Features http://www.guitarworld.com/taxonomy/term/5/all en Stevie Ray Vaughan on 'Austin City Limits' — Three Songs from SRV's 30 Greatest Recordings http://www.guitarworld.com/stevie-ray-vaughan-austin-city-limits-three-songs-srvs-30-greatest-recordings <!--paging_filter--><p><em>This is an excerpt from the October 2014 issue of </em>Guitar World<em>. For the rest of this story, including the remainder of our Stevie Ray Vaughan "Top 30" list, Steve Howe/Yes, the 60th anniversary of the Fender Strat, lessons, tabs and reviews of new gear from TC Electronic, Seymour Duncan, Prestige Guitars and more, <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-october-14-stevie-ray-vaughan/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=John5Excerpt">check out the October 2014 issue at the Guitar World Online Store.</a></em></p> <p>For someone who spent a mere seven and a half years as a heavy player on the world stage, Texas guitar-slinger Stevie Ray Vaughan left behind a wealth of recorded material—and one hell of a legacy.</p> <p>In that blink of an eye between his incongruous appearance on David Bowie’s <em>Let’s Dance</em> in 1983 and his death in a freak helicopter crash in 1990, Vaughan unleashed four indispensable studio albums that hijacked the trajectory of modern blues guitar. </p> <p>Without the aid of light shows, edgy haircuts and goofy rock-star posturing, he introduced the MTV generation to passion-fueled guitar music—not to mention the work and importance of Jimi Hendrix, Albert King, Buddy Guy and Howlin’ Wolf.</p> <p>He even had time to star in his own mini rock-star drama of drug and alcohol addiction, breakdown, recovery and triumphant return.</p> <p>In the all-new October 2014 issue—in honor of what would have been Vaughan’s 60th birthday (It’s about as difficult to picture SRV at 60 as it is to picture Hendrix at 72)—<em>Guitar World</em> looks back at what we consider his 30 greatest guitar moments. Our list digs deep into his six-string artistry, while taking historical importance and other factors into account. </p> <p>In terms of material, we’ve considered everything, including his official studio work and numerous posthumous studio and live releases—basically everything that will be included on Legacy Recordings’ new 13-disc box set, <em>Stevie Ray Vaughan and Double Trouble: The Complete Epic Album Collection</em>, which is slated to be released in October, the anniversary of Vaughan’s birth. </p> <p>We also considered his DVDs and videos available on YouTube—pretty much everything and anything he recorded with a Fender Strat, a guitar that, as reported elsewhere in this issue, also happens to be celebrating its 60th anniversary this year. </p> <p><strong>FOR THIS EXCERPT FROM OUR OCTOBER COVER STORY</strong>, we focus on three performances from Vaughan's October 1989 performance on <em>Austin City Limits</em>. These recordings represent numbers 5, 11 and 12 on our Top 30 list. Enjoy!</p> <p><strong>05. “Leave My Girl Alone”</strong><br /> <strong>(<em>Austin City Limits</em>, 1989; released on <em>The Real Deal: Greatest Hits 2</em>, 1999)</strong></p> <p>One of the most frustrating things about Vaughan’s tragic death in August 1990 was the fact that, in the last two years of his life, his playing had somehow improved. Vaughan’s (and the rest of the band’s) coke-induced distractions were snuffed out, and his portal—that magical gateway that connected the guitarist to his unique source of inspiration, divine or otherwise—was wide open. </p> <p>A perfect example is this live 1989 version of Buddy Guy’s “Leave My Girl Alone,” recorded on the <em>Austin City Limits</em> TV show. </p> <p>Eric Clapton has mentioned how Jeff Beck “pulls” notes from his guitar; in this case, Vaughan is clearly “pushing” the notes out of his Strat, all in relentless, lightning-fast bursts that make you wonder what you’ve been doing with your life. </p> <p>His ominous groans between phrases underscore the passion and excitement he felt during every performance, especially when he was able to experience his surroundings as a clean and sober guitar god. — <strong><em>DF</em></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/lJXwZFwC3mw" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>11. “Mary Had a Little Lamb”</strong><br /> <strong> (<em>Austin City Limits</em>, 1989)</strong></p> <p>“When I go out and play [“Mary Had a Little Lamb”], I can hear people say, ‘Oh, that's Stevie's number,’ ” Buddy Guy once said. “So I say, ‘Okay man, that's Stevie's number.’ But Stevie knows whose number it was.” </p> <p>“Mary,” the first Guy composition to be recorded by Vaughan, was the perfect canvas for Vaughan and keyboardist Reese Wynans to slather with their mad skills. </p> <p>Like the rest of this priceless 1989 <em>Austin City Limits</em> broadcast, Vaughan is simply on fire. </p> <p>Between the song’s funked-up sections, he delivers a series of stellar, note-perfect solos that careen and soar with the aid of some nifty whammy-bar action. — <strong><em>DF</em></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/4cGphy7XeZk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>12. Tightrope </strong><br /> <strong>(<em>Austin City Limits</em>, 1989)</strong></p> <p>When Stevie cut 1989’s <em>In Step</em>, his last studio effort with Double Trouble, he showcased more of an R&amp;B/soul approach than ever before, evidenced by the hit tracks “Crossfire” and “Tightrope.” “Tightrope” is a straightforward 4/4 groover with a James Brown–meets–Albert King type of feel. </p> <p>Shot on October 10, 1989, for <em>Austin City Limits</em>, Stevie’s performance is extraordinary, displaying a combination of raw power, deep emotion and technical brilliance in perfect measure. </p> <p>His Fuzz Face–drenched solo is crushing in its power while also beautifully melodic and precise. </p> <p>The intense multi-string bent vibratos at the start of his outro solo (3:42–3:46) are just the tip of the iceberg as he closes out this truly masterful performance. <strong>— <em>Andy Aledort</em></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/GX5ioDq1m5I" frameborder="0" allowfullscreen></iframe></p> <p><em>This is an excerpt from the October 2014 issue of </em>Guitar World<em>. For the rest of this story, plus the rest of our Stevie Ray Vaughan Top 30 feature, Yes, the 60th anniversary of the Fender Strat, columns, tabs and reviews of new gear from TC Electronic, Seymour Duncan, Prestige Guitars and more, <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-october-14-stevie-ray-vaughan/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=John5Excerpt">check out the October 2014 issue at the Guitar World Online Store.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/stevie-ray-vaughan-austin-city-limits-three-songs-srvs-30-greatest-recordings#comments Damian Fanelli October 2014 Stevie Ray Vaughan Videos News Features Magazine Tue, 19 Aug 2014 16:09:58 +0000 Damian Fanelli http://www.guitarworld.com/article/22153 New Book/CD: Learn Slide Guitar from Warren Haynes http://www.guitarworld.com/new-bookcd-learn-slide-guitar-warren-haynes <!--paging_filter--><p>Learn the slide guitar stylings of Warren Haynes from the man himself! </p> <p>In <em>Warren Haynes — Guide to Slide Guitar</em>, the legendary guitarist of Gov't Mule, Phil Lesh and Friends, the Grateful Dead and the Allman Brothers Band offers instructions on choosing a slide, perfecting left- and right-hand techniques, playing rhythm and blues soloing-on electric and acoustic. </p> <p><em>Warren Haynes — Guide to Slide Guitar</em> will give you the most in-depth and personal lessons ever on how to play slide guitar in the style of Warren Haynes. </p> <p>Also includes a split-channel CD of the exercises, played by Haynes with a full band. </p> <p>Listen to the master or solo along to the backing tracks!</p> <p><strong><a href="http://store.guitarworld.com/collections/tab-books/products/warren-haynes-guide-to-slide-guitar/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=WarrenHaynesSlide">'Warren Haynes — Guide to Slide Guitar' is available now at the Guitar World Online Store for $19.99.</a></strong></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/warren-haynes">Warren Haynes</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/new-bookcd-learn-slide-guitar-warren-haynes#comments Warren Haynes News Features Tue, 19 Aug 2014 15:15:17 +0000 Guitar World Staff http://www.guitarworld.com/article/18876 John 5 Shows Off His Telecaster Collection and Discusses New Album, 'Careful with That Axe' http://www.guitarworld.com/john-5-shows-his-telecaster-collection-and-discusses-new-album-careful-axe <!--paging_filter--><p><em>This is an excerpt from the October 2014 issue of </em>Guitar World<em>. For the rest of this story, plus features on Stevie Ray Vaughan (a 60th-birthday bash!), Yes, the 60th anniversary of the Fender Strat, columns, tabs and reviews of new gear from TC Electronic, PureSalem Guitars, Martin, Seymour Duncan, Prestige Guitars and more, <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-october-14-stevie-ray-vaughan/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=John5Excerpt">check out the October 2014 issue at the Guitar World Online Store.</a></em></p> <p>“It all starts when you get your first guitar for Christmas or your birthday,” John 5 explains. “You never know what that guitar is going to bring you. Is it going to bring you happiness or sadness, fortune or poverty?”</p> <p>In John’s case, that first guitar, acquired at the tender age of seven, has led to a stellar career as one of recent rock’s most admired and sought-after guitarslingers. He’s enjoyed high-profile stints with everyone from Marilyn Manson to David Lee Roth to k.d. lang to Lynyrd Skynyrd. </p> <p>Since 2005, he’s been guitarist-in-chief for Rob Zombie and is currently working on the score for Zombie’s newest horror flick, <em>31</em>. In the past decade, the man born John William Lowery has also emerged as a solo artist and all-around virtuoso guitar hero in his own right. He pioneered the now-popular, if unlikely, hybrid of shred guitar and wild country pickin’, and serves it up with his own twisted sense of campy goth panache. </p> <p>John’s newest solo album, his eighth to date, is called <em>Careful with That Axe</em> and features bassist Matt Bissonette (Joe Satriani, David Lee Roth, Elton John) and drummer Rodger Carter (Lita Ford, Gene Simmons, Glen Campbell). The album is packed with all the speed-demon riffology and feats of fretboard acrobatics that his fans have come to expect. “I wanted to make this record so intense,” he says. “You know, it’s a guitar record. It’s not like anything else. So I just wanted to make it absolutely insane. Really crazy playing.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/pVPvCctULYk" frameborder="0" allowfullscreen></iframe></p> <p>The album’s title is a nod to Pink Floyd’s 1968 tour de force psychedelic jam “Careful with that Axe, Eugene.” But given the macabre side of John’s persona, he feels that the name has a special resonance in his case. “An axe is a guitar, obviously,” he says. “But the phrase ‘careful with that axe’ could also be about ax murders, and some of the song titles revolve around ax murders.”</p> <p>While his over-the-top playing style is always reckless and daring, John has indeed been careful with his ax, steering it from triumph to triumph amid the meltdown vicissitudes of the music business. And he’s especially careful with the axes in his legendary collection of mint-condition vintage Telecasters. </p> <p>“I’m a Telecaster connoisseur, and I love my Teles,” he says. “I have one from almost every year since the very beginning, in 1950. I’m so obsessed with them. I just really enjoy the history of Fender—the story of Fender and how it all came about. I have a collector’s soul.” </p> <p>For <em>Careful with That Axe</em>, John mainly stuck with his favorite contemporary Fender, a gold John 5 signature model Tele. “I’ve had that guitar for about six years now, and it’s just worn in beautifully,” he says. “I play it all the time. I didn’t use a lot of other guitars on the album just because we were playing everything live in the studio and just this one guitar gave me pretty much everything I needed. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/j49brlQpsoc" frameborder="0" allowfullscreen></iframe></p> <p>"I only used one Marshall JVM combo amp with a Boss Super Overdrive, Boss Noise Supressor and Boss Chorus. That’s pretty much what I use live too, when I’m playing with Zombie, and I wanted to have that vibe in the studio. I didn’t use a lot of gear this time because I just wanted to do everything with my hands. I went into this kind of like a boxer. I trained and trained, and I rehearsed quite a bit with Rodger and Matt. I think they both did a phenomenal job with this, just sounding out of control at times, but then pulling back on the songs that called for that.”</p> <p>The album reflects on John’s formative years as a guitar monster in training, starting with the opening track, “We Need to Have a Talk About John.” A chaotic collage of wild sounds and spoken-voice snippets, it sets the mood for what’s to come. “When my parents gave me that first guitar, I became totally obsessed,” John says. </p> <p><em>Photo: Sean Murphy</em></p> <p><em>This is an excerpt from the October 2014 issue of </em>Guitar World<em>. For the rest of this story, plus features on Stevie Ray Vaughan (a 60th-birthday bash!), Yes, the 60th anniversary of the Fender Strat, columns, tabs and reviews of new gear from TC Electronic, PureSalem Guitars, Martin, Seymour Duncan, Prestige Guitars and more, <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-october-14-stevie-ray-vaughan/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=John5Excerpt">check out the October 2014 issue at the Guitar World Online Store.</a></em></p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-12%20at%203.40.45%20PM_1.png" width="620" height="806" alt="Screen Shot 2014-08-12 at 3.40.45 PM_1.png" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john5">John5</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/john-5-shows-his-telecaster-collection-and-discusses-new-album-careful-axe#comments John 5 October 2014 Interviews News Features Magazine Mon, 18 Aug 2014 16:28:08 +0000 Alan di Perna http://www.guitarworld.com/article/22091 October 2014 Guitar World: Stevie Ray Vaughan's 30 Greatest Guitar Moments, Steve Howe and Yes, 60 Years of the Fender Strat and More http://www.guitarworld.com/october-2014-guitar-world-stevie-ray-vaughans-30-greatest-guitar-moments-steve-howe-and-yes-60-years-fender-strat-and-more <!--paging_filter--><p><strong><a href="http://guitarworld.myshopify.com/products/guitar-world-october-14-stevie-ray-vaughan/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWOCT14">The all-new October 2014 issue of Guitar World is available now!</a></strong></p> <p>In the new issue, we celebrate blues giants <strong>Stevie Ray Vaughan</strong> with an in-depth examination of his 30 greatest recordings — from “Texas Flood” to “Riviera Paradise,” from “Couldn’t Stand the Weather” to “The Sky is Crying." Read about how Stevie Ray Vaughan and Double Trouble (bassist <strong>Tommy Shannon</strong> and drummer <strong>Chris Layton</strong>) didn’t walk into Jackson Browne’s Down Town Studio in Los Angeles in late 1982 with highfalutin plans about recording their monster debut album. In fact, their sites were set much lower. </p> <p>Also, <strong>Metallica’s Kirk Hammett</strong> teaches you how to play like the great bluesman SRV. Then blues legend <strong>Buddy Guy</strong> pays tribute to his late friend. We go up close and personal with Stevie’s favorite Strat, which is now on display at the Grammy Museum in L.A.</p> <p>Then, <em>Guitar World</em> features <strong>John 5</strong>, the prophet of the Telecaster who shows us some rare mint-condition Teles from his collection and talks about his latest album, <em>Careful with That Axe</em>.</p> <p>Next, as the prog legends take their classic <em>Fragile</em> and <em>Close to the Edge</em> albums on the road, guitar virtuoso <strong>Steve Howe</strong> sits down for a talk about the making of those groundbreaking productions.</p> <p>Finally, as the curvaceous <strong>Fender Stratocaster</strong> marks six decades of innovation and influence, <em>Guitar World</em> celebrates its legacy via 60 players, songs, solos and historical moments.</p> <p>PLUS: An ode to the late <strong>Johnny Winter</strong>, a PureSalem guitar review, Satchel's Man of Steel column returns and much more!</p> <p><strong>Five Songs with Tabs for Guitar and Bass</strong></p> <p> • Stevie Ray Vaughan - "Look at Little Sister"<br /> • Stevie Ray Vaughan - "Testify"<br /> • Scorpions - "Rock You Like a Hurricane"<br /> • Within The Ruins - "Gods Amongst Men"<br /> • Magic - "Rude"</p> <p><strong><a href="http://guitarworld.myshopify.com/products/guitar-world-october-14-stevie-ray-vaughan/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWOCT14">Head to the Guitar World Online Store now!</a></strong></p> <p><img src="/files/imce-images/Screen%20Shot%202014-08-12%20at%203.40.45%20PM.png" width="620" height="806" alt="Screen Shot 2014-08-12 at 3.40.45 PM.png" /></p> http://www.guitarworld.com/october-2014-guitar-world-stevie-ray-vaughans-30-greatest-guitar-moments-steve-howe-and-yes-60-years-fender-strat-and-more#comments October 2014 News Features Mon, 18 Aug 2014 16:27:07 +0000 Guitar World Staff http://www.guitarworld.com/article/22141 Dear Guitar Hero: Former Kiss Guitarist Bruce Kulick Talks Getting Shot, His Proudest Guitar Moments, Signature Guitar and More http://www.guitarworld.com/dear-guitar-hero-former-kiss-guitarist-bruce-kulick-talks-getting-shot-his-proudest-guitar-moments-signature-guitar-and-more <!--paging_filter--><p><em>He’s a former Kiss guitarist from their makeup-free era in the late Eighties and early Nineties. But what </em>Guitar World<em> readers really want to know is…</em></p> <p><strong>What is the story behind your new Rock N’ Roll Relics guitar? — Michael Steadman</strong></p> <p>I was first introduced to Billy Rowe, the owner of Rock N’ Roll Relics, at the NAMM show, and I saw that he was very talented at taking vintage Gibson-style guitars and reliquing them. </p> <p>And it made me think immediately of my Les Paul Junior from the [1992] Revenge/Alive III tour. It was one of the most beat-up Les Paul Juniors ever. I got it at Guitars R Us on Sunset Boulevard, and we recorded with it a lot. Gene [Simmons] loved it. Kiss even rented it for [1998’s] <em>Psycho Circus</em>, because they wanted that sound. It had a humbucker in it—a Seymour Duncan JB—but there was just something about the mahogany body. </p> <p>It had “that sound.” So Billy from Rock N’ Roll Relics was the perfect person to make a copy of it. The new model has all the elements: a mahogany flat body and rosewood neck and a humbucker—an Antiquity JB, because obviously a new JB wouldn’t look really good in a reliqued guitar. Because this is a small company, we’re just doing this limited run of 25, and it’s available online [<a href="http://www.rocknrollrelics.net/">rocknrollrelics.net</a>]. We’ve sold half of them already.</p> <p><strong>What do you consider your proudest guitar moment on record? — Chris</strong></p> <p>With Kiss, I think the solo in “Tears Are Falling” [from <em>Asylum</em>, 1985], which is melodic and tricky, and the acoustic solo on “Forever” [from <em>Hot in the Shade</em>, 1989], which shows another side of my style. And then something like “Unholy” [from <em>Revenge</em>, 1992], where I’m really balls to the wall in your face, using a wah-wah and distortion. I really got a chance to show the range of my playing during my Kiss years.</p> <p><strong>Do you think you, Vinnie [Vincent], Tommy [Thayer], Mark [St. John], Eric [Carr] and Eric [Singer] were cheated by not being inducted into the Rock and Roll Hall of Fame? — SFC Damion Thompson, U.S. Army</strong></p> <p>I’m totally unhappy with how the Hall of Fame handled this. We deserved to be inducted, and I know Gene and Paul’s intention was to present that argument to them, which according to Paul was a non-starter. I’m still extremely flattered that I’m related to a band that’s been inducted, and I certainly don’t have any issue with the fact that without the original four there would be no Kiss. But Kiss survived successfully for 40 years, and I know at least seven million records were sold with my name on them. So for the Hall to ignore that, I think that’s a travesty. </p> <p><strong>I saw you were recently married. Congratulations! I also saw that Gene and Paul were at your wedding. What do Gene Simmons and Paul Stanley give as wedding presents? — Henry McGee</strong></p> <p>I didn’t get an envelope or any gift from them that night, but technically, you have up to a year to give a gift. I kind of feel like there is something coming up that’s going to be a gift to me. Lisa and I, we’ve talked about it a few times, and them being there was a huge gift to me, and she felt the same way. </p> <p>Our history is very unusual: We fell in love four and a half years ago, but I did actually meet her backstage in 1986. She was there for a meet and greet, to see Paul Stanley, you know? I wasn’t involved with anybody, but I wasn’t necessarily looking to hit on any girl in a meet and greet that day. I find it kind of ironic that things have always centered around this Kiss connection, even with Lisa. So I’m just looking at the big picture of things. Gene and Paul’s gift is related to the respect that they show me. You can’t put a price tag on that. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/lEwnfhuPJGs" frameborder="0" allowfullscreen></iframe></p> <p><strong>What was it like getting shot? — Billy Sing</strong></p> <p>One of the songs on BK3, the last solo record I put out four years ago, is called “I’ll Survive,” and it’s about that event. It was surreal. I was leaving the Key Club on Sunset Boulevard after seeing my buddy Brent Fitz, the drummer with Slash, who is playing with Vince Neil. It was about 1:20 in the morning. </p> <p>The shots came from a block and a half away, in front of the Rainbow Club. I couldn’t tell if it was a car backfiring or a gun shot. And then I got hit in the leg. It was as if someone was taking a hot poker and sticking it through your leg, but it happens so fast that you don’t know what the hell happened. My knee buckled, and I went down. What was weirder was that a ricochet bullet whizzed right by my ear and actually grazed my head. I heard the whistle from it as it went past. That was even more bizarre than having a bullet pass through my leg. </p> <p>But I was lucky. The bullet could have shattered my kneecap; instead, it went completely through muscle. The paramedics showed up über fast, and the guy asked me to move my toes, which I did. And he says to me, “You’re going to be fine.”</p> <p><strong>I read that your brother Bob tried out for Kiss before Ace got the gig. Did he help advise you on your audition process? — Chip Douglas</strong></p> <p>My brother’s acquaintance with the guys was a good thing, but I think it also took other people to mention my name to Gene and Paul. I actually wound up doing a little ghost guitar work for Kiss on Animalize, but I’m not credited. At the time, Mark St. John was playing lead. Paul asked me to play a solo, and he happened to say, “Don’t cut your hair.” </p> <p>I wasn’t aware that Mark was not going to be able to tour. [St. John was diagnosed with the arthritic condition Reiter’s Syndrome.] Then they asked me to kind of fill in on the tour, and that wound up becoming a 12-year stint in the band. Those people who go back and think, “Well, the first time I saw Kiss was in 1985”—if they’re not sure who it was, now it’s a matter of record: they saw me. Yay! </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/kfmrX_WlM2w" frameborder="0" allowfullscreen></iframe></p> <p><strong>When did you become aware that Ace and Peter would be rejoining the band? Were you nervous when they guested on Unplugged? — Lazlo Kovacs</strong></p> <p>I actually was happily ignorant to any behind-the-scenes talk of a reunion. I certainly didn’t think that <em>Kiss Unplugged</em> [1996] would be the catalyst to make it happen. We had recorded probably 75 to 80 percent of <em>Carnival of Souls</em> [released in 1997], and that’s when Gene and Paul had a meeting with Eric and me explaining that it was time for them to try this reunion and that it would only be for a year, but that they were going to take care of us—which they did. Kiss had to lose the makeup in the Eighties, because it just didn’t seem cool anymore. When they brought it back in 1996, it was the right time for it. But I didn’t really think anything like that was brewing behind the scenes. </p> <p><strong>Was the period after you left Kiss difficult for you, or were you ready to move on? — Phil Leech</strong></p> <p>It was difficult. To see the hoopla surrounding them putting the makeup on, and then hearing, “First concert, sold out, stadium in Detroit…” I was like, That’s it, no more Kiss for me! That reality was hard, and then it got even worse. Because by the time Carnival of Souls came out, it had already been bootlegged, and the copies were terrible. I was doing a clinic tour in Europe, and some friends of mine from the Kiss world were like, “Check it out, I got a bootleg of Carnival of Souls”—which obviously hurt. </p> <p>I had nine co-writes on it, so I didn’t want to hear about bootlegs. I think having <em>Carnival of Souls</em> kind of raped was more painful even than not being in Kiss. But from tough things in life, you hopefully really strap up your boots tightly and get going. And that’s what I did. I had my own band with John Corabi called Union, and I just forged on and never looked back really.</p> <p><strong>How did you get the gig in Grand Funk? You’ve been in the band for, like, 14 years now. — Dennis Maloney</strong></p> <p>I met [Grand Funk drummer] Don Brewer back in the days when I worked with Michael Bolton. Michael had just put out his first solo record [1983’s self-titled release], and we opened for Bob Seger. [At the time, Brewer was drumming for Seger’s Silver Bullet Band.] We got to party with the Seger guys and hang out with everybody. And I was always a Grand Funk fan, so it was like, Oh, my god, Don Brewer! So when Grand Funk went through its changes again after 1998, after the last time [guitarist] Mark Farner was involved, I was on the short list. You never know who you’re working with that even 20 years down the line could be relevant to your career.</p> <p><em>Photo: Angela Boatwright</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/kiss">Kiss</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/dear-guitar-hero-former-kiss-guitarist-bruce-kulick-talks-getting-shot-his-proudest-guitar-moments-signature-guitar-and-more#comments Bruce Kulick Dear Guitar Hero Grand Funk Railroad Kiss September 2014 Interviews News Features Magazine Mon, 18 Aug 2014 15:43:56 +0000 Brad Angle http://www.guitarworld.com/article/22140 2015 Guitar World Buyer's Guide: Nonstop Gear Plus Playboy Playmates Nikki Leigh, Gemma Lee Farrell and Dani Mathers http://www.guitarworld.com/2015-guitar-world-buyers-guide-nonstop-gear-plus-playboy-playmates-nikki-leigh-gemma-lee-farrell-and-dani-mathers <!--paging_filter--><p><strong>Guitar World Buyer's Guide 2015 is <a href="http://guitarworld.myshopify.com/products/guitar-world-buyers-guide-2015/?&amp;utm_source=facebook&amp;utm_medium=daily_ad&amp;utm_campaign=BuyersGuide15">available NOW at the Guitar World Online Store!</a></strong></p> <p><em>Guitar World's</em> 2015 Buyer's Guide issue features more than 1,000 products and photos. </p> <p>The 2015 Buyer's Guide features more brands and models than any other guide and includes electrics, acoustics, basses, amps, effects and accessories modeled by <em>Playboy</em> Playmates Nikki Leigh, Gemma Lee Farrell and Dani Mathers.</p> <p>The best guitar Buyer's Guide ever — we've got reviews on all the gear:</p> <p> • Electrics<br /> • Acoustics<br /> • Basses<br /> • Amps<br /> • Effects<br /> • Accessories<br /> • and many more!</p> <p><strong><a href="http://guitarworld.myshopify.com/products/guitar-world-buyers-guide-2015/?&amp;utm_source=facebook&amp;utm_medium=daily_ad&amp;utm_campaign=BuyersGuide15">For more information, head to the Guitar World Online Store now!</a></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/MRVRzaQ0I0s" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-07-02%20at%2012.25.57%20PM.png" width="620" height="812" alt="Screen Shot 2014-07-02 at 12.25.57 PM.png" /></p> http://www.guitarworld.com/2015-guitar-world-buyers-guide-nonstop-gear-plus-playboy-playmates-nikki-leigh-gemma-lee-farrell-and-dani-mathers#comments Buyer's Guide News Features Fri, 15 Aug 2014 14:32:27 +0000 Guitar World Staff http://www.guitarworld.com/article/21833 John Petrucci's 'Wild Stringdom' DVD Offers More Than 60 Minutes of Lessons http://www.guitarworld.com/john-petruccis-wild-stringdom-dvd-offers-more-60-minutes-lessons <!--paging_filter--><p>There's a new <em>Guitar World</em> DVD at the <a href="http://guitarworld.myshopify.com/products/john-petruccis-wild-stringdom/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=JohnPetrucciDVD">Guitar World Online Store!</a></p> <p><em>John Petrucci's Wild Stringdom</em> is <a href="http://guitarworld.myshopify.com/products/john-petruccis-wild-stringdom/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=JohnPetrucciDVD">available now</a> for $14.99!</p> <p>The DVD, which features Dream Theater's guitarist, offers more than 60 minutes of instructional lessons. This master lead guitarist shows you:</p> <p>• Prog-style shred runs<br /> • Melodic shapes<br /> • Scale and arpeggio patterns<br /> • Unusual fretboard paths</p> <p>... and much more!</p> <p>This DVD is an exclusive to the Guitar World Online Store. You won't find this anywhere else! Get your copy today!</p> <p>About your instructor: Petrucci is best known as the Grammy-nominated guitarist and founding member of the progressive metal band Dream Theater, whose latest, self-titled album is available form Roadrunner Records. He is also the band's producer and main lyricist, as well as an original member of the acclaimed Liquid Tension Experiment with Tony Levin. </p> <p>John is a long-standing veteran of Joe Satriani's prestigious G3 tours along with Steve Vai, Eric Johnson, and Paul Gilbert. John has received many notable awards in various guitar publications throughout the world, and has been featured in Guitar World magazine many times over the years, offering numerous outstanding lessons to its readers, including this collection of Wild Stringdom columns and other special articles and videos.</p> <p><strong><a href="http://guitarworld.myshopify.com/products/john-petruccis-wild-stringdom/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=JohnPetrucciDVD">Head to the Guitar World Online Store now!</a></strong></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/john-petruccis-wild-stringdom-dvd-offers-more-60-minutes-lessons#comments John Petrucci News Features Thu, 14 Aug 2014 12:03:51 +0000 Guitar World Staff http://www.guitarworld.com/article/22066 Shut Up & Jam! Ted Nugent Talks New Album, Musical Influences, Gear and More http://www.guitarworld.com/shut-jam-ted-nugent-talks-new-album-musical-influences-gear-and-more <!--paging_filter--><p>Ted Nugent isn't one to keep his opinions to himself. </p> <p>His persona has made him a larger-than-life and polarizing media figure. Peel away the political opinions and you find the “Motor City Madman” who has been cranking out hits since his debut with the Amboy Dukes in 1967. </p> <p>The title of Nugent’s latest album, <em>Shut Up &amp; Jam!</em>, is more than just an album title. It's a mission statement. </p> <p><strong>GUITAR WORLD: It has been seven years since your last album, <em>Love Grenade</em>, was released. What made 2014 the right time to put out a new record?</strong> </p> <p>Wrapping up the greatest, most fun tour of my life in 2013 and then enjoying the greatest hunting season of my life with family and friends, it put me in such a wild-eyed, glowing, positive, happy place, that these songs simply erupted off my guitar neck unto themselves every time I cranked up the mighty Gibson Byrdland through my amps in the living room of our little Texas ranch house! Positive, uplifting motivation was everywhere. I am a very, very lucky guitar player. </p> <p><strong>Listening to <em>Shut Up &amp; Jam!</em>, it seems as though the album really encapsulates your personality. When you wrote for the new record, was that a conscious effort? </strong></p> <p>My musical adventure has a life of its own, mostly an out-of-body experience every time I grab a guitar. Because of the earthly lifestyle of my hunting, fishing, trapping, ranching, outdoor fun, I believe I escape the music totally when not actually playing it. I've never planned any song or any record. Being an addict of groove-oriented R&amp;B and rock and roll, my fingers immediately start dancing on the fretboard with variations of honky-tonk, boogie-woogie and every guitar lick you can imagine that I have absorbed throughout my music-drenched life. </p> <p>Licks just come, chords just come, lyrical cadence just comes and pretty much immediately, the lyrics themselves just come. I'd call my musical creativity is more subconscious than conscious.</p> <p><strong>Your guitar sound on the record is instantly recognizable as classic Ted Nugent, but still sounds fresh. Aside from the obvious Gibson Byrdland and Les Paul, what are you using on this record in terms of gear?</strong> </p> <p>A couple of my killer PRS's show up here and there, but the Byrdlands and Les Pauls mostly dominate through a new Peavey 50W and 6505 as well as a vintage Fender Bassman. I give a lot of credit to my cohort in soul music crime, Michael Lutz (producer and founding member of Brownsville Station), who has a very capable and demanding ear for those magical, original, classic, Lonnie Mack glowing tones.</p> <p><strong>How special is it after nearly 40 years to still be going into the studio with Derek and at the same time to work with friends like Sammy Hagar?</strong></p> <p>With the soul music masters of Derek St. Holmes, Mick Brown, Greg Smith, Jon Kutz, Johnny Bee Badanjek and Sammy Hagar, as well as Michael Lutz and Tim and Andy Patalan, the mighty Funkbrothers will live on in infamy as we carry the torch of the tightest, most fun garage band in the world. All my guys were raised on the magical grinding of black American blues and R&amp;B, so it is always a soul music orgy and celebration of the sounds and grooves that we all love and crave to reproduce. These guys are the best.</p> <p><strong>At 65 years young, you show absolutely no signs of slowing down. Do you see a point with the music industry where there might come a time to walk away?</strong></p> <p>I think we can all agree that the greatest philosopher of all times, Dirty Harry, said it best when he stated the ultimate guiding force for quality of life: "A good man has to know his limitations." </p> <p>And I figured that out many years before he made that statement. I rock ferociously hard every song, every gig, every night, every year for 50-plus years. As I approach my 6,500th ultra-rockout this summer, I attribute my longevity, overall health and youthful craving for the music to the definitive balance in my life that my hunting, outdoor and quality family time I orchestrate every fall and winter between tours. </p> <p>Such a quiet, down-to-earth lifestyle literally cleanses my soul, clears my head, relieves my ears and fortifies my spirit. My life is literally perfect. So no, I don't ever consider "the end" but am more than aware of its necessity when the conditions arrive.</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="/ted-nugent">Ted Nugent</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/shut-jam-ted-nugent-talks-new-album-musical-influences-gear-and-more#comments John Katic Ted Nugent Interviews News Features Wed, 13 Aug 2014 19:45:59 +0000 John Katic http://www.guitarworld.com/article/22082 Allman Brothers Band: Compilation Producer Bill Levenson Talks Deluxe '1971 Fillmore East Recordings' http://www.guitarworld.com/allman-brothers-band-compilation-producer-bill-levenson-talks-deluxe-1971-fillmore-east-recordings <!--paging_filter--><p><em>The Allman Brothers Band At Fillmore East</em> has been considered rock’s best live album since its 1971 release. </p> <p>Recorded March 12 and 13, 1971, at the New York club, the album captured the original Allman Brothers Band at the peak of their powers, playing with verve, grace, intensity and seemingly telepathic communication. </p> <p>Guitarists Dickey Betts and Duane Allman finished one another’s phrases, spun beautiful leads off each other’s riffs and prodded themselves to guitar heights that have rarely, if ever, been equaled.</p> <p>Over the years, different versions have been issued, including the expanded <em>The Fillmore Concerts</em>, but the holy grail for Allmans fans has been hearing the many unreleased tracks from the shows, mostly stemming from Friday, March 12, as most of the album was culled from the final night.</p> <p>A new deluxe set, <em>The 1971 Fillmore East Recordings</em>, delivers almost all of the music played by the Allman Brothers at the Fillmore East during these shows in great, remastered sound. The set consists of six CDs or three Blu-ray discs, which are mixed for Surround Sound and bring the band’s performance to a shimmering new life. </p> <p>Duane Allman famously invited several guests, including soprano saxophonist Juicy Carter, harmonica player Thom Doucette and percussionist Bobby Caldwell (the drummer from the headlining Johnny Winter And), to sit in, much to the consternation of producer Tom Dowd. Dowd convinced the band to banish the horns for the second night and chose different versions of songs or edited out most of the guests’ contributions, which can now be heard — and mostly prove Dowd’s point.</p> <p>The final performance captured on the collection came a few months later, on June 27, 1971, the closing show of the Fillmore East. It includes promoter Bill Graham’s entire, ecstatic introduction, which concluded with “We’re going to round it out with the best of them all, the Allman Brothers Band.”</p> <p>We spoke with compilation producer Bill Levenson about the release.</p> <p><strong>GUITAR WORLD: This set has been talked about for so long. Do you think it came out the same way it would have if you had done it any time in the last 20 years?</strong></p> <p>The main difference in the last year or two was the Blu-ray and Surround Sound. I don’t think we would have done that in the Nineties when we were first talking about it. I think that’s what doing it in 2014 brought us — a Blu-ray set.</p> <p>And I’m very excited about the Surround Sound. The goal was really to put the listener in the 10th row of the Fillmore, with everything in front of you and the reflections and the audience behind you. I grew up in New York and went into the Fillmore. It had a distinct sound, a fabulous sound, and you can feel the auditorium in any album recorded there. I was trying to recreate being in the Fillmore, and I do think we were able to capture the magic of what was in that hall.</p> <p><iframe src="https://embed.spotify.com/?uri=spotify:track:1UGlPSocDwycOOQeMNOVhx" width="620" height="365" frameborder="0" allowtransparency="true"></iframe>”</p> <p><strong>Among other things, you finally brought us the sax stylings of Juicy Carter, which we’ve only been able to hear dabs of before. It’s really interesting but not hard to hear why Tom Dowd was upset about his sudden appearance during a recording.</strong></p> <p>Yes. What really made it work was just to find the place in the mix where it was forward but not too forward, dissonant but not too edgy. To be honest, there are moments where we buried him because he was went off in really dissonant tangents. It’s still there; you hear if you listen, but he’s been pulled back. During these times, he was playing two saxes at once — baritone and saxophone — and some of the playing gets really out there. </p> <p>It was really the magic of the fader.</p> <p><strong>This set scratched a lot of our itches, but a big one that remains is the first show, Thursday, March 11, which Tom Dowd said he recorded and which apparently featured a full horn section.</strong></p> <p>Thursday night is the blind spot for all of us. I’ve picked through the vaults hundreds of times, and there’s not even a hint of it existing, not even a reference somewhere. The only time it’s even mentioned is in a Tom Dowd interview, and he’s no longer with us to ask. But I am certain that there’s no tape, not even a tape that’s taped over … I just used everything we had.</p> <p><em>Alan Paul is the author of the best-selling book </em><a href="http://www.amazon.com/gp/product/1250040493/ref=as_li_tf_tl?ie=UTF8&amp;camp=211189&amp;creative=373489&amp;creativeASIN=1250040493&amp;link_code=as3&amp;tag=alanpaulinchi-20">One Way Out: The Inside History of the Allman Brothers Band</a><em>. You can read an excerpt about the recording of </em>At Fillmore East<em> <a href="http://alanpaul.net/2014/08/one-way-out-excerpt-the-recording-of-at-fillmore-east/">here.</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="/allman-brothers-band">Allman Brothers Band</a> </div> <div class="field-item even"> <a href="/duane-allman">Duane Allman</a> </div> <div class="field-item odd"> <a href="/dickey-betts">Dickey Betts</a> </div> <div class="field-item even"> <a href="/gregg-allman">Gregg Allman</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/allman-brothers-band-compilation-producer-bill-levenson-talks-deluxe-1971-fillmore-east-recordings#comments Allman Brothers Band Interviews News Features Wed, 13 Aug 2014 17:34:49 +0000 Alan Paul http://www.guitarworld.com/article/22115 Inventing the Steel: How to Solo Like Angus Young, Jimmy Page and Tony Iommi http://www.guitarworld.com/inventing-steel-how-solo-angus-young-jimmy-page-and-tony-iommi <!--paging_filter--><p>Regarded by many as the three most vital purveyors of pure hard rock/heavy metal sonic evil, AC/DC’s <strong>Angus Young</strong>, Led Zeppelin’s <strong>Jimmy Page</strong> and Black Sabbath’s <strong>Tony Iommi</strong> have each forged a distinct, instantly recognizable guitar style and sound. </p> <p>After decades of dedicated service, all three players continue to influence countless up-and-coming metalheads the world over, and an in-depth study of each guitarist’s distinct musical personality is mandatory for any aspiring hard rock player.</p> <p>Young, Page and Iommi share a few similarities in their respective crafts. </p> <p>All three have relied on Gibson solidbody/dual-humbucker-style guitars for the majority of their careers, inspiring signature models of their respective axes: Angus Young has favored Gibson SG-type guitars and has his own Gibson signature model; Jimmy Page is most closely associated with the 1959 sunburst Les Paul, replicated in limited quantity by Gibson (with a retail price of more than $20,000); and Tony Iommi’s long association with the ’61 SG led to the creation of the similarly designed Gibson Tony Iommi model (as well as the custom-made SG-type Patrick Eggle and JayDee models that Iommi also uses). When soloing, all three guitarists most often use the bridge pickup. </p> <p>Armed with their respective axes, the three defined the sound of metal in the late Sixties and early Seventies by relying on specific amplification: Jimmy Page favors Marshall SLP-1959 100-watt amps modified with KT-88 tubes, while also employing Voxes, Hiwatts, Fender Super Reverbs and Orange amps. </p> <p>Angus Young has generally used Marshall 100-watt “Plexi” models along with JTM-45 “Plexis.” Iommi is also known for his use of Marshall and Orange gear and has long been a fan of Laney amplification; he even has his own Laney 100-watt signature amplifier.</p> <p>Another commonality among the three guitar gods is their choice of scale for soloing. In the spirit of their American blues guitar heroes, all three rely most heavily on the minor pentatonic scale. <strong>FIGURE 1a</strong> shows the A minor pentatonic scale (A C D E G) played in fifth position; <strong>FIGURE 1b</strong> shows the same scale as played in an extended pattern that traverses the neck from the third fret to the 12th. The root notes are circled in each figure; once you have become familiar with these fingering patterns, be sure to move them to all other keys.</p> <p><img src="/files/imce-images/1_5.png" width="620" height="113" alt="1_5.png" /></p> <p>Let’s now look at these two patterns one octave and 12 frets higher: <strong>FIGURE 2a</strong> depicts A minor pentatonic played in 17th position while <strong>FIGURE 2b</strong> shows an extended pattern that spans the 15th–22nd frets, ending with a whole step bend from D to E. Young, Page and Iommi all cover the highest reaches of the neck in many of their solos, so be sure to practice the minor pentatonic scales in every key and all over the fretboard.</p> <p><img src="/files/imce-images/2_3.png" width="620" height="120" alt="2_3.png" /><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">Angus Young</span></p> <p>With his comedic school-boy outfit and hyperenergetic stage antics, Angus Young has been both celebrated and reviled for his over-the-top persona. But in truth, he is simply one of the greatest rock soloists ever. His intense, exciting playing style is equal parts adrenaline, blues rock fire, and precision, all of it spiked with a crash-and-burn attitude. In other words, it’s hard rock at its absolute best.</p> <p>One of Young’s greatest solos is the one he recorded in the AC/DC classic, “You Shook Me All Night Long” (<em>Back in Black</em>). <strong>FIGURE 3</strong> presents a solo played in this style: it’s played over a repeating I-IV-V-IV chord progression in the key of G—G-C-D-C—and is based primarily on the G minor pentatonic scale (G Bf C D F); bars 1–4 are played in third position, and then the next phrase shifts one octave higher to 15th position in bars 5–8. </p> <p>The figure begins with a whole-step bend from C to D on the G string that is sustained and played with vibrato for three beats. Use your ring finger to fret the note and both your ring and middle fingers to push the string, with the middle finger one fret behind the ring finger. This two-finger bending technique is known as reinforced fingering and is used extensively by Young as well as Page and Iommi. </p> <p>The first note in <strong>FIGURE 3</strong> is a prime example of Young’s signature bend vibrato: upon bending the string with the ring and middle fingers (the index finger may also be used to help push the string for additional strength and support), the bend is then repeatedly released partially—somewhere between a quarter step and a half step—and restored to a whole step (“full”) in quick, even rhythm. </p> <p><img src="/files/imce-images/3_1.png" width="620" height="259" alt="3_1.png" /></p> <p>When executing this type of bend vibrato, you’ll find that it helps to push your fret-hand thumb against the top side of the neck, as this provides leverage for the fingers that are pushing and releasing the string. Young’s vibrato is relatively fast and not very wide and will require practice and keen listening to emulate authentically.</p> <p>The C-to-D bend is followed with an index-finger barre across the top two strings at the third fret, and in bar 2 the pinkie frets F (second string/sixth fret), followed by the same reinforced ring-finger bend and release on C (third string/fifth fret). At the end of bar 2, after fretting the G note, roll the tip of the ring finger from the fourth string over to the fifth string and then back. This “finger roll” may take some practice to get used to, but it’s a very useful technique that is worth learning. </p> <p>What makes a solo like this great is its simplicity and melodic quality. Each idea is balanced against the next in an effortless way, and the overall result is a memorable solo that one could easily sing—an earmark of every great hard rock guitar solo. </p> <p>Beginning in bar 5 of <strong>FIGURE 3</strong>, the second half of the solo relates to the first half in that it also leads off with a sustained bend, this time from a high F, the flatted seventh, to G, the root note, which is played vibrato in a similar manner. When playing minor pentatonic licks like these in high positions, many blues, blues/rock and hard rock players adopt a three-finger approach—index-middle-ring—for the majority of their licks, presumably because of the closeness of the frets. Young, however, chooses to use his pinkie in many of his licks, regardless of his fretboard position. </p> <p>I wrap the solo up in bar 8 by switching to a riff based on G major pentatonic (G A B D E). A staple of blues soloing is to alternate between the “sweet” sound of major pentatonic and the darker sound of minor pentatonic, and Young does just this in many of his solos. </p> <p>Another great example of Young’s masterful soloing can be heard on the title track to <em>Back in Black</em>. <strong>FIGURE 4</strong> shows a solo played in a similar style. This example is played over a simple repeating chord progression in the key of E: E-D-A (I-fVII-IV). The majority of the solo is based on the E minor pentatonic scale (E G A B D), although I begin with a phrase that incorporates notes from the E Dorian mode (E Fs G A B Cs D) by including the sixth, Cs. The placement of this pitch is critical in relation to the accompanying chord progression, as it lands on the A chord, and Cs is the major third of A. </p> <p><img src="/files/imce-images/4.png" width="620" height="366" alt="4.png" /></p> <p>Like <strong>FIGURE 3</strong>, the goal with this example is to illustrate Young’s clear sense of melody and melodic development: <strong>FIGURE 4</strong> begins with a “hooky” phrase that is developed by descending the G string in a similar manner across the first two bars. At bar 3, I jump up to the 12th-position E minor pentatonic “box” pattern, beginning with a high D-to-E bend and vibrato that is sustained through the first two beats of the bar, followed by a fast phrase based on descending 16th-note triplets. </p> <p>The solo then stays rooted in 12th position through the remainder of bar 3, all the way to the end of bar 7. As with the high-position pentatonic licks in the previous example, the majority of these licks may be played comfortably with three fingers. </p> <p>Particularly noteworthy is the classic lightning-fast blues/rock/metal run that spans bar 7 of <strong>FIGURE 4</strong>: based entirely on descending 16th-note triplets, the run begins with a pull-off from a high G (first string/15th fret) to E (12th fret) followed by D (second string/15th fret). The next 16th-note triplet starts one note lower, on E, and is followed by a pull-off from D to B (15th fret to12th fret). The pattern of starting one note lower with each subsequent 16th-note triplet and using pull-offs wherever possible is repeated throughout the run. </p> <p>As the solo develops, analyze each beat and notice how the progression of the lines contributes to the overall phrase. Young is a master of “phrase-ology,” a skill/gift that lends an almost effortless quality to his solos and the feeling of constantly pushing the music forward and telling a story. </p> <hr /> <span style="font-size:18px;font-weight:bold;">JIMMY PAGE</span> <p>Jimmy Page was inspired by many of the same American blues guitar heroes as his British blues/rock contemporaries Eric Clapton, Jeff Beck and Peter Green. These heroes include the three Kings—Albert, B.B. and Freddie—as well as T-Bone Walker, Buddy Guy and Otis Rush. </p> <p>Page was also equally influenced by the fiery intensity of rockabilly guitarists Cliff Gallup (Gene Vincent and the Blue Caps) and Scotty Moore (Elvis Presley), as well as the futuristic daring of Les Paul. A student of many different styles of guitar playing, Page always combines in his solos a well-balanced structure and sense of melodic development with true depth of feeling. His progressive approach to soloing has pushed the nature of blues/rock guitar to previously unimagined territory. </p> <p><strong>FIGURE 5</strong> is an eight-bar solo representative of Page’s improvisation style. It’s played in the key of A minor over a repeating Am-G-F (i-fVII-fVI) chord progression. The majority of the solo is based on A minor pentatonic (A C D E G), beginning in fifth position with a D-to-E bend on the G string. This note is bent and shaken using the same reinforced fingering and thumb leveraging techniques described earlier in reference to <strong>FIGURE 3</strong>.</p> <p><img src="/files/imce-images/5_0.png" width="620" height="351" alt="5_0.png" /></p> <p>This initial bend is followed by a stream of cascading 16th notes played across the next four beats on the top three strings, with notes quickly alternating between either the fifth and seventh frets or the fifth and eighth frets. Through the majority of this solo, a balance of eighth and 16th notes is achieved, giving the solo a forward-leaning quality as each phrase flows seamlessly into the next. </p> <p>Over an F chord in bars 2, 4, 6 and 8, I occasionally incorporate an F note into the A minor pentatonic-derived lines in order to clearly relate the solo line to the backing chord progression; this approach is a Page trademark. Adding this one note also serves to broaden the solo beyond the strict blues territory while also strengthening the melodic quality of the licks. </p> <p>Bar 5 begins with a descending run wherein a stream of 16th notes are phrased in two six-note groups that form an interesting melodic contour. A similar phrasing approach is used in bar 6 with successive four-note descending groups. The solo develops interestingly and builds to a climax in bars 7 and 8 with a repeated melodic “shape” that ascends the A minor pentatonic scale in seven-note phrases, starting from either the root note or the fifth each time. </p> <p>While this may sound overly analyzed, in truth it is the application of these melodic phrasing techniques that gives the solo its clear sense of structure, which is a hallmark of all of Page’s best lead work.</p> <hr /> <span style="font-size:18px;font-weight:bold;">TONY IOMMI</span> <p>As the progenitor of the heaviest of heavy metal, Tony Iommi set high standards for the writing of demonic-sounding riffs while he simultaneously created the template for the heavy metal soloing of future generations.</p> <p>As a teenager, Iommi, a left-handed player, was the victim of an unfortunate accident in which he lost the tips of his right hand’s middle and ring fingers while working in a sheet metal factory. Discouraged but not defeated, the resourceful guitarist devised plastic covers made from bottle caps to wear over those fingertips. </p> <p>In later years, he would wear custom–fitted leather finger protectors. Iommi also switched to using super light-gauge strings: .008, .008, .011, .018w, .024 and .032, which are much easier to fret and bend than a standard set of .009s or 010s. </p> <p>In its earliest days, Black Sabbath tuned to concert pitch, but soon after Iommi began tuning his strings down one half step (low to high: Ef Af Df Gf Bf Ef) and subsequently tuned down even further by one and a half steps (low to high: Cs Fs B E Gs Cs), all the while continuing to use very light strings. </p> <p>A signature element in the characteristically dark vibe of Iommi’s solos is the incorporation of minor modes. In his outro solo for “War Pigs” (<em>Paranoid</em>), Iommi utilizes the E Aeolian mode (E Fs G A B C D) along with E minor pentatonic (E G A B D). <strong>FIGURE 6</strong> illustrates a solo played with a similar approach. </p> <p>Within the key of E minor, the chord progression simply alternates between Em and D, and in his solo, Iommi’s ties his licks squarely to the chord progression with the use of chord tones that relate to each specific chord. Bars 1–4 of <strong>FIGURE 6</strong> demonstrate this approach by favoring the notes E and G, the root note and minor third, respectively, over Em, and the notes D and Fs, the root and major third, respectively, over D. The additional notes and overall phrasing serve to fill in the space and effectively set up the incorporation of these shifting chord tones (also known as guide tones). </p> <p><img src="/files/imce-images/6_0.png" width="620" height="339" alt="6_0.png" /></p> <p>Another key aspect of Iommi’s soloing style that <strong>FIGURE 6</strong> demonstrates is the intensity of both the pick attack and vibrato. Iommi’s playing is well-loved for its aggressive power, so lean into the lines with both hands, and listen closely to his recorded works to get a clear picture of and feel for his playing style. </p> <p>Beginning on beat two of bar 5, I repeatedly bend E, third string/ninth fret, up one and one half steps (the equivalent of three frets) to G. When performing “overbends” like this, it’s even more important to harness the strength of at least two fingers, the ring and middle, if not three (the ring, middle and index). This is followed in bar 6 by fast whole-step bends that alternate with hammer-on/pull-of combinations between the seventh and ninth frets on the G string. This is a challenging lick that will take a bit of slow practice to master.</p> <p>In the second half of bar 7, I borrow a signature phrasing technique of Iommi’s, with a 16th-note run that descends the E Aeolian mode in three-note groups on a single string, using pull-offs and finger slides. This type of line serves to add both rhythmic and melodic interest to a pentatonic- or mode-based solo.</p> <p><strong>FIGURE 7</strong> offers another example of soloing in Iommi’s style, this time incorporating the detuning of one and one half steps. (All notes and chords sound in the key of C# minor, one and one half steps lower than written.) This example demonstrates Iommi’s penchant for using fast hammer-ons and pull-offs within repeated short phrases, as he does on his solo in “Supernaut” (Vol. 4).</p> <p><img src="/files/imce-images/7_0.png" width="620" height="365" alt="7_0.png" /></p> <p>The solo is based entirely on the E minor pentatonic scale, played in 12th position, and begins with a repeated phrase that starts with a quick hammer/pull on the first string from the 12th fret to the 15th, followed by D, second string/15th fret. This sequence is played four times through bar 1, and bar 2 consists entirely of trills in 12th position. (A trill is executed by quickly alternating between two notes, usually using hammer-ons and pull-offs in combination.) </p> <p>Bars 3 and 4 are similar in that both feature fast phrases based on 16th-note triplets; in bar 3, note bursts are performed with hammer/pulls on the D string, and in bar 4 the hammers occur on the G string. Bars 5 and 6 offer an example of the “threes on fours” concept—16th notes phrased in groups of three—and bars 7 and 8 wrap up the solo with fast hammer/pulls, played in 16th-nopte triplets, that traverse the strings, moving from high to low. </p> <p>In all of their solos, Young, Page and Iommi combine well-structured melodic ideas, solid execution and spirited performance—essential factors in any great, memorable guitar solo that you should strive to achieve in your own solos.</p> <p><em>Painting: Tim O'Brien</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="/tony-iommi">Tony Iommi</a> </div> <div class="field-item even"> <a href="/jimmy-page">Jimmy Page</a> </div> <div class="field-item odd"> <a href="/andy-aledort">Andy Aledort</a> </div> <div class="field-item even"> <a href="/acdc">AC/DC</a> </div> <div class="field-item odd"> <a href="/led-zeppelin">Led Zeppelin</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/inventing-steel-how-solo-angus-young-jimmy-page-and-tony-iommi#comments Angus Young Articles GW Archive JamPlay Jimmy Page May 2007 Tim O'Brien Tony Iommi In Deep with Andy Aledort News Features Lessons Magazine Wed, 13 Aug 2014 12:33:17 +0000 Andy Aledort http://www.guitarworld.com/article/19211 The Songwriting Sourcebook: How to Turn Chords Into Great Songs http://www.guitarworld.com/songwriting-sourcebook-how-turn-chords-great-songs <!--paging_filter--><p>Originally published in 2003, and now revised and updated, <em>The Songwriting Sourcebook: How to Turn Chords into Great Songs</em> is the third entry in Rikky Rooksby's bestselling <em>How to Write Songs</em> series. </p> <p>This easy-to-use book will help you write better songs by explaining the art of writing effective chord sequences It shows:</p> <p>• How three and four chords can lay the foundation for a simple song, and how to move on to progressions using five and six chords </p> <p>• How to give your chord sequences additional color by adding chords that are not strictly in key, including blues chords </p> <p> • How to write chord sequences for songs in minor keys as well as major keys, and how to take progressions into new territories by changing key</p> <p> • How to fine-tune the color of your chords by understanding the emotional potential of sevenths, sixths and ninths </p> <p>All examples come with easy-to-read guitar chord boxes, and the accompanying 20-track audio CD features original recordings that illustrate some of the points made in the book. </p> <p><strong><em>The Songwriting Sourcebook</em> <a href="http://store.guitarworld.com/collections/mix-books/products/the-songwriting-sourcebook/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=SongwritingBook">is available now at the Guitar World Online Store for $24.99.</a></strong></p> http://www.guitarworld.com/songwriting-sourcebook-how-turn-chords-great-songs#comments guitar basics Rikky Rooksby News Features Wed, 13 Aug 2014 12:31:18 +0000 Guitar World Staff http://www.guitarworld.com/article/16914 Buckcherry Guitarist Keith Nelson Talks New EP, 'Fuck,' and His Gibson Collector’s Choice Les Paul http://www.guitarworld.com/buckcherry-guitarist-keith-nelson-talks-new-ep-fuck-and-his-gibson-collector-s-choice-les-paul <!--paging_filter--><p>Never a band to play by the rules, Buckcherry have made a career out of pushing the boundaries — and buttons — of conventional rock while doing things their own way. It’s a strategy that has paid off with successful studio albums and singles over the last decade. </p> <p>Buckcherry’s boldest and perhaps most controversial release to date might be <em>Fuck</em>, a new EP that unapologetically rattles the speakers as much as it will the censors. </p> <p>The new EP, which will be released August 19, consists of six hook-laden tracks that feature guitarist Keith Nelson’s gritty riffs and vocalist Josh Todd’s sharp-tongued lyrics — including an unconventional yet tasty spin on Icona Pop’s hit song “I Love It," which the band has (naturally) renamed “Say Fuck It."</p> <p>Buckcherry — Josh Todd (lead vocals), Keith Nelson (lead guitar), Stevie D. (rhythm guitar), Xavier Muriel (drums) and Kelly Lemieux (bass) — will soon team up with Godsmack, Seether and Skillet for this year’s Uproar Festival, which kicks off August 15 in Detroit, Michigan. </p> <p>Meanwhile, Nelson has contributed “Louis,” one of his original 1959 Les Pauls, to the Gibson Custom Shop, where the staff has painstakingly analyzed every detail of the guitar's look, sound and wear to create a near-perfect replica for Collector's Choice #17. You can see a photo of Gibson's version of the guitar in the gallery below.</p> <p>We recently caught up with Nelson to discuss the new EP and the process behind the making of his “new” Les Paul.</p> <p><strong>GUITAR WORLD: How does a project like <em>Fuck</em> begin?</strong></p> <p>Even before our last record [<em>Confessions</em>], we had been toying around with the idea of doing an EP. It just kept creeping back, and this was finally the right time to do it. The concept was pretty straightforward. It started out with just a bunch of guys sitting on the tour bus saying, "Hey, wouldn't it be cool to do an album called <em>Fuck</em> and have every song on the album have ‘fuck’ in it?” [laughs]. Then after all of the laughter died down, we just said, "Yea, why not? Let's do it!" </p> <p><strong>How would you describe the sound of the EP?</strong></p> <p>It’s raw, guitar-driven rock and roll. We recorded most of it live to tape in my living room studio, so it’s very analog. All of these songs were written with the five of us standing around in a circle looking at each other, and I really wanted the recordings to convey that live-sounding vibe.</p> <p><iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/161044495%3Fsecret_token%3Ds-jOQSF&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true" height="450" width="100%" frameborder="no" scrolling="no"></iframe></p> <p><strong>Can you tell me a little about the writing process?</strong></p> <p>After we had finished working on <em>Confessions,</em> I was still writing and collecting ideas. Then as the tour began to wind down, I started demoing up those ideas and gave them to Josh. Whenever we found ourselves having a few days off, we would all get together in a room and work out the songs. Lyrically, the responsibility for injecting "fuck" into every song came down to Josh. And, of course, he was up to the task! [laughs]. </p> <p><strong>What made you decide to do a take on Icona Pop’s “I Love It”?</strong></p> <p>That was Josh’s idea and was actually the first song we did. Josh listens to a lot of pop radio and when he heard that song, he said "Man, we could really put our own spin on that thing!” He then put it to me to make it sound more like us. So I made it a bit more exciting for guitar players.</p> <p><strong>What can you tell me about the song “The Motherfucker”?</strong></p> <p>That one is straight-up, vintage Buckcherry. As a guitar player, it's a riff in "A." It happened more out of a jam. Once Josh started singing, we all just started jamming on it.</p> <p><strong>How did your recent relationship with Gibson come about?</strong></p> <p>Gibson’s been doing what's known as a Collector's Choice Series. It’s where they find the owner of an original 1959 Les Paul and then go to great lengths to recreate the guitar. I'm fortunate enough to be the owner and player of one of those guitars, so when my name came up, Gibson asked me if they could do it. I supplied my guitar, and they put it through a series of intensive scannings and 3D computer imaging. Basically, they made a replica of the real thing. It's crazy how accurate they got most of it.</p> <p><strong>What first attracted you to vintage guitars?</strong></p> <p>From the moment I started playing guitar, I’ve known that used ones were always less expensive than the new ones. But one day, I happened across a music store where the guy behind the counter was telling me all about how much better the older guitars sounded. Then I started looking around at all of my heroes — Jimmy Page, Paul Kossoff and Joe Perry. All of them were playing the old ones. I got the bug early on and have been collecting for more than 20 years. </p> <p>At one point, I traded the majority of my collection for my first real 1959 Sunburst Les Paul. Then once I got that first one, I had to find one that was a little bit better. Eventually, I found the one that was perfect for me. I've had the guitar for a number of years now. It's called "Louis," and it's the one Gibson recreated.</p> <p><strong>In your opinion, what makes vintage instruments so much better?</strong></p> <p>“Better” is in the eye of the beholder but for me, there’s something magical going on with the age of the wood, the magnets, the wires and the finish. All of that goes together in a way that you really can't explain. When you're got it in your hands, you just know it. I still take Louis on the road with me and play him every night. I can actually play the entire set with it and it will not go out of tune. It's crazy how great that guitar is.</p> <p><strong>Besides Louis, what else is in your live setup?</strong></p> <p>I've got a few other vintage guitars out here with me now. I've got a 1957 Les Paul Junior that I use for all of the open-tuning stuff I do. I’ve also got a '54 Jeff Beck Les Paul Oxblood re-issue from Gibson, which is another phenomenal guitar. Amp-wise, I'm using a 1971 50-watt Marshall. I use the newer Marshall stuff when we travel abroad, but here in North America, I'm driving around with a couple of old heads and guitars. You know, just some old junk! [laughs].</p> <p><strong>Growing up, what inspired you to start playing?</strong></p> <p>I started out as a drummer and around age 17 made the switch to guitar. I got a little bit of a late start, but my original goal was to play guitar to write songs.</p> <p><strong>Speaking of songs, can you tell me the origin of “Crazy Bitch”?</strong></p> <p>Writing "Crazy Bitch" was the best five minutes of my life [laughs]. I remember Josh called me up one day and said, "Hey, I've got this song idea!” So he sings the chorus to me and says, "It just needs to have some funky music with some space in it. Do your thing!" So I sat down with a drum machine and a four-track recorder and came up with the music. The next day, Josh came in and I said, "Sing it over this!" He listened to what I wrote and said, "That's fucking awesome!" Then he sang the lyrics on the spot. Literally, it took five minutes. You can't plan for stuff like that. It just kind of happens — and I'm glad it did.</p> <p><strong><em>For more about Buckcherry, visit <a href="http://buckcherry.com/">buckcherry.com</a> and follow them on <a href="https://www.facebook.com/buckcherry">Facebook.</a></em></strong></p> <p><strong><em>For more about Gibson's Collector’s Choice #17 guitar, visit <a href="http://www2.gibson.com/Products/Electric-Guitars/Les-Paul/Gibson-Custom/Collector%E2%80%99s-Choice-17-1959-Les-Paul-Louis.aspx">gibson.com.</a></em></strong></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href="http://gojimmygo.net/">GoJimmyGo.net</a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="https://twitter.com/JimEWood">Twitter @JimEWood.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/buckcherry">Buckcherry</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/buckcherry-guitarist-keith-nelson-talks-new-ep-fuck-and-his-gibson-collector-s-choice-les-paul#comments Buckcherry Gibson James Wood Keith Nelson Interviews News Features Tue, 12 Aug 2014 17:09:56 +0000 James Wood http://www.guitarworld.com/article/22092 Graham Nash on 'CSNY 1974' and Watching Stephen Stills and Neil Young Battle http://www.guitarworld.com/graham-nash-csny-1974-and-watching-stephen-stills-and-neil-young-battle <!--paging_filter--><p>Between July 9 and September 14, 1974, David Crosby, Stephen Stills, Graham Nash and Neil Young played 31 shows on a tour that took them through the U.S. and up into Canada, touching down for a grand finale at London’s Wembley Stadium. </p> <p>Over the 40 years since then, it’s been the over-the-top excesses of what Crosby dubbed “The Doom Tour” that made up most of the memories of those shows. Mention “CSNY” and “summer of 1974” and you would get wild tales of prodigious quantities of dope, Learjets and hotel pillowcases across the continent embroidered with the band’s logo … and not a whole lot about the music.</p> <p>But now we have <em>CSNY 1974</em>, a 3CD/1DVD set (co-produced by Graham Nash and über-archivist Joel Bernstein) that serves as a powerful reminder, all the weirdness aside, of the amazing music this quartet created. Backed by Tim Drummond (bass), Russ Kunkel (drums) and the late Joe Lala on percussion, Crosby, Stills, Nash &amp; Young played their asses off that summer — and <em>CSNY 1974</em> is the proof. </p> <p>I recently had a chance to spend some time with Nash in New York City, talking about the new box set and standing in the line of fire of some epic Young/Stills guitar battles.</p> <p><strong>GUITAR WORLD: As a guitarist, what’s it like to play alongside Neil Young and Stephen Stills?</strong></p> <p>I’m constantly reminded that I’m no Neil Young or Stephen Stills. [laughs]</p> <p><strong>Who is? [laughter] How have they influenced you?</strong></p> <p>Not much, really. I still play the same basic three chords, you know. And there’s David Crosby: When we rehearse my songs, it only takes about 10 seconds; when you’re rehearsing one of David’s songs, you’re there for days. He’s much more jazz-influenced than I was.</p> <p>I enjoy jazz. I came here in 1966 and went to the Village Gate to watch Miles Davis. I saw Gerry Mulligan and Mingus, you know, but … I’m a very simple man. I know, I wrote that song and it’s true. I want to get your attention right from the beginning. I’m not interested in you trying to figure out four choruses later what the fuck I’m talking about. I want to get you from the first line.</p> <p><strong>How would you describe Stephen’s guitar playing compared to Neil’s?</strong></p> <p>They're very different, not only sonically, but different in style, as well. Stephen is much more blues-based and Neil is more … “experimental” isn't the right word … “futuristic” isn't the right word …</p> <p><strong>I’ve used the word “angular” at times to describe Neil’s playing</strong></p> <p>That’s a good word, yeah. To me, Neil’s one of the great guitar players in the world. They both are, and to stand in the middle of that shit and watch these two longhorn stags — “Hey, I’m playing this.” “Oh, yeah, motherfucker? Well check this out!” “Oh, really?” — it’s very interesting as a musician. I can't look at them from the point of view of being a guitarist as I’m an incredibly simple guitar player. I hardly know what I’m doing. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/EaBJPgKsiDY" frameborder="0" allowfullscreen></iframe></p> <p><strong>Stop it.</strong></p> <p>I’m not kidding. I know enough to write for myself and express myself in my songs, but it's not like anyone’s going to look to me to learn how to play guitar. But Stephen and Neil are really geniuses at what they do.</p> <p><strong>Well, you’ve had the best seat in the house to observe them for 45 years. Have you ever been in the middle of one of those longhorn stag moments you just described and felt … concerned by the aggressiveness?</strong></p> <p>Oh, yeah. Not concerned physically for them, but just concerned for, “Where the fuck does it go from here?” There are always crests and shallow parts of the wave — there should be in a solo — but there have been times when I’ve thought, “How do we get out of this? This is interesting …” But something happens, and they’re able — with body language and looks in the eyes — to convey exactly where we’re supposed to be going.</p> <p><strong>Convey to everybody.</strong></p> <p>Yeah, and then apply that to, say, Russell Kunkel, back behind the drums on that tour in ‘74. Russell couldn’t see our eyes; he simply knew where it was going. I think that’s one of the things the <em>CSNY 1974</em> box set shows: just how good those musicians were to follow someone they weren’t looking at. </p> <p><strong>Knowing that you might have played the same song last night, but tonight’s arrangement is something totally different.</strong></p> <p>That’s right. Very often it was. But on the other hand, it's just music. And if you’re listening, you can figure it out, you know?</p> <p><strong>You keep making things sound simple...</strong></p> <p>It's stood me well so far. [laughter]</p> <p><em>A former offshore lobsterman, Brian Robbins had to wait a good four decades or so to write about the stuff he wanted to when he was 15. Today he’s a freelance scribe, cartoonist, photographer and musician. His home on the worldwide inner tube is at <a href="http://brian-robbins.com/">brian-robbins.com</a> (And there’s that <a href="https://www.facebook.com/BrianRobbinsWords">Facebook</a> thing too.)</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="/neil-young">Neil Young</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/graham-nash-csny-1974-and-watching-stephen-stills-and-neil-young-battle#comments Brian Robbins CSNY Graham Nash Neil Young Stephen Stills Interviews News Features Mon, 11 Aug 2014 21:15:36 +0000 Brian Robbins http://www.guitarworld.com/article/22083 Buzz Osborne of The Melvins Discusses 'The Who Sell Out' — The Record That Changed My Life http://www.guitarworld.com/buzz-osborne-melvins-discusses-who-sell-out-record-changed-my-life <!--paging_filter--><p><strong>The Who</strong><br /> <em>The Who Sell Out</em> (1967)</p> <p>The band that changed my life was the Who. </p> <p>It’s hard to pick just one album, but if I had to pick the one that really showed me how things could be done, it’s <em>The Who Sell Out</em>. They really went to town on that, doing something that no one had ever done before. </p> <p>That album has the song ‘I Can See for Miles,’ which really put the hooks in me. <em>The Who Sell Out</em> is still weird now! Nobody does anything that cool today. It’s great and goes all over the map, musically speaking. And I don’t even think it was a big hit back then, unfortunately.</p> <p>I remember talking to the guitar player in the Stooges, Ron Asheton, about what bands he liked as a kid, and he said one of the main things for him was seeing the Who open for Herman’s Hermits in the mid Sixties when they destroyed all their gear. In order to be that weird now to middle America, I don’t know what you’d have to do. </p> <p>The Who really opened my eyes, and I’ve continued to love their stuff ever since.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/62ZJn0cTASo" 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="/who">The Who</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/buzz-osborne-melvins-discusses-who-sell-out-record-changed-my-life#comments Buzz Osborne July 2014 The Melvins The Record that Changed My Life The Who Interviews News Features Magazine Mon, 11 Aug 2014 20:09:14 +0000 Buzz Osborne http://www.guitarworld.com/article/21900 Josh McClorey of The Strypes Discusses Elvis Costello's 'My Aim Is True' — The Record That Changed My Life http://www.guitarworld.com/josh-mcclorey-strypes-discusses-elvis-costellos-my-aim-true-record-changed-my-life <!--paging_filter--><p><strong>Elvis Costello</strong><br /> <em>My Aim Is True</em> (1977)</p> <p>I chose this record not so much for the guitar playing—well, a little bit for the guitar playing—but just for the songwriting, and how you can really write punk rock and roll tunes while still being intelligent about it. </p> <p>Costello just hit me like a ton of bricks when I got into him. His lyrics blew my mind when I first heard them. And that record is so great because it’s so raw; it’s like a real snapshot of where he was at the time. </p> <p>There’s not a bad tune on there, not even a mediocre one. They’re very catchy tunes, but very punky and just really angry, but also with really intelligent lyrics. </p> <p><em>My Aim Is True</em> was a huge influence on our first record. We all really love rhythm and blues and the immediacy of it—that sort of ballsy thing—but I also really love melodies; I’m a huge fan of Scott Walker and all those big-sounding Sixties records with beautiful melodies. Costello seemed to just get it right in the middle.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Uacxy1gQUYY" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/josh-mcclorey-strypes-discusses-elvis-costellos-my-aim-true-record-changed-my-life#comments Elvis Costello Josh McClorey July 2014 The Record that Changed My Life the Strypes Interviews News Features Magazine Mon, 11 Aug 2014 20:00:18 +0000 Josh McClorey http://www.guitarworld.com/article/21899