p><strong>35. Mother Nature’s Son</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>Throughout this song’s verses, McCartney fools you into thinking that he’s playing more than he actually is by filling out the harmony with his vocal melody. </p> <p>For example, while the ear hears a very strong D-to-G movement in the first two bars of the verse, all McCartney is actually playing is D to Dsus4; his vocal melody intimates the G chord by moving to B, that chord’s third. The verse also features, in the third and fourth bars, brilliant oblique motion—where one voice moves up or down while one or more other voices remain stationary. </p> <p>By moving the root of a B minor chord, B, down to the minor seventh, A, and then down to the sixth, Gs, while keeping the notes D and F# constant above this descending line, McCartney implies a slick progression of Bm D (or Bm7) E9. He does the same thing at the very beginning of the song.</p> <p><strong>34. Girl</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>Lennon conjures up this song’s dreamy, Gypsy-like reverie by capoing his Gibson J-160E at the eighth fret, making the guitar sound similar to a mandola. </p> <p>Harrison furthers the vibe on the third verse, playing a mandolin-like melody on Lennon’s Framus Hootenanny 12-string acoustic. But the crowning touch comes at the coda, when a third acoustic guitar enters, playing a Greek-style melody that’s plucked at the bridge with sharp strokes, making it sound like a bouzouki and further emphasizing the song’s smoky, old-world aura. </p> <p>The British group the Hollies would copy the effect on their hit “Bus Stop,” recorded at Abbey Road some six months later. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/GlcuRGXiwNw" frameborder="0" allowfullscreen></iframe></p> <p><strong>33. Birthday</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>Like “I Feel Fine” and “Day Tripper” (see entries 12 and 37), “Birthday” delivers a classic and memorable guitar riff. Whereas those previous two songs veered from the traditional 12-bar blues formula, “Birthday” hews closely to it during its verses. </p> <p>McCartney and Lennon wrote the song in the studio during an evening session, which included a recess during which the band went back to McCartney’s house to watch a TV broadcast of the 1956 teen film <em>The Girl Can’t Help It</em>. The soundtrack—which included performances by Little Richard, Gene Vincent and other Beatles’ favorites—undoubtedly contributed to the song’s raucous vintage rock-and-roll vibe. </p> <p><strong>32. One After 909</strong><br /> <strong><em>Let It Be</em> (1969)</strong></p> <p>This tune had been in the Beatles’ song bag for years, surfacing first as a rickety blues-style shuffle at a March 1963 recording session.</p> <p>By the time they tackled it again during their January 1969 rooftop performance at Apple, the Beatles were nearly finished as a group, but they were at long last able to breathe life into the tune, revving it up with a rock and roll beat and laying into it like the seasoned performers they were. Harrison delivers a stellar country-rock solo, using his rosewood Telecaster. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/IVN9ROEZIkE" frameborder="0" allowfullscreen></iframe></p> <p><strong>31. Norwegian Wood</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>This acoustic-rock masterpiece, written by Lennon, is not unlike “Here Comes the Sun,” in that it’s a folky chord-melody type of accompaniment that could easily stand on its own as a solo instrumental, with the vocal melody conveniently woven into the chords.</p> <p>However, unlike “Here Comes the Sun” (see entry 4), the melody sits in the middle, rather than on top, of the chord voicings, and is performed with more full strumming in a flowing 6/8 meter. Lennon performed “Norwegian Wood” as if the song were in the key of D, the verses being in D major and the bridge sections switching the parallel minor key of D minor, and used a capo at the second fret to transpose everything up a whole step, to E major and E minor, respectively.</p> <hr /> <p><strong>30. And I Love Her</strong><br /> <strong><em>A Hard Day’s Night</em> (1964)</strong></p> <p>It’s overshadowed by the Beatles’ more innovative songs, but “And I Love Her” demonstrates a leap in the group’s harmonic sophistication and musical arrangement skills. </p> <p>Harrison performs delicate arpeggiations on his 1964 Ramírez nylon-string classical acoustic, while McCartney subtly propels the song along with his soul-inflected bass work. A modulation from the key of E to F on the solo ramps up the drama and keeps the song from flagging. The final chord, D major—the relative minor of F—delivers surprise and emotional uplift that allows the song to end hopefully, in keeping with the optimism of the lyrics. </p> <p><strong>29. Not Guilty</strong><br /> <strong><em>Anthology 1</em> (1995)</strong></p> <p>Recorded for 1968’s White Album but unissued until the release of <em>Anthology 1</em> in 1995, this Harrison track was a lyrical response to his fellow Beatles, who felt that their trip to India at his urging to study transcendental meditation had been a waste of time. </p> <p>It’s hard to understand why this track was abandoned, especially after the group devoted more than 100 attempts to the rhythm track. Harrison’s guitar work is especially superb, from his sinewy lead lines to his sizzling tone, achieved by placing his amp in one of Abbey Road’s echo chambers and cranking it up for maximum effect, while he performed, safe from the volume, in the studio control room. </p> <p>Harrison eventually re-recorded this song for his self-titled 1979 album.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/bwLk6xLCzio" frameborder="0" allowfullscreen></iframe></p> <p><strong>28. Old Brown Shoe</strong><br /> <strong><em>1967–1970</em> (1973)</strong></p> <p>Dishonorably relegated to the B-side of the single “The Ballad of John and Yoko” (see entry 42), this 1969 Harrison composition is one of his best. His stinging guitar work is at times reminiscent of Clapton, especially on the solo, where he plays his rosewood Telecaster through a Leslie cabinet, his preferred effect of the period. </p> <p>In addition to guitar, Harrison plays organ and, by his own account, the buoyant bass line. “That was me going nuts,” he said of the bass work in a 1987 interview. “I’m doing exactly what I do on the guitar.” </p> <p><strong>27. Michelle</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>Another great example of McCartney’s innate gift for songwriting/composing, “Michelle” features, in its intro and elsewhere throughout the song, the previously mentioned standard “minor-drop” progression heard in “And Your Bird Can Sing” and “All My Loving” (see entries 7 and 16). </p> <p>The song also includes some rather clever and original harmonic twists and turns, such as the use of, in the second bar of the verse progression, the dominant-seven-sharp-nine (7#9) chord pointed out earlier in regard to Harrison’s “Till There Was You” solo, which, in both songs, is voiced “widely,” low to high: 1(root)-5-3(10)-b7-#9. Lennon, by the way, would later also employ this same chord voicing in “Sexy Sadie,” a chord that he, McCartney and Harrison all learned early on from a friend and local guitar-hero in Liverpool named Jim Gretty and dubbed “the Gretty chord.” </p> <p><strong>26. Cry for a Shadow</strong><br /> <strong><em>Anthology 1</em> (1995)</strong></p> <p>In 1961, unknown and looking for a break, the Beatles supported British rock and roll singer Tony Sheridan on a recording date in Hamburg. While there, they recorded two tracks of their own, including this Harrison-Lennon guitar-instrumental written in the style of U.K. pop group the Shadows (hence, the title). </p> <p>The recording provides early evidence of Lennon’s steady and dynamic rhythm guitar work, as well as McCartney’s melodic skills on the bass, which he had just begun playing. But it’s Harrison who shines, making the most of the trite melody with double-stop licks and generous use of the whammy bar on his Strat-style Futurama electric guitar. </p> <p>He ends the song with a major sixth—C6, specifically—a voicing that would become a signature Beatles coda on songs like “She Loves You,” “No Reply” and “Help!” (see entry 40).</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/m1VMr29eUeo" frameborder="0" allowfullscreen></iframe></p> <p><strong>25. Hey Bulldog</strong><br /> <strong><em>Yellow Submarine</em> (1968)</strong></p> <p>McCartney’s lead guitar work had characterized most of the great solo guitar moments on the Beatles’ records during 1966 and 1967. But with “Hey Bulldog,” recorded in February 1968, Harrison came charging back with a guitar solo that’s heavier and hairier than just about anything in the group’s catalog. </p> <p>For the song, he played his red 1964 SG Standard, using a fuzz box (most likely his Tone Bender) to give his sound a snarl befitting the song’s title. Recalls engineer Geoff Emerick, “His amp was turned up really loud, and he used one of his new fuzz boxes, which made his guitar absolutely scream." Equally outstanding is Paul McCartney’s buoyant bass work, which is practically a lead instrument on its own. </p> <p><strong>24. I’ve Just Seen a Face</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>Written by McCartney and musically inspired by the skiffle movement that was popular in the U.K. in the late Fifties and early Sixties, this up-tempo knee-slapper features Lennon, Harrison and McCartney all playing acoustic guitars, with Ringo Starr providing percussion (brushed snare drum and overdubbed maracas). </p> <p>The lyrical instrumental intro features a bass-line chord-melody, played (most likely by Harrison) on a 12-string, which serves to octave-double the bass-line melody, over which McCartney and Lennon flatpick a single-note melody based on double-stops, mostly sixth intervals, played up and down the G and high E strings in a quick, unbroken triplet rhythm, beautifully outlining the underlying chords with ascending and descending note pairs. </p> <p><strong>23. Don’t Bother Me</strong><br /> <strong><em>With the Beatles</em> (1963)</strong></p> <p>Harrison’s first solo songwriting effort for the Beatles sounds like nothing else in the group’s catalog. With its moody minor chords, propulsive drum beat and tremolo guitar, this 1964 track has more in common with California surf music than it does the American rock and soul that inspired the Beatles’ music at the time. </p> <p>The tremolo—provided by Harrison’s Vox AC30—gives the song an air of menace appropriate to the song’s title, and its use here marks the first time the group used an electronic effect on a finished recording. </p> <p><strong>22. Octopus’s Garden</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>By 1969, George Harrison had put down his sitar to focus on his first love, the guitar. The results are apparent on <em>Abbey Road</em>, which features his most fluid and confident playing to date. </p> <p>On “Octopus’s Garden,” one of Ringo Starr’s rare Beatles-era tunes, Harrison calls on his country/rockabilly influences for the first time since the band’s pre-psychedelic days. The intro is a slick masterpiece in the major pentatonic scale, the same territory Dickey Betts would later visit on “Blue Sky.” The song’s fun, twangy solo could sit snugly among James Burton’s work on Merle Haggard’s late-Sixties albums.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/CUFcfXgW_dQ" frameborder="0" allowfullscreen></iframe></p> <p><strong>21. Till There Was You</strong><br /> <strong><em>With the Beatles</em> (1963)</strong></p> <p>With this charming early cover of a love song from the popular 1957 Broadway musical play and 1962 feature film <em>The Music Man</em>, the Beatles demonstrated their stylistic versatility as they authoritatively breeze through the song’s harmonically sophisticated, jazz-like chord progression. </p> <p>Harrison’s solo break conveys a musical savvy on par with that of a veteran jazz improviser, as he strongly outlines the underlying chord progression, producing a perfect melodic counterpoint with the bass line by using arpeggios and targeting non-root chord tones, such as the third or ninth, on each chord change. </p> <p>Also impressive is his incorporation of two-, three- and four-note chords into what would otherwise be a predominantly single-note solo to create jazz-guitar-style chord-melody phrases, as well as his superimposition over the five chord, C7, of a daringly dissonant Gb7#9 chord (voiced, low to high, Gb Db Bb E A), a trick known in the language of jazz as a tritone substitution. </p> <hr /> <p><strong>20. Good Morning Good Morning</strong><br /> <strong><em>Sgt. Pepper’s Lonely Hearts Club Band</em> (1967)</strong></p> <p>Let’s face it: There aren’t many ferocious, brash and screaming guitar solos in the Beatles’ catalog. That said, Paul McCartney’s razor-sharp solo on “Good Morning Good Morning” is all that and a bag of chips. </p> <p>The 13-second-long treble fest, played on a Fender Esquire through a Selmer amp, features a strong East Indian vibe, perhaps a nod to George Harrison’s burgeoning fascination with Indian religion and music. </p> <p>Like its stylistic predecessor, McCartney’s “Taxman” guitar solo (see entry 3), “Good Morning Good Morning” incorporates open-string drone notes and rapid-fire descending hammer-pull slides, mostly along one string, in this case, the B string. </p> <p><strong>19. I Need You</strong><br /> <strong><em>Help!</em> (1965)</strong></p> <p>By 1965, the Beatles were making noticeable strides in their arrangements and instrumentation. A prime example is “I Need You,” one of two George Harrison compositions to appear on <em>Help!</em> </p> <p>The recording represents Harrison’s first use of a volume pedal. The guitar’s dramatic, almost pedal-steel-like volume swells—which frame Harrison’s curt, suspended chords—only add to the song’s wistful lyrical content. </p> <p>The volume pedal was a step up for the band; the guitar swells heard on “Baby’s in Black,” which was tracked the previous summer, were the result of John Lennon turning the volume knob on Harrison’s 1963 Gretsch Tennessean as Harrison played it.</p> <p><strong>18. You Can’t Do That</strong><br /> <strong><em>A Hard Day’s Night</em> (1964)</strong></p> <p>On February 25, 1964, the Beatles entered the studio with an exciting new piece of gear: a Fireglo 1963 Rickenbacker 360/12. George Harrison had received the guitar only 17 days earlier when the band was in New York shooting its initial Ed Sullivan Show appearance.</p> <p>The song’s chiming intro riff, with its middle-finger hammer-ons from a minor third to a major third within the chord, offered a taste of what lay ahead for the guitar, which would see heavy action onstage and in the studio through 1965. John Lennon performed the guitar solo on his new Jetglo 1964 Rickenbacker.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/0EYa5YkJu4Q" frameborder="0" allowfullscreen></iframe></p> <p><strong>17. Let It Be</strong><br /> <strong><em>Let It Be</em> (1970)</strong></p> <p>As Beatles obsessives know, there are three versions of George Harrison’s solo for this track: the original, recorded in January 1969 with his rosewood Telecaster (available on 2003’s <em>Let It Be… Naked</em>); the second, recorded the following April with his Tele through a Leslie rotary speaker (released on the single “Let It Be” in 1970); and a third version recorded in January 1970 using his “Lucy” Gibson Les Paul through a Tone Bender (released on <em>Let It Be</em>). </p> <p>Nice as the first two are, they have nothing on the third, a blistering performance that raises the song’s drama to a higher level of emotion.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Izts5y5Fw8Y" frameborder="0" allowfullscreen></iframe></p> <p><strong>16. All My Loving</strong><br /> <strong><em>With the Beatles</em> (1963)</strong></p> <p>For this pop song’s thumping, quasi–jump blues, rockabilly-style groove, Harrison crafted a convincingly authentic Chet Atkins/Carl Perkins–like solo break that clearly demonstrates his familiarity with that Fifties Nashville style of electric guitar soloing. </p> <p>Employing hybrid picking (pick-and-fingers technique), the guitarist acknowledges and gravitates toward the underlying chords in his melodic phrases, employing country-style “walk-ups” and “walk-downs” and plucking double-stops (pairs of notes) to sweetly and effectively outline the chord changes with a pleasing thematic continuity. </p> <p>Lennon contributed an energetic rhythm guitar part, one that he later expressed being rather proud of, which propels the groove with tireless waves of triplet chord strums, similar to those heard in the Crystals’ song “Da Doo Ron Ron.” </p> <p><strong>15. Ticket to Ride</strong><br /> <strong><em>Help!</em> (1965)</strong></p> <p>This proto-heavy-metal track was the first Beatles recording to feature McCartney on lead guitar and the last on which George Harrison used his Rickenbacker 12-string. McCartney plays the note-bending fills at the end of the bridges and on the outro, while Harrison plays the song’s arpeggiated riff and Lennon handles rhythm guitar. </p> <p>But the heaviest part might just be the droning open-string A notes that Harrison overdubbed on the verses, suggestive of the classical Indian music he would begin to explore later that year. </p> <p><strong>14. Dig a Pony</strong><br /> <strong><em>Let It Be</em> (1970)</strong></p> <p>The song’s driving, bluesy riff is as durable as any that Muddy Waters ever wrote, but the 1969 recording is also notable for Harrison’s smoky guitar work on his rosewood Telecaster—from the double-stop licks on the verses to his confident and impeccably developed solo. </p> <p>You can hear Harrison’s signature style beginning to develop here, with the smoothness of his lines pointing toward the fluid slide style he would develop over the following year. His guitar tone is also very similar to that of “Octopus’ Garden” (see entry 22) recorded later that year, for which he may have also used the rosewood Tele.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/kkzKSORYtVk" frameborder="0" allowfullscreen></iframe></p> <p><strong>13. Nowhere Man</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>According to Harrison, he and Lennon perform the song’s bright, chiming solo together in unison, using their matching Sonic Blue Fender Stratocasters. </p> <p>Lennon also revealed to guitarist Earl Slick, during the making of Lennon’s 1980 album <em>Double Fantasy</em>, that the solo was recorded through a pair of small amps with a single microphone positioned between them. The Strats’ trebly nature was further accentuated on “Nowhere Man” by boosting the high frequencies via the mixing console. </p> <p>“We wanted very trebly guitars,” McCartney says. “They’re among the most trebly guitars I’ve ever heard on record.” </p> <p><strong>12. I Feel Fine</strong><br /> <strong><em>1962–1966</em> (1973)</strong></p> <p>Audio feedback was just an annoying electronic phenomenon until the Beatles used it as an attention-getting way to start “I Feel Fine.” The song itself is a rather standard riff rocker inspired by Bobby Parker’s 1961 R&amp;B hit, “Watch Your Step,” but its distinctive intro came about by accident when McCartney played a low A note on his bass as Lennon was leaning his Gibson J-160E acoustic-electric against his amp. </p> <p>The note set Lennon’s guitar vibrating, and its proximity to the amp caused the sound to feed back. “We went, ‘What’s that? Voodoo!’ ” McCartney recalls. Yes, that too. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/fZUb_NJZ4To" frameborder="0" allowfullscreen></iframe></p> <p><strong>11. Blackbird</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>McCartney recorded this beautiful song’s gentle, fingerstyle acoustic accompaniment on his Martin D-28. </p> <p>He creates an elegant, classical-guitar-style chord movement by using two-finger chord shapes exclusively, most of which form 10th intervals on the A and B strings, in conjunction with the open G-string note, which he picks in opposition to the chord shapes and employs as a droning common tone. </p> <p>His unique fingerpicking technique relies largely on his thumb, which he uses to pick bass notes, and index finger, which he uses for pretty much everything else, employing brushed downstrokes and upstrokes and often brushing across two or more strings. </p> <p>This often results in notes that are “ghosted,” or barely articulated, a “flaw” that is a testament to his innate musicality—McCartney’s touch is charming and greatly contributes to the overall feel of the song. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/6c2kJrWqZqc" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>10. “Something”</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>Ironically, while the Beatles were breaking apart in 1969, George Harrison was coming into his own as a songwriter and guitarist. </p> <p>His <em>Abbey Road</em> contribution “Something” is among his finest songs, and his guitar playing here and throughout the album is masterful. Harrison’s mellifluous lead lines, in particular, are more expressive than anything he’d done before, demonstrating his newfound confidence and evolving connection to his instrument and creative muse. </p> <p>Performed with his “Lucy” 1957 Gibson Les Paul played through a Leslie speaker, the solo simmers as Harrison turns up the heat on his melody and dynamics, then cools it down with bluesy restraint. </p> <p>“George came into his own on <em>Abbey Road</em>,” says Geoff Emerick, who engineered this and other <em>Abbey Road</em> sessions. “For the first time he was speaking out and doing exactly what he wanted to do. And of course he wrote these beautiful songs and we got a great new guitar sound.” </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/mBjt7EsWbWE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>09. I Want You (She’s So Heavy)</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>John Lennon was composing some of the heaviest rock and roll in the Beatles’ catalog in 1969, and this song—true to its title—is among the most crushing, thanks to an abundance of doubled and overdubbed guitar lines that give it some serious sonic heft. </p> <p>Lennon wrote the song for Yoko Ono, with whom he was newly in love, and the result is a spellbinding exercise in obsessive repetition, from its lyrics—consisting almost entirely of the title and roughly five other words—to the ominous guitar lines that recur throughout it. </p> <p>Clocking in at 7:47, the song is also one of the Beatles’ longest. </p> <p>And although it consists of nothing more than a verse and a chorus repeated several times, it is rhythmically one of their most intricate tunes, switching between 12/8 meter and 4/4 rhythms alternately played bluesy and with a double-time rock beat. Few other artists could have made so much with so little. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/uo1i9uTaCFQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>08. I’m Only Sleeping</strong><br /> <strong><em>Revolver</em> (1966)</strong></p> <p>Harrison’s startling backward guitar solo on this Lennon-penned song is one of his greatest guitar moments on 1966’s <em>Revolver</em>.</p> <p>Over the previous year, he had used an expression pedal to create a volume-swelling sound, similar to a reverse-tape effect, on several tracks, including “Yes It Is” and “I Need You” (see entry 19). </p> <p>But for “I’m Only Sleeping,” Harrison wanted to hear his guitar truly in reverse, a decision undoubtedly inspired by Lennon’s own retrograde vocals on “Rain,” recorded earlier the same month, April 1966.</p> <p>Rather than simply improvising guitar lines while the track was played backward, he prepared lead lines and a five-bar solo for the song and had George Martin transcribe them for him in reverse. Harrison then performed the lines while the tape was running back to front.</p> <p>The result is a solo that surges up from the song’s murky depths, suffusing it with a smeared, surreal, dreamlike ambience. Within a year, Harrison’s idea would be copied by such psychedelic rock acts of the day as the Electric Prunes, who employed it on their 1966 hit “I Had Too Much to Dream (Last Night),” and Jimi Hendrix, who used it to great effect on “Castles Made of Sand.” </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/1MMDugt8ZRk" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>07. And Your Bird Can Sing</strong><br /> <strong><em>Revolver</em> (1966)</strong></p> <p>This middle-period Beatles gem, written primarily by Lennon, features Harrison and McCartney on impeccably crafted and performed harmony-lead guitar melodies, a pop-rock arranging approach that was still in its infancy in 1966. (It would later be employed extensively in the southern rock genre by bands such as the Allman Brothers and Lynyrd Skynyrd as well as hard rock and metal acts like Thin Lizzy, Boston and Iron Maiden.) </p> <p>Together, Harrison and McCartney’s individual single-note harmony lead guitar parts form, for the most part, diatonic (scale-based) third intervals in the key of E. (Lennon performed his rhythm guitar part as if the song were in the key of D, using a capo at the second fret to transpose it up a whole step, as he did on “Norwegian Wood,” “Nowhere Man” and “Julia.”) </p> <p>The quick half-step and whole-step bends that Harrison and McCartney incorporate into their parts here and there in lock-step fashion are particularly sweet sounding. Heard together, they have the precise intonation of a country pedal-steel part performed by a seasoned Nashville pro. </p> <p>The harmonized lines that the two guitarists play over the “minor-drop” progression during the song’s bridge section, beginning at 1:05, reveal their musical depth and sophistication and command over harmony beyond the basic “I-IV-V” pop songwriting fodder.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/f_P71QAEZKs" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>06. A Hard Day’s Night</strong><br /> <strong><em>A Hard Day’s Night</em> (1964)</strong></p> <p>It lasts all of roughly three seconds, but the sustained opening chord to this classic Beatlemania track is one of rock and roll’s greatest and most recognizable musical moments. </p> <p>Bright and bold as a tolling bell, it loudly announced in 1964 not just the start of the Beatles’ latest album but also the dawning of a cultural transformation that owed nearly everything to the group’s influence. </p> <p>The song was written to order for the Beatles’ feature-length film debut, <em>A Hard Day’s Night</em>. According to George Martin, “We knew it would open both the film and the soundtrack LP, so we wanted a particularly strong and effective beginning.” </p> <p>The dense harmonic cluster that Martin and the group created is the result of four instruments sounding simultaneously: Harrison on his 12-string Rickenbacker and Lennon on his Gibson J-160E acoustic, both strumming an Fadd9 chord (with a G on the high E); McCartney on his Hofner 500/1 bass, plucking a D note (probably at the 12th fret of his D string); and Martin on grand piano, playing low D and G notes. </p> <p>The resulting chord has been described as, technically, G7add9sus4, but to millions of eager listeners in 1964, it was simply the sound of an electrifying new era.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/70QfHtKdh_0" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>05. Revolution</strong><br /> <strong><em>1966–1970</em> (1973)</strong></p> <p>At the time that this 1968 track was recorded, distortion was well established as an electronic effect for guitarists, but no one had ever used it to the extreme that the Beatles did here. </p> <p>According to Geoff Emerick, Lennon had been attempting to create distortion by cranking up his amp during sessions for “Revolution 1,” the slower version of the song, which the Beatles recorded in May and June of 1968. </p> <p>Emerick had abetted his efforts by overloading the preamp on the microphone used to record Lennon’s guitar, but even this wasn’t enough for Lennon, who told the engineer, “ ‘No, no, I want that guitar to sound dirtier!” </p> <p>By the July recording of “Revolution,” Emerick determined that he could distort the signal even more by patching Lennon and Harrison’s guitars directly into the mixing console via direct boxes, overloading the input preamp and sending the signal into a second overloaded preamp. </p> <p>“I remember walking into the control room when they were cutting that,” recalls Abbey Road engineer Ken Scott, “and there was John, Paul and George, all in the control room, all plugged in—just playing straight through the board. All of the guitar distortion was gotten just by overloading the mic amps in the desk.” </p> <p>As Emerick himself notes in his 2006 memoir <em>Here, There and Everywhere</em>, it was no mean feat: the overloaded preamps could have caused the studio’s tube-powered mixer to overheat. “I couldn’t help but think: If I was the studio manager and saw this going on, I’d fire myself.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/kk6BAIy1MeU" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>04. Here Comes the Sun</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>Harrison’s jangly chord-melody playing on this song is exemplary. Using first- and second-position “cowboy” chords with a capo at the seventh fret, the guitarist loosely doubles and supports his catchy, syncopated vocal melody by working it into the top part of his acoustic-guitar accompaniment. </p> <p>He does this by using a “picky-strummy” technique (similar to what Neil Young would later employ in his song “The Needle and the Damage Done”), in which the pick hand gently swings back and forth over the strings in an unbroken down-up-down-up movement, like a pendulum viewed sideways. </p> <p>In doing so, Harrison selectively grazes certain strings on various downbeats and eighth-note upbeats, resulting in a seemingly casual mix of full-chord strums, single notes and two-note clusters that form a pleasing stand-alone guitar part that could easily appeal as a solo instrumental performance. </p> <p>The high register achieved by using the capo so far up the neck—the song is played as if it were in the key of D but sounds in A, a perfect fifth higher—makes the guitar sound almost like a mandolin, an effect similar to that achieved by Bob Dylan on “Blowin’ in the Wind” (also performed capo-7).</p> <p>Also noteworthy are the ringing and musically compelling arpeggio breaks that punctuate the song in various spots, such as after the first verse (immediately following the lyric “It’s all right”) and during the bridge/interlude section, behind the words “sun, sun, sun, here it comes.” </p> <p>Harrison employs a highly syncopated “1-2-3, 1-2-3, 1-2-3, 1-2-3, 1-2, 1-2” phrasing scheme in the first instance and “1-2-3, 1-2-3, 1-2-3, 1-2-3, 1-2” in the latter, creating a rhythmic “hiccup” that resets the song’s eighth-note pulse. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/n6j4TGqVl5g" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>03. Taxman</strong><br /> <strong><em>Revolver</em> (1966)</strong></p> <p>Bassist Paul McCartney had first demonstrated his six-string talents on 1965’s <em>Help!,</em> where he played lead guitar on several tracks and performed on acoustic guitar for his song “Yesterday.” </p> <p>But McCartney would truly come into his own as a guitarist with this cut from 1966’s <em>Revolver</em>. His stinging solo, performed on his 1962 Epiphone Casino through his cream-colored 1964 Bassman amp, is a stunningly sophisticated creation, drawn from an Indian-derived Dorian mode and featuring descending pull-offs that recall Jeff Beck’s work on the Yardbirds’ “Shapes of Things,” released earlier that year. </p> <p>How the solo came to be played by McCartney—and not Harrison, who wrote the song and was the Beatles’ lead guitarist—is a story in itself. </p> <p>According to Geoff Emerick, Harrison struggled for two hours to craft a solo before producer George Martin suggested he let McCartney give it a try. McCartney’s solo, Emerick says, “was so good that George Martin had me fly it in again during the song’s fadeout.” Portions of it, played backward, were also applied to the Revolver track “Tomorrow Never Knows.” </p> <p>Apparently, Harrison didn’t feel slighted. At the time of making <em>Revolver</em>, he was ambivalent about his musical ambitions and pondering Indian mysticism, to which he would eventually convert. </p> <p>“In those days,” he said, “for me to be allowed to do my one song on the album, it was like, ‘Great. I don’t care who plays what. This is my big chance.’ I was pleased to have him play that bit on ‘Taxman.’ If you notice, he did like a little Indian bit on it for me.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/YtksJEj2Keg" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>02. While My Guitar Gently Weeps</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>“While My Guitar Gently Weeps” has become one of George Harrison’s signature tunes, but when he wrote the song in 1968, he couldn’t get his band mates to take an interest in it. </p> <p>Frustrated, he asked his pal Eric Clapton to sit in on the recording session for the track, hoping his presence would put the group on its best behavior. Clapton accepted the invitation and delivered a performance that remains a high point in the Beatles’ catalog. </p> <p>For the session, Clapton played a 1957 Les Paul “Goldtop” that had been refinished in red. He’d purchased the guitar in New York City sometime in the Sixties and in 1968 gifted it to Harrison, who nicknamed it Lucy. </p> <p>The guitar was already in Harrison’s possession at the time of this recording. When he picked up Clapton to take him to the studio for the Beatles session, the famous guitarist was empty handed. “I didn’t have a guitar,” Clapton recalls. “I just got into the car with him. So he gave me [Lucy] to play.”</p> <p>Harrison was concerned that Clapton’s solo was “not Beatley enough,” as the group was by the time of this recording well known for its sonic innovation. </p> <p>During the song’s mixing stage, the group had engineer Chris Thomas send Clapton’s signal through Abbey Road’s ADT—Automatic Double Tracking—tape-delay system and manually alter the speed of the delay throughout Clapton’s performance, making the pitch sound chorused. (The effect is especially noticeable in the final measure of the second middle-eight, after the line “no one alerted you.”) Ironically, while the solo is one of Clapton’s most famous, he was never credited on the recording. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/F3RYvO2X0Oo" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>01. “The End”</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>A song called “The End” might seem an ironic place to start a list of the Beatles’ 50 greatest guitar moments. But the round-robin solos that bring the track to its exhilarating peak are without question the group’s most powerful statement expressed through the guitar.</p> <p>Here, for a mere 35 seconds, three childhood friends and longtime band mates—Paul McCartney, George Harrison and John Lennon—trade licks on a song that represents, musically and literally, the Beatles’ last stand as a rock group before they broke up the following year. “The End” is the grand finale in the medley of tunes that make up much of <em>Abbey Road</em>’s second side. </p> <p>As such, it’s designed to deliver maximum emotional punch, and it succeeds completely, thanks in great part to the sound of McCartney, Harrison and Lennon rocking out on their guitars, as they did in their first, embryonic attempts to make rock and roll some 12 years earlier. </p> <p>“They knew they had to finish the album up with something big,” recalls Geoff Emerick, the famed Abbey Road engineer who worked on the 1969 album. </p> <p>“Originally, they couldn’t decide if John or George would do the solo, and eventually they said, ‘Well, let’s have the three of us do the solo.’ It was Paul’s song, so Paul was gonna go first, followed by George and John. It was unbelievable. And it was all done live and in one take.”</p> <p>Much of the song’s power comes from the sense that the Beatles are making up their solos spontaneously, playing off one another in the heat of the moment. As it turns out, that’s partly accurate. </p> <p>“They’d worked out roughly what they were going to do for the solos,” Emerick says, “but the execution of it was just superb. It sounds spontaneous. When they were done, everyone beamed. I think in their minds they went back to their youths and those great memories of working together.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/5bcxHlMxnSY" 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="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/george-harrison">George Harrison</a> </div> <div class="field-item odd"> <a href="/john-lennon">John Lennon</a> </div> <div class="field-item even"> <a href="/paul-mccartney">Paul McCartney</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/fab-50-beatles-50-greatest-guitar-moments#comments Articles Damian Fanelli George Harrison GW Archive GWLinotte January 2014 John Lennon Paul McCartney The Beatles Guitar World Lists News Features Magazine Wed, 25 Feb 2015 16:36:46 +0000 Christopher Scapelliti, Jimmy Brown, Damian Fanelli http://www.guitarworld.com/article/20443 Six Hidden Gems Made Magnificent in Headphones http://www.guitarworld.com/six-hidden-gems-made-magnificent-headphones <!--paging_filter--><p>Okay, so you have your headphones out—what do you want to listen to? </p> <p>Something beautiful? Something cool? Something you’ve never heard before? How about all three? </p> <p>The following are six tracks by five of your favorite bands worth putting under the microscope for reasons listed below. Enjoy!</p> <p><strong>Joe Satriani — “Surfing with the Alien”</strong></p> <p>For the lead guitar tone on <em>Surfing with the Alien’s</em> title track, Joe Satriani used a wah-wah pedal and a harmonizer. The former worked perfectly, but the latter was acting a little weird and wonky. </p> <p>Satriani told <em>Guitar World</em>, “The sound that came out of the speakers blew us away so much that we recorded the melody and the solo in about a half-hour and sat back and went, ‘Whoa! This is a song, man!’” Then the harmonizer broke down and couldn’t be fixed. </p> <p>“We couldn’t do anything,” he said. “We lost our tone. When we finally got it working again, we weren’t able to recreate the original effect. It just sounded different. So rather than screw up a wonderful-sounding performance that may have had a couple of glitches, we decided to just leave it, because it was just swinging.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/uoERl34Ld00" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>Metallica — “The Four Horsemen”</strong></p> <p>One of the most unique features of Metallica’s classic track “The Four Horsemen” is its distinctive simultaneous two-headed guitar solo, heard from 4:10 to 4:30. </p> <p>You can hear two Kirk Hammetts, one in each speaker, playing roughly similar but still quite different solos. In 1991 Hammett told <em>Guitar World</em> this cool effect was entirely a fluke. After recording two takes of the solo, Hammett and Co. were trying to decide which one to use. </p> <p>“I listened to both tracks at once, to see if one would stand out,” Hammett said. “But playing both tracks simultaneously sounded great, and we decided to keep it like that on the record. Some of the notes harmonized with each other, and I remember Cliff [Burton, bassist] going, ‘Wow, that’s stylin’—it sounds like Tony Iommi!’”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/C4nCy5CITc8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Led Zeppelin — “Misty Mountain Hop” and “Babe, I’m Gonna Leave You”</strong></p> <p>Led Zeppelin albums are filled with little slips and clams, but none of that really mattered to producer/guitarist Jimmy Page who justifiably valued vibe over perfection. He called it being “tight but loose.” </p> <p>The following are two headphone-worthy accidents that somehow add a touch of funky magick to these Zep classics. If you listen closely to “Misty Mountain Hop” at about 1:15, you can hear Jimmy play the heavy part too soon. He then fumbles and jumps back in. </p> <p>hen, on “Babe I’m Gonna Leave You,” you can hear a ghostly voice at 1:43. Is it a friendly Page poltergeist? Nah, it’s actually the sound of Robert Plant singing along with drummer John Bonham during basic tracking. Whether that’s his actual naked voice leaking through the drum mics, or perhaps being blasted through Bonzo’s headphones, we may never know.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/7joxOe76vCE" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/iP9xMobANJM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Radiohead — “Creep”</strong></p> <p>One of the most memorable and dramatic guitar moments of the Nineties is the stuttering rhythm part that sets up the chorus of Radiohead’s “Creep.” And if Jonny Greenwood’s attitude-filled flourish (played at 0:58 and again at the two-minute mark) reflects the song’s angst-filled lyrics, there’s a reason. </p> <p>“That’s the sound of Jonny trying to mess the song up,” explained co-guitarist Ed O’Brien. “He really didn’t like it the first time we played it, so he tried spoiling it. And it made the song.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/XFkzRNyygfk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>The Kingsmen — “Louie, Louie”</strong></p> <p>This last pick is a strange one. </p> <p>If there was never a song designed for headphones, it’s the poorly recorded garage classic “Louie, Louie.” But there are so many hilarious mistakes in this shambolic mess, with a good set of ear buds the tune becomes a brilliant piece of audio theater. </p> <p>Just close your eyes and you almost see and smell these drunken bozos having the time of their lives as they struggle to play their three chords right. Just dig the drummer yelling “F@#K! in the background because he hit his hand on the edge of one of his drums at 0:57. Or laugh as the singer comes in too early at 1:55 while barging in at the end the songs surprisingly great guitar solo. </p> <p>Truth is, this is actually what headphones were made for!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/4V1p1dM3snQ" frameborder="0" allowfullscreen></iframe></p> <p><em>Brad Tolinski is the editor-in-chief at </em>Guitar World.</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/joe-satriani">Joe Satriani</a> </div> <div class="field-item even"> <a href="/metallica">Metallica</a> </div> <div class="field-item odd"> <a href="/radiohead">Radiohead</a> </div> <div class="field-item even"> <a href="/led-zeppelin">Led Zeppelin</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/six-hidden-gems-made-magnificent-headphones#comments Joe Satriani Led Zeppelin Metallica Radiohead The Kingsmen News Features Wed, 25 Feb 2015 15:56:07 +0000 Brad Tolinski http://www.guitarworld.com/article/23579 The Beatles' Secret Weapon: George Harrison’s 1963 Rickenbacker 360/12 http://www.guitarworld.com/beatles-secret-weapon-george-harrison-s-1963-rickenbacker-36012 <!--paging_filter--><p>Although the last thing the red-hot Beatles needed in early 1964 was a “secret weapon,” that’s exactly what they got when George Harrison received his first Rickenbacker 12-string, in a beautiful Fireglo finish, in February of that year, during the Beatles’ first U.S. tour. </p> <p>The guitar was given to him by Francis C. Hall, owner and president of the California-based Rickenbacker company, which is now celebrating its 80th anniversary.</p> <p>Hall spoke to Brian Epstein before the Beatles arrived in the U.S. and arranged a meeting with the group. On February 8 at the Savoy Hilton in New York City, he showed the band several different models. Lennon tried out the 360/12 but thought it would be better for Harrison, who was sick in bed at the Plaza Hotel. When Harrison finally got to see it, he loved it immediately. </p> <p>“Straight away I liked that you knew exactly which string was which,” Harrison said, referring to how the guitar’s 12 tuners are grouped in top- and side-mounted pairs on the headstock. “[On some] 12-strings, you spend hours trying to tune it.” </p> <p>Harrison’s first 360/12 was the second Rickenbacker 12-string ever made; its serial number—CM107—dates it to December 1963. The main difference between it and the prototype is how they are strung. The first model had a conventional 12-string setup, in which the octave string is the first to be struck in each string pair. On Harrison’s model and subsequent Rickenbacker 12-strings, the octave strings occur second in the string pairs and the lower-pitched string is struck first.</p> <p>Harrison’s guitar has a trapeze tailpiece, triangle inlays, double white pickguards, black control knobs and mono and stereo (Rick-O-Sound) outputs mounted on a chrome plate on the side of the guitar.</p> <p>The guitar, with its unique, chiming sound, can be heard on "You Can't Do That," the bulk of the <em>A Hard Day’s Night</em> album, “I Call Your Name,” “What You’re Doing”—and several other songs, up to and including “Ticket to Ride.” His second 360/12, a 1965 model with rounded cutaways, is heard on “If I Needed Someone.”</p> <p><img src="/files/imce-images/Rickenbacker.JPG" width="620" height="248" alt="Rickenbacker.JPG" /></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/94LH3oYJEFs" frameborder="0" allowfullscreen></iframe></p> <p><em>Photo: Nigel Osbourne / Redferns / Getty Images</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/george-harrison">George Harrison</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/beatles-secret-weapon-george-harrison-s-1963-rickenbacker-36012#comments 2011 George Harrison GWLinotte Holiday 2011 John Lennon The Beatles Holiday Electric Guitars News Features Gear Magazine Wed, 25 Feb 2015 13:25:42 +0000 Damian Fanelli http://www.guitarworld.com/article/13691 Dark Horse: George Harrison's Top 10 Solo Albums http://www.guitarworld.com/dark-horse-top-10-george-harrison-albums <!--paging_filter--><p>Despite the diversity of George Harrison's many pursuits during his 58 years on earth—racing, gardening, Indian religion and culture, film making and anything remotely associated with ukeleles, Mel Brooks or Monty Python—he'll go down in history as one fourth of the Beatles.</p> <p><strong><a href="http://www.guitarworld.com/poll-what-was-george-harrisons-coolest-beatles-era-guitar">[[ Poll: What Was George Harrison's Coolest Beatles-Era Guitar? ]]</a></strong> </p> <p>But, notwithstanding his contributions to the most commercially successful and critically acclaimed act in the history of popular music, Harrison had a successful solo career that proved he was more than just a silent partner to John Lennon and Paul McCartney. </p> <p>The guitarist released 10 studio albums between 1970 and 2002, an experimental electronic album, a soundtrack album and two live albums (including <em>The Concert for Bangladesh</em>), plus some non-album singles, including the sadly overlooked "Cheer Down" (1989).</p> <p>Today, on the 72nd anniversary of his birth, we're ranking his 10 serious studio albums. This list doesn't include his two "while the Beatles were still together" albums, 1968's <em>Wonderwall Music</em> and 1969's <em>Electronic Sound</em>. (Although, even if we were to include them, they'd wind up as No. 12—<em>Electronic Sound</em>—and 11—<em>Wonderwall Music</em>—anyway. So there!)</p> <p>Below, you'll find a quick "Happy Birthday" video that's playing over at <a href="http://georgeharrison.com/">GeorgeHarrison.com</a>. Below that, check out the photo gallery to see how we've ranked his 10 albums.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/CRojuycYpms" frameborder="0" allowfullscreen></iframe></p> <p><em>Damian Fanelli is the online managing editor at </em>Guitar World<em>. <a href="https://twitter.com/DamianFanelli">Follow him on Twittah</a></em>.</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/george-harrison">George Harrison</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/dark-horse-top-10-george-harrison-albums#comments Damian Fanelli George Harrison Guitar World Lists Blogs News Features Wed, 25 Feb 2015 13:24:55 +0000 Damian Fanelli http://www.guitarworld.com/article/17851 Guitar Aficionado Contest: Win a New Avian Ibis Fan Fret Guitar! http://www.guitarworld.com/guitar-aficionado-contest-win-new-avian-ibis-guitar <!--paging_filter--><p><strong>Here's your chance to win a brand-new Ibis model guitar from <a href="http://www.avianguitars.com/">Avian Guitars!</a></strong></p> <p>Just fill out the entry form below by March 24, 2015, and you can win a new Ibis, which features an arm bevel and multi-scale fan fret fingerboard.</p> <p>Other Ibis features include a maple neck with rosewood center laminate and East Indian rosewood back and sides. </p> <p>Plus:</p> <p>• Nut: 1 3/4<br /> • String Spacing: 2 1/4<br /> • Upper bout: 11 1/2<br /> • Lower bout: 15 1/2<br /> • Neck depth: 3 1/2<br /> • Tail depth: 4 3/8</p> <p><strong>Retail Price with Case:</strong> $1,945 </p> <p><strong>For more information about Avian Guitars, visit <a href="http://www.avianguitars.com/">avianguitars.com.</a> Check out the gallery below for more Ibis photos!</strong></p> <div id="wufoo-s86o8ue1seolp4"> Fill out my <a href="https://nbmedia.wufoo.com/forms/s86o8ue1seolp4">online form</a>. </div> <script type="text/javascript">var s86o8ue1seolp4;(function(d, t) { var s = d.createElement(t), options = { 'userName':'nbmedia', 'formHash':'s86o8ue1seolp4', 'autoResize':true, 'height':'709', 'async':true, 'host':'wufoo.com', 'header':'show', 'ssl':true}; s.src = ('https:' == d.location.protocol ? 'https://' : 'http://') + 'www.wufoo.com/scripts/embed/form.js'; s.onload = s.onreadystatechange = function() { var rs = this.readyState; if (rs) if (rs != 'complete') if (rs != 'loaded') return; try { s86o8ue1seolp4 = new WufooForm();s86o8ue1seolp4.initialize(options);s86o8ue1seolp4.display(); } catch (e) {}}; var scr = d.getElementsByTagName(t)[0], par = scr.parentNode; par.insertBefore(s, scr); })(document, 'script');</script> http://www.guitarworld.com/guitar-aficionado-contest-win-new-avian-ibis-guitar#comments Avian Guitars Contest News Features Tue, 24 Feb 2015 21:30:25 +0000 Guitar World Staff http://www.guitarworld.com/article/23591