Features http://www.guitarworld.com/taxonomy/term/5/all en Cigar Box: How to Build a Cigar Box Guitar for Around $25 http://www.guitarworld.com/cigar-box-how-build-cigar-box-guitar-around-25 <!--paging_filter--><p>I've decided to start this off by using the most common saying heard when someone lays their eyes on one of my guitars for the first time (myself included): "It’s a cigar box guitar!" </p> <p>Yes, and it's played similar to a regular guitar and can do almost anything a regular guitar can do; it just takes some creativity and a little imagination, much like the building process. </p> <p>After my initial reaction to seeing a cigar box guitar, my second thought was, “I want to make one of those!” Then, my initial reaction when I made my first CBG (cigar box guitar) was, “I want to make another one!” — and my obsession was born. </p> <p>The idea of this series of columns is to show you how to make one of these three-string guitars and to showcase some notable players and builders. </p> <p>Some people ask me, “Aren't you afraid the big guitar companies are going to find out about cigar box guitar and start making them?” </p> <p>I doubt Fender or Gibson would be interested in making these guitars; besides, what makes CBGs cool is that they are handmade, and no two guitars are alike. So I’ve decided to let you in to our secret underground world that is cigar box guitars. </p> <p>Cigar box guitars are often associated with the Depression era, when regular guitars were handmade and cost a great deal of money. People didn’t have extra income to buy guitars, so they got creative. They got a wooden cigar box, put a hole in it for the sound to get out, put a stick in it and a few wires from the screen door — and a guitar was born. Actually, cigar box guitars go back much further than that. There's evidence that they were around as early as the 1840s, and similar primitive or primal instruments go back even further. </p> <p>Today, people make them out of just about anything that will resonate or vibrate, such as an oil can, coffee can, wine crate or soda can. They also use many different things for a neck, like an ordinary 1-by-2 piece of hardwood, broom handles, even wooden rulers. </p> <p>The number of strings can vary, too. I’ve seen them with one string (Diddley bow) on up to 12. I tend to stick to three- and six-string cigar box guitars because you need at least three strings to make a chord, and people are comfortable playing six-string guitars. They also can be fretted or fretless and are played with or without a slide. CBGs also can be wired with pickups, volume and tone controls, just like regular guitars.</p> <p><img src="/files/imce-images/professinal%20electronics.jpg" width="620" height="465" alt="professinal electronics.jpg" /></p> <p>If you want to hear scrape, slide and picking, check out Shane Speal, the world's foremost master of the cigar box guitar. </p> <p>Speal performs gritty blues/rock with handmade and hackwired instruments made from recycled junk. His repertoire is a mix of crankin' originals and songs from blues masters who started out on cigar box guitars. </p> <p>Here's a video of different ways to tune your CBG so you can get the most out of your box. What Speal can do with a stick in the box and a socket from a hardware store for a slide (Yes, that's a socket he's using for a slide) blows my mind. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/GnpxA5I5eVk" frameborder="0" allowfullscreen></iframe> </p> <p>Speal is a key player and builder in the CBG world and was instrumental in bringing people together to share their thoughts and ideas about CBGs — but more on that later. </p> <p>So the blues isn’t your thing? Not to worry; I’ve seen people play these guitars in nearly every genre. Like I said, you can play anything on a cigar box guitar; you just have to use some creativity and a little imagination. </p> <p>Check out Hollowbelly; listen to this song and I promise it will change your perception of what can be played on a cigar box guitar. Hollowbelly is a one-man-band/cigar box guitar player whose guitar has a mean growl that just can't be explained and a voice that has been described as "like lightning." </p> <p>He has played London's The 100 Club (Yes, THE 100 Club, which has hosted Sex Pistols, Muddy Waters and the White Stripes) on a CBG. He made it in a garage out of a banister rail, an old rusty tin and a cheap pickup. When I need that jolt of energy to keep going, this song delivers.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/uANvS7VwL3g" frameborder="0" allowfullscreen></iframe></p> <p>So why am I writing this? I am addicted to CBG. Yep, addicted, obsessed. I’ve got the sickness and there is no cure. Besides, there are worse things to be addicted to. I spend my days thinking about how I am going to build the next guitar better and how I am going to convert that song I used to play on a six-string so I can play it on one my three-string guitars. </p> <p>I thought there might be more people out there like me. So over the next few columns, we are going to build a cigar box guitar together for about $25. We are going to make a classic fretless acoustic cigar box guitar. </p> <p>I will show you the upgrades as we go along; it will just cost a few more bucks. Most of the stuff you can find in your local hardware store. The other stuff you have to buy in different places, but I’ll give you some tips on where you can get the best deals (If not here, I'll give you the tips on my site, <a href="http://www.sanercigarboxguitars.com/index.html">sanercigarboxguitars.com</a>. </p> <p>This is the way I find works best for me. There are many other ways to make these instruments; I’m just showing you the way I like to do it. I have to say there is one rule about cigar box guitars: There are no rules! </p> <p>Here is your recon mission for next time: </p> <p>01. <strong>Box:</strong> Find a wooden cigar box. It has to be wooden — at least the sides and the bottom. But if you can score an all-wood one, all the better. A good size to look for is 10-by-7-by-1. Bigger is better, but if it's a little smaller, it'll still work. The thinner the wood, the better the tone (at least in my opinion). The best place to get them is your local tobacco shop. Most stores give them away for free (Free is good). If you can't find one for free, look on eBay or check out <a href="https://www.cbgitty.com/cubecart/">CB Gitty</a>.</p> <p>02. <strong>Wood</strong>: You will need to find some hardwood for the neck. A good size is a 1-by-2-by-32 (It really measures 3/4-by-1 ½ inches), and it needs to be at least 32 inches long. Most home-improvement stores sell them in 36-inch lengths. </p> <p>It has to be a hardwood. Poplar is a pretty inexpensive choice, but red oak, maple, ash or mahogany look great, although they cost a bit more. I go to the local mill and get a batch of rough-cut hardwood and mill it down myself, but that requires some more tools and more time. I wouldn’t recommend this for your first guitar. The stuff you will find at the local home-improvement or lumber yard is good. I’m just obsessed with finding the best. </p> <p>03. <strong>Tools</strong>: You will need a coping saw, tape measure, pencil, drill with 3/8, 9/32 and 1/8 bits, rasp (Those rasp/chisels are pretty good for the money) and various grits of sandpaper. If you have a belt sander, it will save a lot of time, but it isn’t necessary. Finally, you will need an old-fashioned miter box and saw. </p> <p>If you don’t have these tools, borrow them or make this guitar with a friend who has them (Tools aren't included in the $25 budget). If you don’t know how to use these tools, read up on them or look them up via YouTube. I don’t want any of you guitar players to loose a digit while making one of these. </p> <p>04. <strong>Tension pins</strong>: You will need three each — 1/8-by-3/4 tension pins or roll pins. These can be found in almost any hardware store. </p> <p>05. <strong>Safety gear</strong>: You will need a dust mask, work gloves and safety goggles. </p> <p>Hey, come to think of it, this doesn’t even add up to $25. Sweet!</p> <p>This is a list of items for you to find for next time. I'll give you a list at the end of each article so you won’t have to go buy it all at once. But if you want a full list, I will post it on my site, <a href="http://www.sanercigarboxguitars.com/">sanercigarboxguitars.com</a>. </p> <p>Till next time, keep on playing!</p> <p><em>Brian Saner owns Saner Cigar Box Guitars, which makes custom handmade guitars and amps using local dry-aged wood in every guitar. These guitars are handmade and might have imperfections, but that's what makes them unique. Once you hear the howl of a CBG, you might not want to play a Fender or Gibson again. Get one at <a href="http://www.sanercigarboxguitars.com/">sanercigarboxguitars.com</a> and <a href="http://www.devildownrecords.com/handmade-guitars/">devildownrecords.com</a>. Check out <a href="http://www.facebook.com/pages/Saner-Cigar-Box-Guitars/266654393366376">his Facebook page.</a></em></p> http://www.guitarworld.com/cigar-box-how-build-cigar-box-guitar-around-25#comments Brian Saner Hollowbelly Saner Cigar Box Guitars Shane Speal Blogs News Features Wed, 23 Apr 2014 15:04:37 +0000 Brian Saner http://www.guitarworld.com/article/15369 Learn Ins and Outs of Blues Guitar with Keith Wyatt's New 'Talkin' Blues' DVD http://www.guitarworld.com/learn-ins-and-outs-blues-guitar-keith-wyatts-new-talkin-blues-dvd <!--paging_filter--><p>The new <em>Talkin' Blues</em> DVD is <a href="http://guitarworld.myshopify.com/products/talkin-blues-dvd/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=TalkinBluesDVD">available now at the Guitar World Online Store for $14.99!</a> </p> <p>With more than 90 minutes of instruction, <em>Talkin' Blues</em> provides you with 10 in-depth video lessons on essential blues musical elements and guitar-playing techniques. </p> <p>Keith Wyatt's <em>Talkin' Blues</em> DVD will teach you:</p> <p>• Precision string bending<br /> • Low-register phrasing for musical effect<br /> • How to use fills effectively<br /> • Chicken-pickin' phrases for a funky feel<br /> • How to bring your licks to life with accented notes<br /> • Jazz-blues techniques:extensions, alterations and substitutions<br /> • How to make licks groove with swinging eighth notes</p> <p>... and much more to build your blues chops!</p> <p>Your instructor: For more than 35 years, <strong>Keith Wyatt</strong> (who also happens to be a <em>Guitar World</em> columnist) has been active as a guitarist and educator specializing in American music. He is a prolific author of books, instructional videos and columns on subjects ranging from theory and ear training to beginning guitar methods and blues and "roots" styles. </p> <p>Since 1978, Keith has been an instructor at the world-famous Musicians Institute in Los Angeles, where he also serves as Director of Curriculum. Since 1996, he has been touring internationally and recording with LA's legendary Blasters. </p> <p><strong><a href="http://guitarworld.myshopify.com/products/talkin-blues-dvd/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=TalkinBluesDVD">Head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/learn-ins-and-outs-blues-guitar-keith-wyatts-new-talkin-blues-dvd#comments Keith Wyatt News Features Wed, 23 Apr 2014 12:42:36 +0000 Guitar World Staff http://www.guitarworld.com/article/21077 Thirty Guitar Legends — Including Eddie Van Halen, Dimebag Darrell and Jeff Beck — Choose the Song They'd Most Want to Be Remembered By, Part 1 http://www.guitarworld.com/thirty-guitar-legends-including-eddie-van-halen-dimebag-darrell-and-jeff-beck-choose-song-theyd-most-want-be-remembered-part-1 <!--paging_filter--><p><em>From the GW Archive: This feature originally appeared in the May 2002 issue of </em>Guitar World<em>. The story has a "time capsule" theme: We asked several veteran guitarists to choose the one song they'd most want to be remembered by after many years. Here we are, 12 years later (Does that qualify as "many"?), opening the time capsule to examine its contents! Enjoy!</em> </p> <p>A few decades ago, NASA sent a probe called <em>Voyager</em> straight out of the solar system. Its mission: to make contact with alien intelligence. </p> <p>The capsule was crammed with artifacts — including greetings in more than 50 languages — intended to convey information about Earth's cultures. But just in case those items failed to communicate across language barriers, NASA also included a recording of Chuck Berry performing his rock and roll masterpiece "Johnny B. Goode." </p> <p>For a while after <em>Voyager's</em> launch, the joke around the agency was that a reply had been received from an alien civilization: "Forget the scientific shit," went the message. "Send more rock and roll!" But what songs should be sent? We at <em>Guitar World</em> decided the logical place to start would be the musicians themselves. </p> <p>In a project that started almost five years ago (hence the inclusion of George Harrison), we began asking many of the most influential guitarists in rock, blues and metal one deceptively simple question: "If you had to put one of your songs in a time capsule to be opened sometime in the future, which would you choose, and why?" </p> <p><strong>Check out Part 1 of the story below.</strong><br /> <em>Look for Part 2 later this week.</em></p> <p><strong>Eddie Van Halen (Van Halen), "Jump"</strong><br /> <em>1984 (1984)</em></p> <p>"I'll probably be playing "Eruption" at every show for the rest of my life, but I guess my time capsule choice would have to be 'Jump.' At the time I really wanted to do something challenging. </p> <p><em>Diver Down</em>, the album just before <em>1984</em>, was half cover tunes, and I <em>hated</em> it. Our producer had told me his theory that if you redo a hit, you're halfway there. But I'd rather bomb with my own shit than make it with someone else's. </p> <p>So that's when I built my own studio, 5150, which was a major step for me — not to prove any point but just so I could be myself and experiment musically. People were telling me, 'You can't use keyboards, you're a guitar player!" So that's when I wrote 'Jump.' Musically, it was a real departure. We had the challenge of integrating the keyboards and synths with the guitar for the first time. </p> <p>"The word 'pop' comes from 'popular,' meaning a lot of people like it. Ninety-nine percent of the reason I make music is to, hopefully, touch people with it. And this one touched the most people — so far."</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/ap2J9RbXaP4" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Dimebag Darrell (Pantera), "Fucking Hostile"</strong><br /> <em>Vulgar Display of Power (1992)</em></p> <p>"I think the kind of music we play will stand the test of time for however long. But if I had to pick just one, I'd go with the powerful, off-the-cuff statement that is 'Fucking Hostile.' </p> <p>"When it came out it definitely set the tone and pace for what we were about. I also think our boy Philip [<em>Anselmo, vocals</em>] got it perfectly right lyrically and we got it perfectly right musically. </p> <p>"So I believe that if somebody heard this song 500 million years from now, they'd go, 'Goddamn, these motherfuckers knew what they were talking about and sure had their jamming skills down'. Plus, I think people will always be hostile, which is another reason I went with this one."</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/E929gqIcwwI" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>John Paul Jones (Led Zeppelin) </strong> </p> <p><strong>"D'yer Mak'er,"</strong> <em>Houses of the Holy (1973)</em><br /> <strong>"Stairway To Heaven,"</strong> <em>Led Zeppelin IV (1971)</em></p> <p>"I'd put 'D'yer Mak'er' in a time capsule so I would never have to hear it again or have to explain how to pronounce the title. There were only two types of rhythms that Bonzo [<em>John Bonham, drums</em>] hated playing — shuffles and reggae. </p> <p>"We were jamming in the latter style at Stargroves, the house we rented from Mick Jagger, and John was going along with it out of politeness, I think. Unfortunately, the jam turning in to a proper song. He did play some marvelous fills, but for me, the whole thing was buttock-clenchingly embarrassing. </p> <p>"I would also include 'Stairway To Heaven,' but for more positive reasons. It contains all the classic Zep elements, from folk/Celtic through jazz and r&amp;b to hard rock. It also encapsulates the soft-to-heavy dynamics that the band was famous for. </p> <p>"As for my own performance, it made me smile when a journalist once told me that he considered the bass line at the end of the song one of the finest ever recorded. Unfortunately, it happens to be underneath one of the finest <em>guitar</em> solos ever recorded!"</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/5xmVEqp17DU" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/w9TGj2jrJk8" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>Kirk Hammett (Metallica), "Motorbreath"</strong><br /> <em>Kill 'Em All (1983)</em> <p>"I chose it because it has the breakneck tempo we were so fond of in our early days — plus the lyrics set the tone for our lives over the next 10 years. </p> <p>"And unlike the songs we wrote later, 'Motorbreath' is under four minutes long!"</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/pqjHsV1fkhg" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Robby Krieger (The Doors), "Light My Fire"</strong><br /> <em>The Doors (1967)</em></p> <p>“I feel that ‘Light My Fire’ encapsulates the feel of the 1967 Summer of Love. Being in San Francisco or anywhere in California that summer seemed to be the beginning of a whole new way of life. One day at rehearsal, Jim [Morrison, vocals] suggested we all try and write some songs. I went home that night and wrote ‘Light My Fire’—it was the first song I’d ever written. </p> <p>"The long solo section was based on the modal playing of jazz great John Coltrane. Up until Miles Davis did <em>Kind of Blue</em> and Coltrane recorded ‘My Favorite Things,’ jazz had been mainly bebop, which involved a lot of fast, tricky chord changes. </p> <p>"So these guys thought, It’s easy to play over a bunch of chords and sound cool—but what can you do over just one or two chords? Can you play something that’s not just pentatonic—that’s based on a mode, a scale—over one chord, and take it farther out than anybody else has gone? </p> <p>"That was the start of modal playing, which influenced many rock musicians. My long, modal solo in this song was done over the same two chords John Coltrane soloed over on his version of ‘My Favorite Things’—A minor and B minor. So ‘Light My Fire’ helped light a fire for a new generation and opened people’s minds to a new vision. Almost four decades later, the song seems to remain timeless.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/cq8k-ZbsXDI" frameborder="0" allowfullscreen></iframe></p> <p><strong>Warren Haynes (Gov't Mule), "Mule"</strong><br /> <em>Gov't Mule (1995)</em></p> <p>"'Mule' is a uniquely Gov't Mule song. I've never hear another song that sounds similar to it. </p> <p>"There are riffs that could be traced back to some of our early influences — which stretch from Cream to Hendrix to Miles Davis and James Brown — but the way the thing is structured doesn't really remind me of another song. And that was always important to us — that most of our songs can't be traced directly back to other songs. </p> <p>"'Mule' was written at the last minute in rehearsal, right before recording, and it's a first take, so that solos were on the fly — totally spontaneous. It has an awesome bass like from Allen Woody and [Blues Traveler vocalist] John Popper guests on harmonica. </p> <p>"And it has a political message; the title refers to the fact that when the America slaves were free they were promised '40 acres and mule' by the U.S. government, which most never received. Here we used ti as a broader metaphor about social oppression in so many aspects of modern society."</p> <hr /> <p><strong>Joe Satriani, "Time"</strong><br /> <em>Live In San Fransisco (2001)</em></p> <p>“If we can assume that they have DVD players in the future, then I would pick ‘Time’ from the Live in San Francisco DVD, because, for better or worse, it captures what we actually do night after night around the world. </p> <p>"Although it’s near impossible for me to look at myself on a television screen, I’ve learned to accept that that’s what everyone’s been seeing and hearing for all these years, and I have not yet been thrown in prison for doing it.</p> <p>“The song is interesting to me, compositionally, because the verse is almost like a child’s melody played over the simplest riff. Then the second part of the song jumps into all of this complex harmony and a whole bunch of key changes. The solo section recreates the same scheme, and eventually the song changes meter. The song provides a wild journey of how to construct an interesting instrumental.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/jh-9il2Lw38?list=PL9F83FA973EEE68A2" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Ace Frehley (Kiss), "Shock Me"</strong><br /> <em>Love Gun (1977)</em></p> <p>“I picked this song not only because it’s a well-known Kiss anthem but because it has deep personal significance for me. The song is based on an actual life-threatening experience I had onstage with Kiss in the Seventies in Lakeland, Florida. </p> <p>"At the beginning of the concert I was coming down the staircase and when my hand touched the railing I was electrocuted, thrown back and knocked out for about 10 seconds. </p> <p>"The roadies carried me down the rear staircase, behind the wall of Marshalls. I woke up with electrical burns on my hands and totally shaken. Paul [Stanley] announced what had happened, and the concert was delayed for approximately 10 minutes. The whole audience starting chanting ‘We want Ace, we want Ace!’</p> <p>“I was so disoriented from the incident that I really didn’t think I was going to be able to do the show. But when I heard 15,000 people chanting my name, my adrenaline started pumping and all I could think was, The show must go on! I continued, even though I had almost no feeling in my hand for the remainder of the concert. All I can say is thank God my guardian angel was hovering above me that evening.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/3slccS4nslI" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Jeff Beck, "Where Were You"</strong><br /> <em>Jeff Beck's Guitar Shop (1989)</em></p> <p>“This is probably the best thing I ever wrote, and it’s a milestone in my playing. It’s where I began to forge a unique new style. The key thing was discovering how I could use bent harmonics. </p> <p>"That’s basically taking false harmonics and, by bending the whammy bar, constructing melodies and tunes with it—which is something I took even farther on my last album, <em>You Had It Coming</em>. The inspiration for ‘Where Were You’ was the Bulgarian female choir record <em>Mystere des Voix Bulgares</em>. It’s so astonishing when you hear it—it’s like a religious experience. </p> <p>"When these women all hit a note together, it’s the most amazing sound you’ve ever heard. They sing these kind of broken scales with quarter-tone intervals. It’s extremely emotional music. I realized this was another tonal palette I could experiment with, because the guitar is capable of doing that, particularly with bent harmonics and the whammy bar.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/NomkmxUgzps" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Michael Schenker (M56) "Lipstick Traces"</strong><br /> <em>UFO-Phenomenon (1974)</em></p> <p>“This is one of the first songs I did with UFO, when I was just 18 years old. I’m sure I could pick it apart and find places where a bend is out of tune or something, but the song itself has always been magical for me. </p> <p>"I have always had very good technique and that has been important to me, but it is not an end in itself—it is a means of expressing just what you want to say, and I feel I did that with this beautiful melody. </p> <p>"I express every emotion I have through my music—from the darkest and angriest to the most passionate and joyful—but ultimately I have to pick the song that gives me the biggest sense of calm and pace. Because when it comes down to it, I am a romantic guy.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/az6SKfnf3QA" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Tom Morello (Rage Against The Machine), "Killing in the Name"</strong><br /> <em>Rage Against The Machine (1992)</em></p> <p>“ ‘Killing in the Name’ contains some of my favorite elements of guitar playing: it’s got the huge riff, the propulsive chorus and the ‘angry insect’ guitar solo. </p> <p>"The song also features a dissonant breakdown, followed by the ‘cavalry charge’ outro, which makes for a fine rocking time all around. These are all things that I enjoy, and that was the very first time they all came together in one song. ‘Killing in the Name’ was RATM’s first single, and it launched our sound as a band as well as my sound as a guitarist in a defining way. </p> <p>"I have two parallel voices in my guitar playing—the quirky-noises-as-musical-passages concept and the anthemic riffage—and they are well-represented in this song.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/munNQPuhX3g" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Joe Strummer (The Clash), "If Music Could Talk"</strong><br /> <em>Sandinista! (1980)</em></p> <p>“On my recent album, <em>Global a Go-Go</em>, I had this breakthrough where I was able to do the album from my intuition rather than from my intellect. Me and the band just turned up every day, and it was like the music was telling us what to play. Music, lyrics, solos—it was all of one piece, done in the moment. </p> <p>"When I think back, the only similar experience happened when the Clash hit New York after touring, and we went right into the Sandinista! sessions. It was very similar in that we had nothing prepared, and a lot of the album just took off by itself. On ‘If Music Could Talk’ I recorded two vocals: one on the left side of the stereo mix, and the other on the right side. And the two vocals were done one right after the other. </p> <p>"I just love hearing those vocals, even though it doesn’t fuckin’ work that well, because I can hear myself extemporizing, straight off the bat, on my feet, in the moment. And as I was reminded on my last album, music really can talk—to us and through us.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/RwxNLgAkOq4" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>George Harrison (The Beatles), "While My Guitar Gently Weeps"</strong><br /> <em>The Beatles (1968)</em></p> <p>“When we actually started recording this song it was just me playing the acoustic guitar and singing it [this version appears on the Beatles’ <em>Anthology 3</em>—GW Ed.], and nobody in the group was interested. Well, Ringo [Starr, drums] probably was, but John [Lennon, guitar/vocals] and Paul [McCartney, bass/vocals] weren’t. </p> <p>"When I went home that night I was really disappointed. I thought, Well, this is really quite a good song—it’s not as if it’s shitty! The next day I happened to drive back into London with Eric Clapton, and while we were in the car I suddenly said, ‘Why don’t you come and play on this track?’ </p> <p>And he answered, ‘Oh, I couldn’t do that—the others wouldn’t like it.’ Eric was reluctant because there hadn’t ever been any prominent musicians on our records. Finally, I said, ‘Well, sod them! It’s my song and I’d like you to come down to the studio.’ </p> <p>"So Eric showed up, and suddenly everybody started behaving and not fooling around so much. And the song came together nicely. Eric didn’t think his playing sounded ‘Beatles-ish’ enough. So we put the ‘wobbler’ on it, which is what we called ADT [Artificial Double Tracking, the basis of flanging—GW Ed.] </p> <p>"When I played it in concert with Eric over the years he would play it differently every night. Gary Moore did some shows with me and he also played exceptionally well on this one. I think guitar players like this song because it was structured in a way that gives them the greatest excuse to just wail away.” </p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/YXdE9wxg8YI" frameborder="0" allowfullscreen></iframe></p> <p><em>Stay tuned for PART TWO of "One for the Ages" Monday, November 18.</em></p> http://www.guitarworld.com/thirty-guitar-legends-including-eddie-van-halen-dimebag-darrell-and-jeff-beck-choose-song-theyd-most-want-be-remembered-part-1#comments Articles Dimebag Darrell Eddie Van Halen GW Archive Jeff Beck John Paul Jones May 2002 Interviews News Features Magazine Tue, 22 Apr 2014 15:04:50 +0000 Guitar World Staff http://www.guitarworld.com/article/19473 May 2014 Guitar World: Zakk Wylde & Joe Satriani, How to Build a Pedal Board, John Frusciante, Death Angel, Tabs, Lessons and More http://www.guitarworld.com/may-2014-guitar-world-zakk-wylde-joe-satriani-how-build-pedal-board-john-frusciante-death-angel-tabs-lessons-and-more <!--paging_filter--><p><strong>The all-new May 2014 issue of Guitar World is <a href="http://guitarworld.myshopify.com/products/guitar-world-may-14-zakk-wylde-joe-satriani/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWMAY14">available now!</a></strong></p> <p>In the new May issue, <strong>Zakk "The Beast" Wylde</strong> and <strong>Joe "The Professor" Satriani</strong> meet up to riff on their craziest concert moments, Jimmy Page, and the state of rock guitar in 2014. Also, in an excerpt from his new autobiography, <em>Strange Beautiful Music: A Musical Memoir</em>, Satriani recalls the making of tracks from his breakthrough album, <em>Surfing with the Alien</em>.</p> <p>In addition, learn how <strong>Death Angel</strong> was poised to be metal's next big thing, until a horrific accident brought their ascent to a halt. Guitarist Rob Cavestany looks back at the group's rise and fall, and the rebirth that has brought them hard-won success.</p> <p>Later on, <strong>John Frusciante</strong>, the former Red Hot Chili Pepper, keeps the home fires burning with his latest solo effort, <em>Enclosure</em>, and tells why his performing days are behind him.</p> <p>Finally, want to master speed, precision and control in your guitar playing? An in-depth guide to hybrid picking will have you playing like a pro in no time.</p> <p>PLUS: <strong>Mastodon, Memphis May Fire, George Lynch, Skaters, Donovan</strong> and much more!</p> <p><strong>Five Songs with Tabs for Guitar and Bass</strong></p> <p> • Joe Satriani - "Summer Song"<br /> • Darius Rucker - "Wagon Wheel"<br /> • Red Hot Chili Peppers - "Dani California"<br /> • Black Label Society - "Stillborn"<br /> • Of Mice &amp; Men - "You're Not Alone"</p> <p><strong><a href="http://guitarworld.myshopify.com/products/guitar-world-may-14-zakk-wylde-joe-satriani/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWMAY14">The May 2014 issue of Guitar World is available now at the Guitar World Online Store!</a></strong></p> http://www.guitarworld.com/may-2014-guitar-world-zakk-wylde-joe-satriani-how-build-pedal-board-john-frusciante-death-angel-tabs-lessons-and-more#comments May 2014 News Features Tue, 22 Apr 2014 15:02:06 +0000 Guitar World Staff http://www.guitarworld.com/article/20938 The 50 Heaviest Rock Songs Before Black Sabbath — Songs 50 to 41 http://www.guitarworld.com/50-heaviest-songs-black-sabbath-50-41 <!--paging_filter--><p>The origin of heavy metal is a very fuzzy thing, but most historians and fans can agree that Black Sabbath’s eponymous 1970 debut was the first true heavy metal album. </p> <p>Its thunderous drums, sinister riffs and downright evil lyrics left little to be debated. But what we wanted to know was this: What was the heaviest song <em>before</em> Black Sabbath?</p> <p>We ranked the the following songs based on a variety of factors: distortion/fuzz, playing speed, "darkness," volume, shock value and, most importantly, the song had to have been released before mid-February 1970, when <em>Black Sabbath</em> was unleashed unto the universe. </p> <p>And sure, it would've been easy to list all the songs on the first two Led Zeppelin albums and call it a day, but we wanted to go deeper than that. We dug deep to find some hidden gems from the era of peace and love. </p> <p>NOTE: We will be presenting these songs in installments. Check out the first list of 10 below; we'll post the next 10 songs later this week! Until then, enjoy!</p> <p><strong>50. The Troggs, "Wild Thing" (1966)</strong></p> <p>This bit of caveman rock, written by Chip Taylor (actor Jon Voight’s brother), is the only song on this list to feature an ocarina solo.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Hce74cEAAaE" frameborder="0" allowfullscreen></iframe> </p> <hr /> <p><strong>49. The Yardbirds, “Happenings Ten Years Time Ago” (1966)</strong></p> <p>Jeff Beck and Jimmy Page teamed up on this elaborate, psychodramatic masterpiece to contribute slashing rhythm parts, zig-zagging lead lines and a witty imitation of a police car’s siren.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/0AF8yMx9SvE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>48. The Who, "My Generation" (1965)</strong></p> <p>Studio version not heavy enough for you? There’s always the explosive — literally — <em>Smothers Brothers Comedy Hour</em> version from 1967. Pete Townshend’s ears are still smarting from it. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/7xZOrWK6d4g" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>47. Coven, "Pact With Lucifer" (1969)</strong></p> <p>Jinx Dawson was Doro before there was a Doro. Coven makes the list for their occult themes and evil-sounding song titles like “Pact With Lucifer,” “Choke, Thirst, Die” and “Dignitaries of Hell,” but ultimately the music just wasn’t that heavy. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/iK7-H-DX5Uw" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>46. The Guess Who, “American Woman” (1970)</strong></p> <p>After luring in listeners with a sweet acoustic blues intro, Burton Cummings, Randy Bachman &amp; Co. hit the stompboxes and showed the world what Led Zeppelin would’ve sounded like if they were Canadian. This one came out in January 1970 — mere weeks before Black Sabbath would redefine heavy. </p> <object width="620" height="365"><param name="movie" value="http://www.youtube.com/v/gkqfpkTTy2w?fs=1&amp;hl=en_US&amp;rel=0" /><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><embed type="application/x-shockwave-flash" width="620" height="365" src="http://www.youtube.com/v/gkqfpkTTy2w?fs=1&amp;hl=en_US&amp;rel=0" allowfullscreen="true" allowscriptaccess="always"></embed></object> <hr /> <p><strong>45. Pink Floyd, "Interstellar Overdrive" (1967)</strong></p> <p>The song that launched a thousand space-rock bands. </p> <object width="620" height="365"><param name="movie" value="http://www.youtube.com/v/2iA7wdO00VI?fs=1&amp;hl=en_US&amp;rel=0" /><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><embed type="application/x-shockwave-flash" width="620" height="365" src="http://www.youtube.com/v/2iA7wdO00VI?fs=1&amp;hl=en_US&amp;rel=0" allowfullscreen="true" allowscriptaccess="always"></embed></object><hr /> <p><strong>44. The Count Five, "Psychotic Reaction" (1966)</strong></p> <p>The Count Five’s only hit single was this blatantly Yardbirds-inspired gem from 1966. The band, who were all between the ages of 17 and 19, split up a year later to pursue college degrees. Remember, kids, there’s nothing heavier than an education!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/wseRJQdojIg" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>43. The Wailers, “Out of Our Tree” (1966)</strong></p> <p>A fun, fuzzed-out offering from the Tacoma-based Wailers, one of the first American garage rock bands. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/LIAs-EBPNek" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>42. Sam Gopal, "Season of the Witch" (1969)</strong></p> <p>Sam Gopal was the first percussionist to bring tabla drums back from India and incorporate them into rock music. However, his 1969 album, <em>Escalator</em>, was a landmark in rock music for another reason: It featured, on vocals and guitar, a young Ian Kilmister. You may know him better as “Lemmy.” </p> <object width="620" height="365"><param name="movie" value="http://www.youtube.com/v/0KGgOFFQxnY?fs=1&amp;hl=en_US&amp;rel=0" /><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><embed type="application/x-shockwave-flash" width="620" height="365" src="http://www.youtube.com/v/0KGgOFFQxnY?fs=1&amp;hl=en_US&amp;rel=0" allowfullscreen="true" allowscriptaccess="always"></embed></object><hr /> <p><strong>41. Cream, "Sunshine of Your Love" (1967)</strong></p> <p>This song was written by Cream bassist Jack Bruce in a burst of inspiration after watching a Jimi Hendrix concert. Hendrix would cover the song a year later, adding some burning guitar licks in place of the lyrics.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/RhzF2K2b7Xo" 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="/cream">Cream</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/50-heaviest-songs-black-sabbath-50-41#comments 50 Heaviest Songs Before Black Sabbath Cream The Yardbirds Guitar World Lists News Features Mon, 21 Apr 2014 12:37:28 +0000 Damian Fanelli, Josh Hart http://www.guitarworld.com/article/10950 'Dale Turner's Guide to Acoustic Rock Guitar' Parts 1 and 2 — Ultimate DVD Guides for Acoustic Rock Guitarists http://www.guitarworld.com/dale-turners-guide-acoustic-rock-guitar-parts-1-and-2-ultimate-dvd-guides-acoustic-rock-guitarists <!--paging_filter--><p>Save almost 17 percent by buying <em><a href="http://guitarworld.myshopify.com/products/combo-offer-dale-turners-guide-to-acoustic-rock-guitar-part-1-2-dvd/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=AcousticDVDpack">Dale Turner's Guide to Acoustic Rock Guitar Parts 1 and 2</a></em> together in this awesome combo pack. </p> <p>With more than four hours of total instruction, this combo pack makes up the ultimate DVD guide for acoustic rock guitar players!</p> <p>With these two DVDs, you'll learn the acoustic rock secrets of:</p> <p>• Randy Rhoads<br /> • Zakk Wylde<br /> • John Mayer<br /> • Eric Clapton<br /> • Dave Matthews<br /> • Neil Young<br /> • Steve Morse<br /> ... and many more!</p> <p>You'll also be taught:</p> <p>• Basic and Intermediate Soloing<br /> • Tapped &amp; Slapped Harmonics<br /> • Basic Strumming Patterns<br /> • Acoustic Blues<br /> • Economy &amp; Hybrid Picking<br /> • Arpeggiated Chords<br /> • Travis Picking<br /> ... and much more! </p> <p>Your instructor, Dale Turner, is a teacher at Hollywood's legendary Musicians Institute and a <em>Guitar World</em> magazine columnist. Turner also is the author of more than 50 instructional books, including <em>Power Plucking- A Rocker's Guide to Acoustic Fingerstyle Guitar</em>. You can hear his masterful playing on his album <em>Mannerisms Magnified</em>, available through Amazon.com.</p> <p><strong>NOTE: This DVD includes a .pdf file with tabs. To access the .pdf file insert the DVD into your computer. Windows users should access the DVD drive through the 'Computer' folder on their task bar. The DVD name will appear in the DVD drive of this folder. Right click the DVD name and select Open to access the .pdf file with tabs.</strong></p> <p><strong><a href="http://guitarworld.myshopify.com/products/combo-offer-dale-turners-guide-to-acoustic-rock-guitar-part-1-2-dvd/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=AcousticDVDpack">Check out these DVDs now at the Guitar World Online Store!</a></strong></p> http://www.guitarworld.com/dale-turners-guide-acoustic-rock-guitar-parts-1-and-2-ultimate-dvd-guides-acoustic-rock-guitarists#comments Dale Turner News Features Mon, 21 Apr 2014 12:34:59 +0000 Guitar World http://www.guitarworld.com/article/20965 The Top Ten Slow Guitar Solos http://www.guitarworld.com/top-ten-slow-guitar-solos <!--paging_filter--><p>Remember those old Bugs Bunny cartoons where a pompous Bugs would race a tortoise—and lose? The moral of the story: slow and steady wins the race. </p> <p>The same principle can hold true with guitar solos.Spitting out sixteenth notes at 200 beats per minutes isn’t always the most winning approach; sometimes, a lead calls for a little less hands and a little more heart. </p> <p>So let’s step back, take a breather and examine some of rock guitar’s greatest slow burns. </p> <p><strong>01. “’Cause We’ve Ended As Lovers” — Jeff Beck </strong></p> <p>Jeff Beck’s electric guitar work contains enough moments of sonic brilliance to fill up most any top ten list. For our purposes we’ll go with his take on this Stevie Wonder–penned instrumental, from 1975 <em>Blow By Blow</em>, on which Beck opens with a gently moaning major 2nd to root C interval that rises and falls like a caterwauling alley cat, setting up the fluid, vocal-like phrases that follow.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/_o3CIa3nrZE" frameborder="0" allowfullscreen></iframe></p> <p><strong>02. “Something” — The Beatles</strong></p> <p>The “Quiet Beatle” steps out of Paul and John’s writing shadow and pens his first song to be released as an A-side on the Beatles’ 1969 <em>Come Together</em> single. George Harrison’s “Something” is lauded for its lush melody and tender lyricism, but guitarists will note Harrison’s deft guitar solo that follows the operatic bridge as a characteristic example of his reserved, yet highly tuneful style.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/IrW7dlDHH28" frameborder="0" allowfullscreen></iframe></p> <p><strong>03. “The Messiah Will Come Again” — Roy Buchanan</strong></p> <p>An often duplicated, but distinctly underrated guitarist, Buchanan inspired no less than a few of rock’s most recognizable players, including Jeff Beck and Gary Moore. </p> <p>This haunting A-minor piece opens like Faustian theater, with gloomy organ and prophetic, spoken-word lyrics. When Buchanan finally unleashes on his Telecaster, the droning notes cut through the mix and wail with eerie vocalization. Check out the expert volume swells at 4:30, a Buchanan trademark.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/deeBQZ8Aklc" frameborder="0" allowfullscreen></iframe></p> <p><strong>04. “Brothers In Arms” — Dire Straits</strong></p> <p>The title track from Dire Strait’s chart-topping 1985 album is often overshadowed by the flashier “Money for Nothing” and “Walk of Life,” but this somber, G# minor track has found a place as background music in films such as <em>Spy Game</em>, and television shows <em>Miami Vice</em> and <em>The West Wing</em>. While Knopfler opens and closes the song with a tasteful indulgence of front-pickup soloing, it’s the longer, tone-soaked lead at the end that showcases his soulful, fingerpicked sound.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/au4MRhg5BHE" frameborder="0" allowfullscreen></iframe></p> <p><strong>05. “Parisienne Walkways” — Gary Moore </strong> </p> <p>Moore is no slouch when it comes to burning a fretboard, and the Irish rocker does taper off unto some excessively speedy bits towards the end of this instrumental version of his 1979 U.K. hit (the long, descending trill at 6:15 is particularly note-worthy). The majority of this live version of “Walkways,” however, is laden with Moore’s subtle vibrato and stratospheric string bending. The song was intended to show off the former Thin Lizzy guitarist’s blues prowess, and has left few Moore detractors in its wake.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/vkUpfw4Hf3w" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>06. “Shine On You Crazy Diamond” — Pink Floyd </strong></p> <p>It took David Gilmour little more than a heavily compressed Stratocaster, some reverb and a mound of mourning for his detached former bandmate, Syd Barrett, to create the melancholic opening to the nine-part centerpiece from 1975’s <em>Wish You Were Here</em>. </p> <p>Supposedly, Barrett visited Abbey Road Studios in London during the album’s recording, but as the story goes Gilmour, along with the rest of his band, didn’t recognize the former Floyd leader due to his drastically altered appearance.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/X5Ka1uOP0Pg" frameborder="0" allowfullscreen></iframe></p> <p><strong>07. “Since I’ve Been Loving You” — Led Zeppelin </strong></p> <p>“Since I’ve Been Loving You” was outfitted in Zeppelin’s live set before the recording of <em>Led Zeppelin III</em> began and remained a staple of their show until the band’s dissolution in 1980. Though for the song’s main solo Jimmy Page delivers screaming C minor and C minor pentatonic runs, he opens the tune with a 45-second passage of beautifully restrained phrases.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/_ZiN_NqT-Us" frameborder="0" allowfullscreen></iframe></p> <p><strong>08. “The Thrill Is Gone” — B.B. King </strong></p> <p>Emotive solo work is the cornerstone of blues guitar, and it’s only appropriate King’s highest charting hit contains some of his most dark and chilling leads. </p> <p>The song, written by Rick Darnell and Roy Hawkins, showcases the most prominent techniques that made B.B. King a household name, including deep string bends and an impossibly wide vibrato.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/4fk2prKnYnI" frameborder="0" allowfullscreen></iframe></p> <p><strong>09. “Riviera Paradise” — Stevie Ray Vaughan </strong></p> <p>The final track on Vaughan’s final studio album with Double Trouble features some of his most delicate playing. Legend claims the album’s engineer noticed as the band was recording “Riviera Paradise” that the tape reel was about to run out. To no avail, he tried to warn the distracted band they might lose the recording. The song clocked in at nine minutes, finishing at the exact moment the reel of tape stopped.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/LUiYRxAns5A" frameborder="0" allowfullscreen></iframe></p> <p><strong>10. “Bell Bottom Blues” — Derek and the Dominos</strong></p> <p>A list of slow guitar solos wouldn’t be complete without the inclusion of Eric “Slowhand” Clapton himself. </p> <p>And while “Layla” garners most of the accolades on Derek &amp;the Dominos’ only studio album, “Bell Bottom Blues,” which features only Clapton on guitar (Duane Allman didn’t sign on until after the song’s recording), is a tour de force in its own right. </p> <p>Heavy-handed string bends and a pushed, as opposed to pulled, vibrato lend “Bell Bottom Blues” a gracefulness that counters the furious passion of “Layla,” and reaffirms Clapton as one of rock’s premier soloists.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/fZNL0wvIj78" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/top-ten-slow-guitar-solos#comments Top 10 Guitar World Lists News Features Fri, 18 Apr 2014 13:10:27 +0000 Tony Grassi http://www.guitarworld.com/article/3101 New Book: Learn to Play 26 Kiss Classics http://www.guitarworld.com/new-book-learn-play-26-kiss-classics <!--paging_filter--><p>We have a new book at the <a href="http://guitarworld.myshopify.com/products/the-best-of-kiss/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=BestOfKiss">Guitar World Online Store.</a></p> <p><em>The Best of Kiss</em> features transcriptions and tabs for 26 Kiss classics, including "Detroit Rock City," "Deuce," "Hard Luck Woman," "I Was Made for Lovin' You," "Lick It Up," "Love Gun," "Rock and Roll All Nite," "Shock Me," "Strutter" and many more.</p> <p>The 168-page book is available now for $24.95.</p> <p><strong><a href="http://guitarworld.myshopify.com/products/the-best-of-kiss/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=BestOfKiss">For more information, visit the Guitar World Online Store.</a></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Gcj34XixuYg" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/new-book-learn-play-26-kiss-classics#comments News Features Fri, 18 Apr 2014 13:09:41 +0000 Guitar World Staff http://www.guitarworld.com/article/20735 Dog Camp: Richie Kotzen and Mike Portnoy Discuss the Winery Dogs' Immersive New Camp for Musicians http://www.guitarworld.com/dog-camp-richie-kotzen-and-mike-portnoy-discuss-winery-dogs-immersive-new-camp-musicians <!--paging_filter--><p>If you've ever wanted to get up close and personal with three of rocks' most talented musicians, here’s your opportunity. </p> <p>Richie Kotzen, Billy Sheehan and Mike Portnoy — better known as the Winery Dogs — have announced Dog Camp, their first-ever immersive program for aspiring musicians of all ages and levels.</p> <p>The event is set for July 21 to 25, 2014, at Full Moon Resort in Big Indian, New York.</p> <p>Attendees will be able to take part in instrument specific clinics and will learn about songwriting mechanics and the music industry. They'll even get to enjoy intimate performances by the Winery Dogs.</p> <p>If you’re a guitarist, bassist or drummer, there’s a course path for you to follow. But Dog Camp promises to be a deeper experience; the campers will be living, hanging out and jamming together. You’ll also be able to ask the hosts as many questions as as you want — and Kotzen, Sheehan and Portnoy will initiate one-on-one and group sessions to help you realize your goals as a player.</p> <p>I recently spoke to Kotzen and Portnoy about Dog Camp and what’s next for the band.</p> <p><strong>GUITAR WORLD: What was the reason behind the inaugural Dog Camp?</strong></p> <p><strong>Kotzen</strong>: It was something that was brought to our attention by our manager. Billy and I have done our fair share of clinics and have also participated in Rock and Roll Fantasy Camp. The idea of being in a position where you can actually sit and talk and play with people who are buying your records or are listening to what you do is inspiring.</p> <p><strong>What will a typical day be like?</strong></p> <p><strong>Kotzen</strong>: There will be a lot of one-on-one time and in groups. We’ll also have opportunities to play together, but not just cover songs. I really want to address improvisation and being able to unlock yourself and play with other people. </p> <p>I also like getting involved in what I call “concepts." Asking yourself, “Why am I learning the instrument and what are my goals and objectives?” Then we can start talking about how you can get there. For me, I use the guitar as a creative outlet to express myself; my biggest ongoing goal is to make the connection between me the person and the music that you hear.</p> <p><strong>Portnoy</strong>: We plan to do a lot of things individually and collectively. The "collectively" being the Winery Dogs doing special intimate shows and situations where the three of us will be open to question-and-answer sessions and playing unique things people won’t normally get at a traditional concert. </p> <p>Individually, we’ll be doing classes where we talk about our instruments, the business and industry and jamming with fellow musicians and campers. It’s going to be a very unique experience.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/IhClnCPoLeU" frameborder="0" allowfullscreen></iframe></p> <p><strong>What would you like campers to take away from this experience?</strong></p> <p><strong>Kotzen</strong>: The feeling of growth and knowing that you’ve learned something. This camp is an opportunity to share ideas and music and to grow as a musician and as a person. We may be the ones being asked the questions, but sometimes during the reveal I’ll gain a new found perspective on myself. I’m really looking forward to that.</p> <p><strong>Portnoy</strong>: I think it’s important for campers to remember that making music is not just about playing a drum solo in your bedroom or concentrating solely on technique. It’s about communicating with other musicians. For me, the interest is getting into it with other musicians and talking about it in a band scenario.</p> <p><strong>What can you tell me about the new <em>Special Edition Winery Dogs</em> compilation?</strong></p> <p><strong>Portnoy</strong>: <em>The Winery Dogs Special Edition</em> is a two-disc CD set that has a re-issue of the album on the first disc. The second disc contains 10 live tracks from Japan, including several covers and unreleased songs. It also has an expanded booklet with live shots. </p> <p>We also have the <em>Dog Treats</em> box set, which, in addition to the <em>Special Edition</em> set, includes a bonus disc of all of the demos we did in 2012 (before the album), a DVD with the music videos and interviews, a big booklet with my studio diary from the making of the record and little “treats” like a dog patch and dog tag.</p> <p><strong>Mike, why did you decide to include a studio diary?</strong></p> <p><strong>Portnoy</strong>: I’ve always been a stickler for detail and documenting things and organizing facts. When I was doing the studio diary, I wanted to get very specific about how a song came together. It’s interesting to read it and see the history behind every song. Like which ones came from Richie or which ones we came with on the spot or which songs morphed from other songs and demos. It’s a cool insight into not only the making of the record, but also the very beginning of the relationship of the guys in the band.</p> <p><strong>Can you give us an update on your tour plans and new Winery Dogs music?</strong></p> <p><strong>Portnoy</strong>: We’ll be out on the road April to August and plan on getting the follow-up album out in 2015. We’ve already written one new song that’s going to be in the live set.</p> <p><strong>You’ve all been involved in other bands and projects over the years. What do you enjoy most about being in the Winery Dogs?</strong></p> <p><strong>Kotzen</strong>: I really enjoy the notion of being in a band where everyone is able to share the load. It’s kind of like being on a really strong basketball team in the sense that you have three guys who are all capable of putting up points instead of just relying on one guy. That’s my favorite aspect of all.</p> <p><strong>Portnoy</strong>: For me, it’s about working with Billy and Richie. They’re musicians I have the utmost respect for and am a huge fan of. Stylistically, I enjoy being able to play something that is straight-up classic rock. I love prog and am the ambassador to prog music for this generation, but my musical taste is very broad. Every once in a while, it’s nice to get into Zeppelin, Who and Beatles mode, and I get to do that with the Winery Dogs.</p> <p><Strong>For more information on Dog Camp, visit <a href="http://winerydogcamp.com/">winerydogcamp.com</a>. For more about the Winery Dogs, visit <A href="http://www.thewinerydogs.com/">thewinerydogs.com</a>.</strong></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href="http://gojimmygo.net/">GoJimmyGo.net</a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="https://twitter.com/JimEWood">Twitter @JimEWood.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/richie-kotzen">Richie Kotzen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/dog-camp-richie-kotzen-and-mike-portnoy-discuss-winery-dogs-immersive-new-camp-musicians#comments Mike Portnoy Richie Kotzen The Winery Dogs Videos Interviews News Features Wed, 16 Apr 2014 10:38:15 +0000 James Wood http://www.guitarworld.com/article/21018 Guitarist Rob Cavestany Looks Back at the Rise, Fall and Rebirth of Death Angel http://www.guitarworld.com/guitarist-rob-cavestany-looks-back-rise-fall-and-rebirth-death-angel <!--paging_filter--><p><em>This is an excerpt from the May 2014 issue of </em>Guitar World<em>. For the rest of this story, plus features on Zakk Wylde &amp; Joe Satriani, John Frusciante, how to build a pedal board, a complete finger picking lesson, columns, tabs and reviews of new gear from Line 6, Ibanez, Strymon, G&amp;L, Ernie Ball and Orange, <a href="http://store.guitarworld.com/collections/guitar-world/products/guitar-world-may-14-zakk-wylde-joe-satriani/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=ZakkJoeExcerpt">check out the May 2014 issue at the Guitar World Online Store.</a></em></p> <p><strong>Blood Sacrifice: <em>In 1990, Death Angel were poised to be as big as Metallica until a horrific accident brought their ascent to a halt. Guitar Rob Cavestany looks back at the group’s rise and fall, and the rebirth that has brought them hard-won success.</em></strong></p> <p>Sitting in his home studio in Oakland, California, on a bright, breezy afternoon this past January, Cavestany appears to have come through Death Angel’s tribulations having regained a bit of his youthful optimism. </p> <p>The 45-year-old guitarist looks fit and nonchalantly rocks a timeless thrasher look that includes a full head of long black hair, a sleeveless shirt and tattooed arms. He’s also beaming with smiles and, in charming Cali fashion, is <em>hella stoked</em> to explain how a group of teenage cousins won over the Eighties Bay Area thrash scene, imploded, rebuilt and now—30 years later—sound better than ever. </p> <p>We’re soon joined by Cavestany’s six-string wingman, Aguilar, and his affable black lab, London. Over a plate of fresh fruit and cheese (the latter a particular favorite of London’s), Cavestany begins the Death Angel story at a familiar place for many budding rockers who came of age in the Seventies.</p> <p>“Kiss were the main reason why we got into music,” he says between sips of beer. “We had posters all over and we worshipped them. The original lineup of Death Angel were all cousins, so we would give lip-sync performances at family functions.”</p> <p>The jump from lip-syncing to really playing came after Cavestany and Dennis Pepa’s mothers took the boys to Kiss’ 1979 performance at the Cow Palace, outside of San Francisco. Witnessing the larger-than-life set lit a fire under the 11-year-old Cavestany, who made the decision then and there to play an instrument. He started off on drums, but it wasn’t until he picked up his father’s old acoustic guitar that he found his calling. He soon graduated to electric guitar and began exploring even heavier music.</p> <p>“When I started to play guitar, at the very first it was Sabbath, Zeppelin and AC/DC,” Cavestany says. “Then came Priest, Maiden and Scorpions, then Accept, Tygers of Pan Tang, along with Eddie Van Halen, and Randy Rhoads of course, who would have to be my all-time hero.” </p> <p>By 1983, when Cavestany was all of 15, Death Angel—at that time a four-piece featuring Galeon, Gus and Dennis Pepa, and Cavestany on both vocals and guitar—cut their first four-song demo, Heavy Metal Insanity, which reflected their classic metal and NWOBHM inspirations. Cavestany credits his discovery of Metallica as being the turning point when Death Angel’s style evolved into the manic thrashing sound they would become known for. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/GS2x1nqJgkY" frameborder="0" allowfullscreen></iframe></p> <p>“Seeing Metallica play was the next thing after we saw Kiss, when we’re all like, Oh shit! We’ve got to change our style. We’ve got to get heavier and faster,” Cavestany says.</p> <p>Metallica would play a pivotal role in the Death Angel story in more ways than one. After attending a Metallica in-store signing, the guys unexpectedly hit it off with Kirk Hammett. Over the next few years, as Death Angel continued to gig and refine their sound, they would pass their boom-box demos to the guitarist whenever they would run into him at local metal shows. Their persistence paid off when Hammett agreed to produce their second batch of songs, which would become their 1986 <em>Kill as One</em> demo.</p> <p>“Kirk was really nice and always really supportive of us,” Cavestany recalls. “Eventually he heard enough potential to get himself involved, which was very major for us.”</p> <p>Kill as One benefited from Hammett’s production insights as well as the addition of singer Mark Osegueda (another of Cavestany’s cousin), whose style gave the music a fresh thrash flavor and edge that was missing from the old-school sounds on Heavy Metal Insanity. Kill as One became popular among the tape-trading scene, and Death Angel scored key gigs opening for bands like Slayer. Soon, indie label Enigma approached the group with a contract for a full-length record.</p> <p>“I’m sure the novelty is what first got people’s attention,” Cavestany says with a laugh. “Like, These guys are way young, they’re all cousins, and they look like small Chinese girls going crazy onstage!”</p> <p>Riding a wave of youthful exuberance and unwavering confidence, Death Angel blazed through the recording of the songs that would become their debut album, 1987’s <em>The Ultra-Violence</em>. Tracked in three days and mixed in two, their fierce debut confirmed that these kids weren’t a novelty—this was serious thrash on par with many of the older more experienced bands of the scene. It had the speed of early Metallica, the unhinged quality of Slayer and the brazen attack of Anthrax. </p> <p>“We didn’t really second-guess too many things that we were doing,” Cavestany says. “We just went at it relentlessly. We thought it was amazing. Now if I try to play along to that CD, I almost can’t do it because we are so out of control. [laughs] It’s so off, and everyone’s crazy. But it’s got that rawness.”</p> <p>While Death Angel may have managed to get a full-length pressed and catch some people’s attention, they certainly weren’t living on easy street. The guys were still toiling at their day jobs and relying on their families’ support.</p> <p>“I was working at Tower Records when <em>The Ultra-Violence</em> came out,” Cavestany recalls. “And my dad was my main roadie for the first couple of years, buying me equipment and driving me around. Our families couldn’t understand the kind of music we were trying to play, but they were proud of us. My grandmother would come to our shows, and my mom would be there wearing her Death Angel shirt.”</p> <p><em><strong>For the rest of this story, plus features on Zakk Wylde &amp; Joe Satriani, John Frusciante, how to build a pedal board, a complete finger picking lesson, columns, tabs and reviews of new gear from Line 6, Ibanez, Strymon, G&amp;L, Ernie Ball and Orange, <a href="http://store.guitarworld.com/collections/guitar-world/products/guitar-world-may-14-zakk-wylde-joe-satriani/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=ZakkJoeExcerpt">check out the May 2014 issue at the Guitar World Online Store.</a></strong></em></p> <p><em>Photos: Jimmy Hubbard</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="/death-angel">Death Angel</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guitarist-rob-cavestany-looks-back-rise-fall-and-rebirth-death-angel#comments Death Angel May 2014 Interviews News Features Magazine Tue, 15 Apr 2014 20:53:58 +0000 Brad Angle http://www.guitarworld.com/article/20948 Guitar Legends Celebrates 50 Greatest Classic Rock Guitar Songs — with Bonus Instructional DVD http://www.guitarworld.com/guitar-legends-celebrates-50-greatest-classic-rock-guitar-songs-bonus-instructional-dvd <!--paging_filter--><p><em>Guitar Legends: 50 Greatest Classic Rock Guitar Songs</em> — including an instructional DVD with tabs — is <a href="http://guitarworld.myshopify.com/products/guitar-legends-50-greatest-classic-rock-guitar-songs/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=Legends50ClassicRock">available now at the Guitar World Online Store for only $9.99.</a></p> <p>It's a collection of the best classic rock songs of all-time, from Jimi Hendrix, Led Zeppelin and Lynyrd Skynyrd, to Nirvana, the Allman Brothers Band and the Eagles!</p> <p>The editors of <em>Guitar World</em>, the world's best-selling guitar magazine, have compiled an entire issue dedicated to the 50 all-time greatest classic rock songs. The issue celebrates the finest of the classic rock anthems. </p> <p>This diverse list not only details every song and artist, but also provides perspective on how each song has influenced musicians. In <em>Guitar Legends: 50 Greatest Classic Rock Guitar Songs</em>, you'll learn everything there is to know about how classic rock impacted the music world.</p> <p>Also included inside the issue: a 60-minute instructional DVD featuring guitar tabs!</p> <p>DVD video lessons on how to play songs from classic rock greats:</p> <p> The Beatles - "I Saw Her Standing There"<br /> The Rolling Stones - "Honky Tonk Women"<br /> Grateful Dead - "Casey Jones" &amp; "Friend of the Devil"</p> <p><strong><a href="<a href="http://guitarworld.myshopify.com/products/guitar-legends-50-greatest-classic-rock-guitar-songs/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=Legends50ClassicRock">">It's available now at the Guitar World Online Store!</a></strong></p> http://www.guitarworld.com/guitar-legends-celebrates-50-greatest-classic-rock-guitar-songs-bonus-instructional-dvd#comments News Features Tue, 15 Apr 2014 12:18:33 +0000 Guitar World Staff http://www.guitarworld.com/article/21014 Thirty Great Guitarists — Including Steve Vai, David Gilmour and Eddie Van Halen — Pick the Greatest Guitarists of All Time http://www.guitarworld.com/30-30-greatest-guitarists-picked-greatest-guitarists <!--paging_filter--><p>Who is the greatest guitarist on the planet?</p> <p>On the face of it, that question is a no-brainer: It's Hendrix. Or Clapton. Or Page. Or Beck. Or ... is it? </p> <p>In 2010, as <em>Guitar World</em> was celebrating its 30th anniversary, we picked 30 guitarists and asked them to name their guitar heroes — and the results will surprise you. </p> <p><strong>ANGUS YOUNG by Joe Perry</strong> </p> <p> Apart from the usual suspects—Page, Clapton, Beck, Hendrix and Peter Green—one of my favorite guitarists is Angus Young. I first saw him when AC/DC opened up for Aerosmith in the Seventies. </p> <p>They played about 25 dates with us, and I was just overwhelmed by his energy and ability to do his acrobatics without missing a note. He definitely had an influence on me inasmuch as his solos always had a purpose. Instead of using all the traditional tricks, he found a way to get inside those licks and be inventive. My favorite AC/DC song is probably “Sin City.” </p> <p> For me, the essence of a good guitarist is someone who plays what the song calls for. It’s about listening to the music as a whole and then doing what you need to do. Sometimes it’s not even what you play; it’s what you don’t play. Which brings us back to Angus Young. </p> <p> <strong>CHUCK BERRY by Angus Young</strong> </p> <p> When I was growing up, everyone used to rave about Clapton, saying he was a guitar genius and stuff like that. Well, even on a bad night, Chuck Berry is a lot better than Clapton will ever be. </p> <p> Rock music has been around since the days when Chuck Berry put it all together. He combined the blues, country and rockabilly, and put his own poetry on top, and that became rock and roll. And it’s been hanging in there. </p> <p> AC/DC’s whole career has been playing rock and roll, and I’m sure you still get a lot of people tuning in to bands like us and the Stones. Younger bands will be plugging into it and taking it into the next realm. There’s always going to be another generation that will take it and give it to a new, younger audience, so I think it will just keep going on. </p> <p> <strong>STEVE VAI by Tom Morello</strong> </p> <p> Some instrumental guitar players are lost in a muso fog. Steve Vai is not one of them. He’s an artist, and one of the greats. </p> <p> I’ve certainly learned from him, especially from his work ethic. I started playing guitar very late, when I was 17 years old. I felt really behind, and when I read about Steve’s practice regimen it really encouraged me. It also nearly killed me! While doing my college studies I was also practicing eight hours a day to amass the kind of technique that I admired in players like him and Randy Rhoads. </p> <p> Once, Steve was doing a presentation at GIT, and he asked me to do it with him. He told me he’d also invited Steve Lukather, Stanley Jordan, Joe Satriani. I said, “No, bro, it sounds like it’s gonna be a shred-off.” But he said, “We’re not even gonna play; we’re just gonna discuss our craft.” So I said, “Okay, I’ll do it.” </p> <p> A couple of days before the event, he says to me, “Just bring your amp and guitar along in case we have to demonstrate techniques.” So of course, I get there for soundcheck, and my worst nightmare has come true: it was six of us in a row with our guitars, and it was nonstop shredding the whole time. </p> <hr /> <p> <strong>TONY IOMMI by James Hetfield</strong> </p> <p> As far as being a riff-and-rhythm guy, my favorite guitarist is Tony Iommi. He inspired me to want to play heavy. </p> <p>I admired other rhythm players, like AC/DC’s Malcolm Young, who’d just stay in the back and hold it down, and the Scorpions’ Rudy Schenker, who has a lot of percussiveness in his playing. I also liked Rush’s Alex Lifeson—people wouldn’t think of him as a rhythm player, but he comes up with some pretty amazing offbeat things. </p> <p> But Iommi is the main man. To me, he seemed like one of those quiet geniuses. At one time he was the frontman of Black Sabbath, and Ozzy was off to one side; at that time, the riff was more important than the vocals. Tony can go from the heaviest minor-key doom riff to a happy mode, and it will still sound heavy. Metallica can’t do happy, but Tony can pull it off. My favorite Black Sabbath track is “Into the Void.” </p> <p> <strong>ERIC CLAPTON by Eddie Van Halen</strong> </p> <p> Clapton was it. I knew every note he played. Mammoth—me, Alex Van Halen and a bass player we knew—were the junior Cream. </p> <p> Being limited gear-wise forced me to find my own voice on the guitar. That’s why Eric Clapton’s live jams with Cream were such an influence on me. Back in ’68, he was pretty much just using natural distortion on those live tracks on <em>Wheels of Fire and Goodbye</em>. </p> <p>I had no money and couldn’t afford a fuzz box or a wah-wah or a ring modulator, or whatever Hendrix had in his whole rig. I just plugged straight into an amp and turned it up to 11. So in order to get a different or unique sound, I had to learn to squeeze it out of the strings with just my fingers. I never had a guitar lesson in my life, except from listening to Eric Clapton records. </p> <p> <strong>JIM McCARTY by Ted Nugent</strong> </p> <p> I discovered the most powerful musical influence of my entire life when I played the Walled Lake Casino outside of Detroit. It was either 1959 or 1960. My band the Lourdes opened up for Martha &amp; the Vandellas, Gene Pitney, and Billy Lee &amp; the Rivieras, who went on to become Mitch Ryder &amp; the Detroit Wheels. Their guitarist was Jim McCarty, who played a Gibson Byrdland through a Fender Twin. </p> <p> Standing there watching McCarty rip into his leads, I thought, Dear god in heaven, what is <em>that</em>? It was so outrageous, so noisy, yet so musical and so rhythmical. I realized that simply playing a song would never do again. </p> <p> After I heard him play, I went on a gee-hah to get a Byrdland and a Fender Twin amp—because of the crispness, the thickness, the style of his playing. It was about using all the fingers, all the strings, all the time. </p> <p>That’s where the multi-rhythmic patterns on my song “Stranglehold” come from, with all the grace rhythms, all the counter-rhythms, all the pedal tones that never stop. I’m playing multiple parts on the guitar by using various incremental touches to each string. And that’s because of McCarty. </p> <p> <strong>KEITH RICHARDS by Steven Van Zandt</strong> </p> <p> The British invasion of 1964 to 1966 turned Americans on to our own rock and roll pioneers and blues players. I grew up on Keith Richards, and his lead on the Stones’ versions of Chuck Berry songs helped reinvent the guitar for Beck, Clapton and Jimmy Page. </p> <p>I always felt that you go through that muso phase and stay there or get out. I went out the other end. I didn’t want to be a virtuoso for a minute. So I came full circle to the fact that the guitar solo must serve the song—that’s more important. </p> <hr /> <p> <strong>JIMMY HERRING by Alex Skolnick</strong> </p> <p> Some may not know Jimmy Herring’s name, but they will know the bands that he’s played with: the Allman Brothers, the Grateful Dead, Widespread Panic, and Jazz Is Dead. He’s a hero of the jam-band scene, which is kind of funny, as stylistically he’s very influenced by jazz. </p> <p> Jimmy has his own band called Aquarium Rescue Unit, who operate on a level similar to [<em>jazz-fusion group</em>] Weather Report. Having said that, although people like the Dave Matthews Band and Bruce Hornsby took them out on tour and begged their own label to sign them, Aquarium Rescue Unit never got a decent record deal and eventually disbanded [<em>in 1997</em>]. They reunited in 2005 and have played somewhat sporadically since then. </p> <p> Jimmy is an incredible player. He has the bluesiness of Warren Haynes or Johnny Winter and the vocabulary of John Scofield, with an element of Steve Morse thrown in. If that sounds appealing, then track down a copy of Aquarium Rescue Unit’s 1993 album, <em>Mirrors of Embarrassment</em>. Play it, and you’ll wonder why you’ve never heard of him until now. </p> <p> <strong>RITCHIE BLACKMORE by Phil Collen</strong> </p> <p> The first gig I ever went to was Deep Purple, during their <em>Machine Head</em> period. They played “Highway Star,” and it blew me away. And that’s when I decided to start playing guitar. </p> <p> Ritchie Blackmore was a huge influence because he was flashy. I love really flashy lead guitar playing, and Blackmore’s technique is great. It’s aggressive. When he hit a chord, it was like being punched in the face. I don’t really care about finger picking, and acoustic doesn’t satisfy me. It’s electric, screaming loud rock that I love. </p> <p> As far as what he’s doing now [<em>playing Renaissance-style music with Blackmore’s Night</em>], I honestly respect him. The fact that he’s still playing and is passionate about it is great, even if it is a bit wonky and weird. He can take liberties. He’s Ritchie Blackmore. </p> <p> <strong>GLENN TIPTON &amp; K.K. DOWNING by Zakk Wylde</strong> </p> <p> When I think of underrated guitarists, I go for some of the guys in really big bands, the ones who get overshadowed by the achievements of their band act. For instance, when Journey is mentioned, you think of great songs and amazing vocals. But who ever praises Neal Schon? And that guy can play up a storm. </p> <p> That’s why I pick Glenn Tipton and K.K. Downing from Judas Priest. It’s two guitarists, yes, but you always think of them as one. They are the ultimate twin guitarists in metal—they go together. Just listen to the amazing riffs they’ve come up with over the years. And these guys can shred with the best. </p> <p> Tipton and Downing have influenced generations of young guitarists, but a lot of the time these kids don’t even realize that what they’re playing all started with Judas Priest. Tipton and Downing have also given metal a subtlety that’s often overlooked. Both appreciate that sometimes you are most effective when you back off the pedal a little. You don’t need to be blazing all the time. </p> <p> They’ve worked together for so long that each immediately understands what to do in a song. Sometimes Tipton is soloing and Downing is riffing, and then they’ll change over—it’s not like one does the lead work and the other does the rhythm. This is also what they introduced into metal: the idea of not only being a great lead player but also being prepared to let the other man have the spotlight when it matters to the music. </p> <p> Without Tipton and Downing, metal would be very different. That’s why I have such a high regard for them. In my book, they rule. </p> <hr /> <p> <strong>LESLIE WEST by Martin Barre</strong> </p> <p> Leslie West made a big impression on me when Mountain supported Jethro Tull on a long U.S. tour during the early Seventies. In those days, opening acts weren’t too friendly, and it all became a bit competitive, but Mountain were lovely guys, and we really hit it off. They were such a great band. I loved Leslie’s larger-than-life style, they had great songs, and they were so incredibly tight. In that last respect, they taught Jethro Tull a lot about being a band. </p> <p> I know of at least three people that were affected by Leslie’s playing style—myself, John McLaughlin and Mick Ralphs [<em>of Mott the Hoople and Bad Company</em>]—but I’m sure there are plenty more. Leslie has such recognizable tone, and I love the melodic way he plays; every note counts. He never resorts to the pyrotechnic approach or feels the need to be overly clever. </p> <p>If you want a good starting off point for a beginner, go with <em>Climbing! </em>[<em>1970</em>] or <em>Nantucket Sleighride </em>[<em>1971</em>]. I still love what Mountain did with “Theme from an Imaginary Western.” My goodness, they brought that to life, especially onstage. </p> <p> <strong>JEFF BECK by David Gilmour</strong> </p> <p> I’m sort of horribly, pathetically fannish about Jeff. Ever since “Hi Ho Silver Lining” came out [<em>in 1967</em>] when I was 20-odd years old, I’ve revered him and his playing. In many ways he is just the best guitar player. And 40-something years since he came to prominence in the Yardbirds, he is still the only person pushing forward in that way. He’s never retreading old ground; he’s always looking for a new challenge. </p> <p> Jeff’s scarily brilliant. He’s a tightrope walker. I’m not. I like to cover all my bases and make myself secure with a great band, with the music all rehearsed. I just walk out there, and if I didn’t even play anything it would still sound great. Jeff’s different. He’s out there mining that seam. </p> <p> <strong>JIMI HENDRIX by Joe Satriani</strong> </p> <p> The first thing that really flipped me out was hearing “The Wind Cries Mary” on the radio. Before that, I was a drummer, and I started from watching the Rolling Stones and the Beatles on <em>The Ed Sullivan Show</em>. But as soon as I heard Hendrix, that was it. </p> <p> What made him great was his choice of notes. When you hear “Machine Gun” from <em>Live at the Fillmor</em>e, you have no idea what’s going to happen in the next few minutes. You’re totally unprepared. With “Voodoo Chile (Slight Return),” you can’t believe how perfect a performance it is, and it’s just a blues thing in E. </p> <p> Unfortunately, the Seventies were a hellish period for many great players, if you look at Hendrix’s comrades, it was a rough road. But look at someone like Jeff Beck—he just gets better and better. </p> <p>I saw him a month ago in Oakland, and I was just in tears standing at the side of the stage listening to him playing “Where Were You.” Nowadays, as a guitarist you want to celebrate what you’ve been able to play, which goes back to quoting other great players, but you also feel a responsibility not to copy those people. In my mind, when I’m playing, my heroes are sitting on my shoulders. </p> <hr /> <p> <strong>BRIAN MAY by Steve Vai</strong> </p> <p> I don’t think enough is really said about the brilliance of Brian May’s guitar playing, in the sense that it’s overshadowed by the greatness of the music itself. The <em>Queen II</em> album was one of those pivotal moments that just nailed me to the wall. </p> <p> He’s probably one of the top identifiable guitar players, even more so than Beck, Page and Clapton. They’re all so identifiable, but Brian May had such a tone in his head and in his fingers. It speaks volumes. His contribution to orchestrated guitars is unprecedented. There was nothing like it before him. </p> <p>To me, it was like when Edward Van Halen came along and reshaped the sound of electric guitar. That’s what I heard in Brian May’s playing. It’s something that’s inherent in the brain of the guitar player. </p> <p> I remember working with Frank Zappa for the first time. I had just moved out to Los Angeles, and nobody knew me. I was 21. I went to the Rainbow Bar &amp; Grill, and Brian May was there. I couldn’t believe it. I mustered up every little bit of courage and went up to him and said, “Thank you so much for everything you’ve done. I play guitar. I’m here in town with Frank Zappa.” He said, “Oh, really? Why don’t you come down to our rehearsal?” </p> <p> I went down, and he brought me up on the stage, and he let me play the guitar—the guitar that he built with his dad [<em>the “Red Special”</em>]. I couldn’t even believe that I was touching this instrument! He was so kind and so warm, and for who? This kid, you know? And I played his guitar, and it sounded like Steve Vai. Then when he played it, it sounded just like Brian May. It was very apparent to me that his tone is in his fingers and his head. </p> <p> He’s a class act from head to toe, and it shows in his playing. I can listen to any player and pantomime their sound, but I can’t do Brian May. He’s just walking on higher ground. </p> <p> <strong>MARTY FRIEDMAN by Jason Becker</strong> </p> <p> When I was 16 years old, I sent a demo tape to Mike Varney of Shrapnel Records. He called me and said I should go and meet Marty. </p> <p> I went to Marty’s tiny apartment in San Francisco. We started jamming, without amps. That moment changed my life. What he was doing was so new to me. The unique bends, vibrato, exotic scales, phrasing and timing were fascinating to me. And then it hit me: he was a lot better than I was. I started to sweat. I tried to play my best stuff, but my musical mind had already shifted. I knew I wanted to learn from this guy. </p> <p> Marty was very complimentary of my technique and the melodies on my demo tape. He started coming over to record his songs on my four-track. He taught me the second harmonies and counterpoint lines. Once he saw that I was a sponge for learning, he started incorporating some of my ideas. I feel like every day that I jammed or wrote with Marty was like taking lessons for a year. He taught by example, and with his influence I learned how to be my own unique creative artist. Even to this day, when I am composing and I get stuck, I think to myself, What would Marty do? </p> <p> <strong>EDDIE VAN HALEN by Richie Kotzen</strong> </p> <p> This is kind of embarrassing, but the first time I heard Eddie Van Halen was on the solo for Michael Jackson’s “Beat It.” I was like, “Man, that’s unbelievable. Who is this guitar player?” I asked around and found out it was Eddie Van Halen. Then I ended up getting some Van Halen records, and after that I just really wanted to play like him. </p> <p> He didn’t sound like any other guitar player, but it was more about the way that he played the notes. Everyone talks about Van Halen’s sound, but it really has to do with his timing, his rhythm style and his phrasing. It’s more about that to me than the amp or whatever guitar he’s using. </p> <p> The first time I saw Eddie play, I had the best possible seat. Because we had the same guitar tech, I was able to watch him from this little room under the stage, where he goes to change guitars or do whatever. It was pretty incredible. </p> <hr /> <p> <strong>YNGWIE MALMSTEEN by George Lynch</strong> </p> <p> Every little microevolution of the guitar that came along in the Sixties, Seventies and Eighties influenced me. The number of people I didn’t appreciate is probably a much smaller list. </p> <p> Yngwie is one of those players that had a huge impact on me. His neoclassical style was just mind-blowing to me. I was raised as a blues player and learned my chops in the late Sixties, early Seventies, so it was all incredibly new to me. Just the ferocity of it was mesmerizing. The ease with which he does it was fascinating, too. </p> <p> Ultimately, guitar-driven Eighties music had wound itself to the point of absurdity and inaccessibility. I mean, how many people can actually appreciate that kind of music? It’s just an elitist speed contest. But Yngwie created the trend. On a pure playing level, players that create music that touches people are always viable. And that’s why he’s still around and a lot of the other guys aren’t. </p> <p> <strong>MICK TAYLOR by Slash</strong> </p> <p> Mick Taylor had the biggest influence on me without me even knowing it. My favorite Stones records were <em>Beggars Banquet</em>, <em>Let It Bleed</em> and <em>Sticky Fingers</em>. Those three were major to me because I was exposed to those records as a kid when they first came out. Mick Taylor played on a couple of those records and went on to play with the Stones for a couple more. As I got older and started playing guitar, I always gravitated to his style. </p> <p> People always mention Jimmy Page, Jeff Beck, Angus Young…all the obvious ones. But there are guys like Mick Taylor and Joe Walsh that were as important. Mick Taylor had a really cool, round-toned bluesy sort of thing that I thought was really effective. </p> <p> One of the greatest Mick Taylor solos is on “Can’t You Hear Me Knocking?” from <em>Sticky Fingers</em>. It’s the kind of stuff that’s almost like old Eric Clapton—it’s very simple stuff, but it’s about how the notes are placed and how you approach them. The new guard of guitarists always forgets about doing simplistic and very effective guitar playing that speaks to you. It’s not all about two-handed tapping. </p> <p> <strong>RANDY RHOADS by Frank Hannon</strong> </p> <p> I was always a big fan of Randy. In 1980, when Ozzy’s <em>Blizzard of Ozz</em> came out, some friends of mine went to see him perform in Oakland and came back raving, saying, “Man, we saw this guitarist today, and he was better than Eddie Van Halen!” </p> <p> This was a few years before we started Tesla. I was already playing guitar and was a big fan of Eddie Van Halen. So we went down to the local record store and got the album, and I was infatuated from day one. Randy was doing everything that Van Halen did, and more. It was the classical knowledge that he was incorporating into the guitar. The arrangements on “Crazy Train” and “Mr. Crowley” were unbelievable. I think a lot of the soloing on Van Halen tracks were improvised, which is cool. Randy took it a step further. His discipline probably came from his mother who taught him at her music school [<em>Musonia School of Music in North Hollywood</em>]. When I was a kid I would read the guitar magazines, and he would always mention that his mother was a big influence. </p> <p> I went to visit the school, and I met Randy’s brother, Kelle, and his mother Delores, who is nicknamed “Dee.” “Dee” was also the title of an acoustic song on <em>Blizzard of Ozz</em>, which was a big influence on me. If you listen to my acoustic solo on “Love Song” it’s really inspired by that. I played that for Dee when I met her recently. She loves meeting fans, and she told me some stories about Randy. She said that his favorite song was [<em>the Big Band swing tune</em>] “Chattanooga Choo Choo,” how he found his first guitar in his father’s closet, and how when he was in London recording <em>Diary of a Madman</em> he would spend all his downtime studying classical music at a university. She just lit up when she talked about Randy. I have a video of that meeting on my web site. </p> <hr /> <p> <strong>ZAKK WYLDE by Ron &quot;Bumblefoot&quot; Thal</strong> </p> <p> I first heard Zakk in 1986, when he was with a New Jersey band called Zyris. The next thing I knew, he was playing with Ozzy. Like Zakk, I had been a huge Randy Rhoads fan, so I was very happy that Ozzy picked Zakk to be his guitarist. </p> <p> When you hear Zakk’s playing, you know right away that it’s him, with that distinctive use of harmonic vibrato on the lower string. Before he came along, every time you saw a blond-haired guitarist kicking a Les Paul’s ass you thought of John Sykes. Now you also think of Zakk. In addition, he’s very diverse stylistically, with the southern rock of Pride and Glory [<em>Wylde’s early Nineties group</em>], the singer-songwriter style of his <em>Book of Shadows</em> album [<em>1996</em>] and, of course, what he does with Black Label Society. </p> <p> I met Zakk for the first time about a year and a half ago; he was a guest on my friend’s TV show. His visit to the studio was supposed to last for three hours, but he ended up staying for 14. Besides being a phenomenal musician, Zakk’s as good-hearted as I expected. I hope that some day we can do it again. </p> <p> <strong>B.B. KING by Billy Gibbons</strong> </p> <p> My favorite guitarist is B.B. King. His album <em>Live at the Regal</em>, recorded in 1964, remains a classic. The electricity, the crackling atmosphere… Plus, it’s a great sound, recorded with a full band, horns and piano, and a rabid audience thrown in. </p> <p> B.B.’s distinctive one-note style, his sustain and attack, that kind of call-and-response thing between the vocals and the solos… He’s taken for granted now, which means he’s underrated. Obviously, he’s a maestro entertainer rather than a blues purist, though he can be that too. He’s a former cotton picker, but he remains so self-effacing, plus he has a great sense of humor, lyrically and in life. He’s got class. </p> <p> <strong>MALCOLM YOUNG by Scott Ian</strong> </p> <p> Malcolm Young has got to be the most unsung, underrated guitar hero of all time. He’s the backbone of AC/DC, the greatest rock band ever, and has written some of the most amazing riffs you’ll hear. This is the man responsible for more great rock moments than any other guitarist you can name. Is Malcolm Young the greatest rhythm guitarist in the world? No contest. </p> <p> I recall being given one of his guitar picks recently after a gig on the band’s current tour, and it was half worn down. But you know what’s astonishing? Apparently that pick was used on just one song during the band’s set that night. Malcolm gets through a pick for every song because he hits the strings so hard. It’s amazing. The man is truly a one-off. </p> <p> When I first started to listen to AC /DC, it was Angus who caught my attention. He was the lead guitarist and got all the glory. But in about 1979, when I began to get into guitar playing in a serious way, I gravitated toward Malcolm. I was listening to what he did, because he was the guy writing the music. I now appreciate just how incredible he is. He’s a songwriter, not a shredder, but without him what would AC /DC sound like? </p> <p> If you’ve never heard him play—and can there be anyone on the planet who hasn’t heard Malcolm Young?—then go and listen to the opening chords of “Back in Black.” If that doesn’t move you, then you have no soul. The other songs I’d strongly recommend are “Riff Raff” and “Beating Around the Bush.” The way he takes straight blues riffs and siphons them though the AC/DC sensibility is a lesson to all guitarists. </p> <hr /> <p> <strong>GEORGE HARRISON by Elliot Easton</strong> </p> <p> I was 10 years old when the Beatles played the <em>Ed Sullivan Show</em> [<em>in February 1964</em>], and I was already playing a little guitar. To see George Harrison there, standing off to the side, looking down at his guitar while he played his licks—to my impressionable mind it defined what a lead guitarist was. </p> <p> I knew right then what I wanted to do with my life: I wanted to be like the guy in the middle—the guy looking down at his guitar and playing all the little fills and solos. Harrison taught me about short solos and hooks, and what a hook is. All those mid-Sixties Beatles tracks—whether it was “Day Tripper” or “Ticket to Ride” or whatever—they all start with a guitar lick that you wait to come around again in the chorus. That’s where I learned to do that. </p> <p> <strong>ULI JON ROTH by Kirk Hammett</strong> </p> <p> Around the time of Metallica’s <em>Death Magnetic</em> sessions, I began listening again to some of the rock music of my teens, and it inspired me all over again. I’d forgotten how much those guitarists meant to me. </p> <p> Uli Jon Roth is one of those players. When I started listening to him again, I realized that I can still learn a lot from him. I love his choice of notes, the attitude behind his playing and the way his solos “up” the level of his songs. He took Scorpions to a totally different level. After his solos, you’re left there shaking your head. It’s like being sideswiped by a truck. </p> <p> The track I love the most is the one I play every night, “The Sails of Charon,” from <em>Taken by Force</em>. The opening motif is just great. It’s spooky sounding, exotic. It’s very old-school heavy metal. People in the audience who know the song recognize that I’m flying the flag for that old-school metal, and they come to me and say, “Bro, ‘Sails of Charon’ rules!” There are a lot more Uli Roth fans out there than I expected. </p> <p> <strong>NEIL YOUNG by Nancy Wilson</strong> </p> <p> Neil is identifiable whether he’s playing acoustic or electric guitar. For acoustic he has a completely unique type of tuning, detuning, attack and release. He plays a song called “Bandit,” from the <em>Greendale</em> album, and there’s a live version of it that’s incredible. He chooses a specific guitar that can be detuned on the low string down to a C and picks the particular gauge of string that will rattle in the perfect way. It sounds so wrong that it’s right. I think nobody in the world would do that on purpose except for Neil Young. </p> <p> He has a monstrous electric guitar sound, too, and on “Cinnamon Girl” he recorded what is probably the best one-note guitar solo ever. He puts more feeling into one note than anyone else. It shouldn’t work, but it does. Of course, it’s his tone that makes all the difference. Touch sensitivity accounts for about 90 percent of everything. Neil has such expressive playing that he<em> can</em> play a onenote solo and make it memorable for decades, for generations. </p> <p> <strong>FRANK ZAPPA by Dweezil Zappa</strong> </p> <p> I was never intimidated by my father’s technique. I think most guitar players are just excited to see somebody do something they didn’t think was possible. We’d sit and play together, but what Frank was doing was musical. I couldn’t grasp it at a young age—it was too sophisticated for me. He’d show me inversions of chords and composition devices—moving triads around the neck and stuff. It sounded neat, but I didn’t always understand what was happening musically. </p> <p> I do the Zappa Plays Zappa tour because I want to get Frank’s music more into the public eye. I want him to be better understood. I think there are a lot of misconceptions about his music and him as a person. First of all, Frank was really a composer who used a rock band like an orchestra. He could hear stuff in his head and just write it down. I didn’t have a musical background; I was just a guy who learned things by ear—more a guitar player than a musician. The first thing I learned was the incredibly fast passage toward the end of “The Black Page.” It took me a good five or six months, and I had to totally change my picking technique in order to play this thing. I’d have to play it really slow for hours and hours and <em>hours</em>. I definitely think Frank would enjoy that we go to such great lengths to get it right with Zappa Plays Zappa. </p> <hr /> <p> <strong>PETE TOWNSHEND by Ace Frehley</strong> </p> <p> I got all my rhythm work from listening to Pete Townshend and Keith Richards. I think Pete is a wizard when it comes to chords. He can play the same chord in, like, 20 different positions, doing inversions, suspensions… Just listen to <em>Tommy</em>. I’m a huge fan. </p> <p> Pete has a great right hand as well as a great left hand. “Tattoo” is a great picking song, but of course he’s known best for his power strumming, like on “Pinball Wizard,” and his power chords, like on “My Generation” and the chord that opens “I Can See for Miles.” His rhythm work was just amazing. </p> <p> The first time I saw the Who was the same day I saw Cream for the first time. They were both performing at a Murray the K show in Manhattan. [<em>The revue-style show, presented by disc jockey Murray Kaufman, was called </em>Music in the Fifth Dimension<em> and presented at the RKO Theater from March 25 to April 2, 1967.</em>] I was cutting school, and a friend and I snuck into the show and got down in front. It was the Who’s first New York show. I think the headliner was Mitch Ryder and the Detroit Wheels. </p> <p> I saw the Who perform again, at the Fillmore East, in 1968, the day after Martin Luther King got shot. [<em>The civil rights leader was assassinated on April 4, 1968.</em>] The Who weren’t going to play because they were worried about riots, and I believe they ended up doing a short show. Ironically, Paul Stanley [<em>Frehley’s former Kiss coguitarist</em>] was there too, but we didn’t know each other at the time. </p> <p> <strong>ALVIN LEE by Mick Mars</strong> </p> <p> Sometimes I feel I should’ve been true to myself as a guitar player and stuck with the blues. All bullshit aside, George Clinton, Bootsy Collins, Paul Butterfield, Mike Bloomfield, Alvin Lee, Jimi Hendrix…that stuff was the total shit for me. I was brought up on those players, and they all influenced me in one way or another. </p> <p> When Bloomfield started getting too countrified for my liking, that’s when I discovered Alvin Lee and Ten Years After. Alvin brought a real explosive side to the blues. Some people said they couldn’t handle it, but I thought he was great. </p> <hr /> <p> <strong>PETER GREEN by Rich Robinson</strong> </p> <p> Growing up in America, you couldn’t help but hear Fleetwood Mac’s [<em>mid-Seventies breakthrough albums</em>] <em>Rumours</em> and <em>Fleetwood Mac</em> on the radio all the time. And it was by getting into these records that I started to explore the Peter Green legacy. Obviously, he’d left Fleetwood Mac long before these were done, but I was influenced enough by them to want to know more about what the band had done before. And that’s when I discovered the amazing talent of the man. </p> <p> His playing is just so moving. Listen to what he achieves on “Oh Well” and “Rattlesnake Shake,” and it is stunning. What he does is so interesting because he doesn’t overplay. Green understands that simplicity could hold the key to the blues. </p> <p> It makes him so authentic. To my mind, Peter Green is the finest white man I’ve ever heard playing blues guitar. That’s a bold statement when you consider some of the other greats, but I genuinely believe this to be true. His playing has the soul and passion of the blues. And yet he never seems to get the recognition enjoyed by people like Jimi Hendrix, Eric Clapton or Jimmy Page. Perhaps that’s because he’s so understated. If you check out something like “I Need Your Love So Bad,” what you hear is a guitarist prepared to submerge his own ego for the sake of the song. He gets the mood exactly right. He was never flamboyant like the others I just mentioned. As a result, he’s often overlooked in the list of guitar greats. </p> <p> He also has such an incredible range. You can’t ever claim that one particular song defined him in the way that you can with Hendrix. </p> <p> When the Black Crowes recorded and toured with Jimmy Page, he told us so many Peter Green stories. It was clear that Jimmy loves the man’s talent. And if he’s good enough for a giant like Jimmy to acclaim, then it reinforces my adoration. </p> <p> <strong>RON ASHETON by Kim Thayil</strong> </p> <p> It was the Seventies when I first heard the Stooges. By then, all the albums by the New York Dolls, the Stooges and the MC5 were out of print. You could only find them in used-record stores, and the nearest was six miles away. I’d check out their racks, and once in a while I got lucky. </p> <p> The Stooges’ <em>Funhouse</em> album was one that I found. There’s some crazy stuff on side two—some really great, aggressive rock solos. Ron has a particular gritty, sleazy sound with the groove that he lays down. And the dueling improvisations with saxophone made for some cool jazz noise rock. </p> <p> The Stooges didn’t do as much of that 12-bar blues stuff. They just hit a groove and then hypnotically beat you over the head with it. They just stayed with that riff for a long time. Of course, there is a lot of blues in what Ron did, but there’s something a lot looser, too, and it was freer and it utilized chaos. It was something that was definitely not present in FM rock or Top 40 at the time. “I Wanna Be Your Dog,” “TV Eye,” “Loose,” “Down on the Street”… </p> <p>They’re all amazing. If rock should be about anything, it should be about freedom and rebellion, and not the stupid requirements that would be imposed upon you by the record company—like professionalism. I mean, it’s good for a person to know their damn instrument, or else you can’t come up with inventive ideas, but not to be bound by the patterns on the fretboard.</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="/steve-vai">Steve Vai</a> </div> <div class="field-item even"> <a href="/george-harrison">George Harrison</a> </div> <div class="field-item odd"> <a href="/brian-may">Brian May</a> </div> <div class="field-item even"> <a href="/joe-satriani">Joe Satriani</a> </div> <div class="field-item odd"> <a href="/david-gilmour">David Gilmour</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/30-30-greatest-guitarists-picked-greatest-guitarists#comments AC/DC Aerosmith Articles GW Archive Jimi Hendrix Joe Satriani Steve Vai Van Halen Guitar World Lists News Features Magazine Mon, 14 Apr 2014 15:33:16 +0000 Guitar World Staff http://www.guitarworld.com/article/3119 New Book, 'Crazy Train,' Revisits the 'High Life and Tragic Death of Randy Rhoads' http://www.guitarworld.com/new-book-crazy-train-revisits-high-life-and-tragic-death-randy-rhoads <!--paging_filter--><p><em>Crazy Train: The High Life and Tragic Death of Randy Rhoads</em> by Joel McIver — featuring a foreword by Zakk Wylde and an afterword by Yngwie Malmsteen — is available now at the <a href="http://store.guitarworld.com/collections/mix-books/products/crazy-train/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=CrazyTrain">Guitar World Online Store.</a></p> <p>Randall Rhoads, born in California in 1956 and cut down in his prime at the age of 26, has been an immense influence on a whole generation of musicians in rock and metal. </p> <p>He first came to international prominence in 1979, when he was recruited from the cult metal band Quiet Riot to play with Ozzy Osbourne, who had been fired from Black Sabbath for his drink and drug addictions and was in urgent need of a co-writer to kickstart a solo career. How and why Ozzy and Randy went on to find enormous success is one of the key themes of <em>Crazy Train</em>, named after the first and most famous Osbourne/Rhoads co-composition. </p> <p>It was Randy's pioneering combination of neo-classical soloing, catchy riffage and unforgettable songwriting which propelled Ozzy to stardom in his own right — even after thousands of Black Sabbath fans had written him off. The two albums which Randy recorded with Quiet Riot and the two with Ozzy showcase the young guitarist's immense ability, although the full extent of his talent may never have been revealed.</p> <p>In 1982 he died in an air crash, the victim of the pilot's cocaine-influenced misjudgment. The parallels between <em>Crazy Train</em> and the author's best-selling <em>To Live Is To Die: The Life and Death of Cliff Burton</em> (Jawbone 2009) are intentional and obvious. Both books deal with a musical prodigy who died tragically in his mid-20s; both men have a vast following and a profile which has risen and risen in the years since their deaths; and both men have a large coterie of friends, family and associates prepared to tell their stories for the very first time.</p> <p>Published by Jawbone Press, $19.95.</p> <p><strong><a href="http://store.guitarworld.com/collections/mix-books/products/crazy-train/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=CrazyTrain">The book is available now at the Guitar World Online Store.</a></strong></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/randy-rhoads">Randy Rhoads</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/new-book-crazy-train-revisits-high-life-and-tragic-death-randy-rhoads#comments Randy Rhoads News Features Mon, 14 Apr 2014 15:26:41 +0000 Guitar World Staff http://www.guitarworld.com/article/20635 Guitarist and Berklee Professor Scott Tarulli Discusses His New Album, 'Anytime, Anywhere' http://www.guitarworld.com/guitarist-and-berklee-professor-scott-tarulli-discusses-his-new-album-anytime-anywhere <!--paging_filter--><p>As a Berklee College of Music professor, Scott Tarulli is well versed in all things rock, blues and jazz (His friends know he also happens to be a closet Dio-loving metal head). </p> <p>His new album, <em>Anytime, Anywhere</em>, features a treasure trove of hooks and catchy songs; it also happens to feature special guests including bebop slide guitar legend David Tronzo, bassist Tony Levin and Jerry Marotta. I recently caught up with Tarulli to discuss the new album.</p> <p><strong>What was it like working with David Tronzo on the song "One Year"?</strong></p> <p>Dave is a great guy, and we've known each other for years but never got a chance to play music together. </p> <p>I've always been a big fan of his, and the song "One Year" on my new album was perfect for him. It was a great session. He came in and the band sat in a circle and we tracked it live. No fixes or overdubs. It came out to be a great dialogue between us. It my favorite track on the album.</p> <p><strong>You’re a very active sideman. What gear do you use for your projects, as compared to session work?</strong></p> <p>I do a good amount of live and studio work as a sideman. For my music, my live rig is strictly an Orange OR50 head through an Orange 2x12 or 4x12 closed-back cab. I love my Music Man Silhouette guitars. I have those stocked with Seymour Duncan pickups. I use Xotic pedals like the BB, AC and RC for boost/gain tones, and then various vintage modulation pedals. I also use the MXR Carbon Copy delay, and I also have a Mike Battle Tube Tape Echo.</p> <p>As for sideman work, it really comes down to the artist and genre. I'm more likely to play old Fender, Vox or Marshall amps in the studio for other artists, and Telecasters, Gibsons, etc. Most of the sideman work I do is classic-sounding tones and textures, so I stick with that kind of gear. I use pedals for effects, and that totally depends on the gig.</p> <p><strong>How might an album go down that you get hired for?</strong></p> <p>If the artist/producer wants the band to play live, there is usually a rehearsal, but I find a lot of what I get called for is coming in to add textures, rhythm parts and leads to existing tracks. I usually show up with various guitars and amps and hear the stuff for the first time in the session. Then it’s all about hashing out ideas to give the song shape. I am a big fan of that type of guitar playing, the old Philly soul records, Beatles albums, James Brown and even pop albums. I always loved how theses great guitar players brought the songs to life with tiny parts or groove. But basically, I think about intonation, tone and taste when I show up. The studio can get tense at times. Keeping the vibe light and not taking life so serious is a big help in the recording process. </p> <p><strong>Some of the songs were tracked totally live without fixes or overdubs. On some you added overdubs to pan out the arrangements. Can you discuss this approach?</strong></p> <p>Yes, I was so lucky to have players on board who were great listeners and great players. I have to admit, I was nervous I might hate a solo I played in a take. There are a few tunes I redid solos on, but songs like "Awake," "One Year" and "1 AM" were totally live, including the solos. Even if I didn't think the solo was perfect, It was hard to change because the band was gelling. In the end it was more important to keep the band's vibe rather than replace the solo for demonstration purposes.</p> <p><strong>You also worked with Jerry Marotta (Peter Gabriel. Paul McCartney, David Foster, Hall &amp; Oates), and Tony Levin (King Crimson, Peter Gabriel, Alice Cooper, John Lennon). That must have been pretty amazing.</strong></p> <p>Working with Jerry Marotta and Tony Levin was a dream come true. I met them while doing a singer songwriter album at Jerry's Dreamland studio in Woodstock, New York. He was producing the album and we hit it off as players and as people. Tony was also on this album; I ended up going out to Dreamland and tracking two songs for my album ("1 AM" and "Last Time"). The basics were tracked live. It was surreal for me sitting across from Tony and playing live with them. These two have been heroes of mine for decades. I've also seen them on big stages while growing up. And let me tell you, they couldn't be kinder people.</p> <p><strong>Who are some of your other influences?</strong></p> <p>I picked up the guitar at 12 because of Buck Dharma's solo on "Veteran of the Psychic Wars" from Blue Oyster Cult's live album. Also, REO Speedwagon was so cool to me. That is when <em>Hi Infidelity</em> came out. Then I was totally into Joe Satriani, Def Leppard, Whitesnake, Ozzy and Richie Sambora. I still am. But then I got into soul albums and went into a heavy jazz phase. I guess if I had to name big inspirations, I'd say Herbie Hancock, Jimi Hendrix, Cornell Dupree, later-era John Coltrane, Bill Evans, Jeff Beck, Steve Lukather, James Burton and anyone who played guitar on all of the wonderful pop albums I love.</p> <p><strong>You told me the album was written and recorded a little over a year after your divorce. How did this affect the writing?</strong></p> <p>Yes, there were huge changes in my life while writing and tracking this album. So the performance and the songs are a product of that part of my life. I'll never relive that era again, and this album is a snapshot of how I felt, what I was or wasn't eating, what I was drinking and the sleep I never got. I think you hear it all in my playing. </p> <p>To be honest, the year was crazy, almost a blur. But it makes the album that much more special to me. I chose the sequence of songs very carefully. It’s meant to be heard in one sitting. I reference melodies throughout the album and connect it that way. And there is a shape to the album. Life in real time.</p> <p><em>For more about Tarulli, visit <a href="http://www.scotttarulli.com/">scotttarulli.com</a>.</em></p> http://www.guitarworld.com/guitarist-and-berklee-professor-scott-tarulli-discusses-his-new-album-anytime-anywhere#comments Dave Reffett Scott Tarulli Interviews News Features Fri, 11 Apr 2014 19:26:22 +0000 Dave Reffett http://www.guitarworld.com/article/20997 Travis Picking: A Guitarist's Guide to Fingerpicking Techniques, Patterns and Styles http://www.guitarworld.com/travis-picking-guitarists-guide-fingerpicking-techniques-patterns-and-styles <!--paging_filter--><p><em>Travis Picking: A Guitarist's Guide to Fingerpicking Techniques, Patterns and Styles</em> is available now at the Guitar World Online Store.</p> <p>From the backwoods of Kentucky to modern-day concert arenas, the Travis picking technique has been a guitar staple for generations.</p> <p>In this comprehensive guide, <em>Acoustic Guitar</em> magazine contributing editor Andrew DuBrock takes you step-by-step from basic accompaniment patterns to advanced fingerpicking methods in the style of Merle, Chet and many others. The accompanying CD contains a demonstration of every example in the book.</p> <p><strong><a href="http://store.guitarworld.com/collections/guitar-aficionado/products/travis-picking/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=TravisPicking">This 72-page book is available now at the Guitar World Online Store for $16.99.</a></strong></p> http://www.guitarworld.com/travis-picking-guitarists-guide-fingerpicking-techniques-patterns-and-styles#comments News Features Fri, 11 Apr 2014 13:14:52 +0000 Guitar World Staff http://www.guitarworld.com/article/18634