Features http://www.guitarworld.com/taxonomy/term/5/all en Hear It Now: Swedish Psych Rockers Second Sun Streaming "Sjalv Alltid" http://www.guitarworld.com/hear-it-now-swedish-psych-rockers-second-sun-streaming-sjalv-alltid <!--paging_filter--><p>This riff-heavy cut, "Sjalv Alltid," comes from the debut LP of <a href="http://electricassaultrecords.bandcamp.com/album/hopp-f-rtvivlan">Second Sun</a>, <em>Hopp/Förtvivlan</em>. Second Sun is the the folk-space rock outlet of Jakob Ljungberg, drummer of death metal band Tribulation. </p> <p>The album evokes some fine hard rock psychedelic vibes, and pulls from a variety of influences including Steeleye Span, Nektar, Jethro Tull, Hawkwind and Graveyard. And don't worry English speakers...you're not tripping <em>that</em> hard, Ljungberg is in fact singing the entire album in his native Swedish tongue.</p> <p>Let the riffing begin:</p> <p><iframe style="border: 0; width: 620px; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=2894908974/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=590541727/transparent=true/" seamless><a href="http://electricassaultrecords.bandcamp.com/album/hopp-f-rtvivlan">Hopp/Förtvivlan by Second Sun</a></iframe></p> http://www.guitarworld.com/hear-it-now-swedish-psych-rockers-second-sun-streaming-sjalv-alltid#comments Psych Rock Second Sun Tribulation News Features Mon, 30 Mar 2015 12:59:20 +0000 Guitar World Staff http://www.guitarworld.com/article/23805 E.C. Listening: Eric Clapton's 50 Greatest Guitar Moments http://www.guitarworld.com/ec-listening-eric-claptons-50-greatest-guitar-moments <!--paging_filter--><p><strong>Guitar World<em> celebrates the 50 greatest guitar moments of Eric Clapton's five-decade career—from the Yardbirds to Cream to Derek and the Dominos and beyond.</em></strong></p> <p>There was a time when the name Eric Clapton meant one thing and one thing only: guitar god. </p> <p>His incendiary six-string exploits with the Yardbirds, followed by a pair of mind-blowing 1966 albums—<em>Blues Breakers with Eric Clapton</em> and <em>Fresh Cream</em>—briefly put the passionate young Clapton atop the U.K.’s, if not the world’s, guitar hierarchy.</p> <p>By the late Sixties, he was sharing the spotlight with such rock deities as Jimi Hendrix, Jimmy Page and Jeff Beck. Significantly perhaps, it was around this time that Clapton began incrementally distancing himself from the flashy, lengthy solos of his wild youth, as he segued from Cream to Blind Faith, and then from Derek and the Dominos to a successful solo career. </p> <p>He eventually fell under the mellow spell of J.J. Cale and the Band, put more emphasis on singing and songwriting, and dabbled in country rock, reggae, acoustic music and ultra-slick pop tunes. </p> <p>Today, Clapton, who turns 70 on March 30, enjoys an enviable spot as one of the most respected elder statesmen in rock and blues. And although he happily handed over the guitar-god mantle decades ago, he’s not averse to melting a few faces when the opportunity arises.</p> <p><em>Guitar World</em> looks back at Clapton’s 50-plus-year career and pinpoints what we consider to be the 50 greatest guitar moments—thus far. Our list digs deep into his six-string artistry, putting the emphasis on the playing and not necessarily the hits. We hope you enjoy this guide to Clapton’s cream of the crop.</p> <p>50. <strong>"Cocaine"</strong><br /> <strong>Eric Clapton—<em>Slowhand</em> (1977) </strong></p> <p>While Clapton was certainly no stranger to the song’s titular substance, “Cocaine” was actually written by American singer/songwriter and frequent Clapton collaborator J.J. Cale. The infectious main riff, in E, is a bit reminiscent of that other Clapton classic “Sunshine of Your Love” and provides an equally amiable vehicle for some tasty soloing on Clapton’s part. </p> <p>His approach is understated and funky but with occasional flashes of fire. A second overdubbed solo improvisation joins the main line midway through, and Clapton adorns the outro with some more Strat leads. Despite the enduring appeal of “Cocaine” as a party song, Clapton has claimed it is actually an anti-drug number. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Q3L4spg8vyo" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>49. <strong>"A Certain Girl"</strong><br /> <strong>The Yardbirds—<em>For Your Love</em> (1965)</strong></p> <p>This track has a great New Orleans R&amp;B pedigree, having been written by the legendary Allen Toussaint and originally recorded by Ernie K-Doe, best known for his 1961 hit “Mother in Law.” </p> <p>The Yardbirds’ somewhat whimsical British Invasion treatment of “A Certain Girl” is probably a prime example of the group’s pop direction that made Clapton so uncomfortable at the time, but he nevertheless claims the track as his own with a bluesy lead guitar intro and a ripping little solo midway through. </p> <p>His Tele tone here is nothing less than searing.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/7ZCQoZBAfk0" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>48. <strong>"Got to Hurry"</strong><br /> <strong>The Yardbirds—<em>Crossroads</em> (1964)</strong></p> <p>This track is an early—if not the earliest—example of the magic Eric Clapton could work with a 12-bar blues, even at the tender age of 19. It originally appeared as the B-side to the Yardbirds’ third single, and first big hit, “For Your Love.” </p> <p>Instrumentals were typical B-side fodder at the time, but this one, in all its reverby over-compressed glory, has enduring value. </p> <p>While the song is clearly a group improvisation, it was credited to the Yardbirds’ producer Giorgio Gomelsky (originally using his nom de plume O. Rasputin), who claimed to have hummed the main riff to Clapton. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/y8EyscDesjY" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>47. <strong>"After Midnight"</strong><br /> Eric Clapton—<em>Eric Clapton</em> (1970)</p> <p>At the dawn of the Seventies, following stints in several legendary British bands, Clapton launched his solo career with a new American sound and a switch from Gibson guitars to the Fender Stratocaster, the guitar with which he would shape the sonic signature of his latter-day career. </p> <p>“After Midnight” is the first song he recorded by American singer/songwriter J.J. Cale, whose work Clapton had been introduced to by Delaney Bramlett, one of his musical collaborators at the time. </p> <p>With its frenetic tempo and gospel-inflected backing vocals, the recording was a major success for the newly reinvented Clapton. His guitar solo for the track is simple, yet effective. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/AvxJ0TVvVzE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>46. <strong>"Cat’s Squirrel"</strong><br /> <strong>Cream—<em>Fresh Cream</em> (1966) </strong></p> <p>A free adaptation of a song originally recorded in 1961 by bluesman Doctor Ross, “Cat’s Squirrel” was a largely instrumental highlight of Cream’s 1966 debut album. </p> <p>Repeated restatements of the main motif, lifted from the Dr. Ross record, alternate with bouts of riffing on guitar and harmonica and, in one break, a few lines of scat singing. The guitar tone is a bit thin, compared to Clapton’s earlier work with Mayall and what would come later, but it’s nonetheless compelling. </p> <p>A frequent Sixties jam vehicle, the song was later covered by Jethro Tull on their 1968 debut album, <em>This Was</em>. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/kZ_mefElJf0" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>45. <strong>"Double Trouble"</strong><br /> <strong>Eric Clapton—<em>Just One Night </em>(1980)</strong></p> <p>Recorded in Japan in December 1979, <em>Just One Night</em> isn’t exactly a firecracker of a live album. </p> <p>Although the band is tight and gritty, the material is spotty, since the tour was supporting Clapton’s low-spark 1978 album, <em>Backless</em>. Meanwhile, Clapton’s tone can best be described as “Strat into amp. The end.” </p> <p>However, all of the above can’t keep a good song down, and Clapton shines on his extended cover of Otis Rush’s “Double Trouble.” This minimalist masterpiece in C minor spotlights Clapton’s dynamic monolog of a solo, one punctuated by pinch harmonics and a nearly flawless choice of notes.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/lf-O2Fi5nMI" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>44. <strong>"Those Were the Days"</strong><br /> <strong>Cream—<em>Wheels of Fire</em> (1968)</strong></p> <p>This up-tempo track features Clapton performing some “Crossroads”-like high-register wailing (in the key of A, as on that song) over Ginger Baker’s and Jack Bruce’s bombastic double-time groove. </p> <p>His solo is noteworthy for the way he keeps his phrasing coherent and his bends and vibratos smooth at such a brisk tempo and with such a busy accompaniment. </p> <p>Distractions like those could easily cause a less seasoned guitarist to get ahead of himself rhythmically and lose his composure, in terms of touch and feel.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/6NSB-wKYL4w" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>43. <strong>"SWLABR"</strong><br /> <strong>Cream—<em>Disraeli Gears</em> (1967)</strong></p> <p>A solid track from Cream’s game-changing 1967 <em>Disraeli Gears</em> album, “SWLABR” is one of several compositions on the album by bassist Jack Bruce and Pete Brown. </p> <p>The title is an acronym for either “She Walks Like a Bearded Rainbow” or “She Was Like a Bearded Rainbow” (accounts vary). Clapton’s lead work on the track exemplifies his Gibson SG-driven “woman tone,” rich in sustain and low-frequency detail. </p> <p>His solo employs the Mixolydian mode (major third, minor seventh), which was very popular in psychedelic music at the time, owing in part to its similarity to the tonalities used in a number of Indian ragas.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/ngIxuGOVGeQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>42. <strong>"Lay Down Sally"</strong><br /> <strong>Eric Clapton—<em>Slowhand</em> (1977)</strong></p> <p>With its laidback “white-guy funk” groove and infectious chorus, this track was tailor-made for late-Seventies radio and became a major hit for Clapton in 1977. </p> <p>The interlocking, dual rhythm guitars—performed by Clapton and the song’s co-author, George Terry—establish a shuffling, gently propulsive groove that tugs against the minimal bass and drum patterns. </p> <p>Country overtones abound, and the tasteful, clean-tone Strat solo is perhaps the closest Clapton’s ever come to anything like chicken pickin’. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/EivR78mrRFE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>41. <strong>"Stone Free"</strong><br /> <strong>Various—<em>Stone Free: A Tribute to Jimi Hendrix</em> (1993)</strong></p> <p>Clapton’s interpretation of this Jimi Hendrix’s composition was the title track of a 1993 Hendrix tribute album that included contributions from guitar heroes like Jeff Beck, Buddy Guy and Slash. </p> <p>Clapton plays it close to Hendrix’s original, cowbell groove and all, but he takes the guitar solo in his own direction and even sneaks in a quotation from “Third Stone from the Sun.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/utkTmI8tMkQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>40. <strong>"Motherless Children"</strong><br /> <strong>Eric Clapton—<em>461 Ocean Boulevard</em> (1974)</strong></p> <p>By 1974, Clapton’s guitar playing started to take a back seat to his singing and songwriting, but that didn’t mean he couldn’t still have fun. </p> <p>“Motherless Children,” one of the strongest opening tracks on a Clapton album since Cream’s <em>Wheels of Fire</em>, features Clapton on slide guitar, and it burns from the get-go. The song, which finds the guitarist delivering a playful variation of the melody during the twin guitar solos, was arranged by Clapton and his Derek and the Dominos band mate bassist Carl Radle. </p> <p>The song also features fine playing by second guitarist George Terry and drummer Jamie Oldaker.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/mLDDxfFKd9Y" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>39. <strong>"Deserted Cities of the Heart"</strong><br /> Cream—<em>Wheels of Fire</em> (1968)</p> <p>Clapton tunes his acoustic and electric guitars down a whole step (low to high, D G C F A D) and plays this song as if it were in E, although it sounds in the key of D. </p> <p>Using full barre-chord voicings and vigorous, Pete Townshend–style strumming, he creates a deep, powerful accompaniment to Jack Bruce’s vocals. </p> <p>Clapton’s solo, beginning at 1:51, is fiery and aggressive, and the string slack from the detuning makes for some unusually fast finger vibratos, creating a shimmering sound that might otherwise be attained by speeding up the recording. As always, Clapton’s phrasing is tight and in the pocket, and his interplay with the bass and drums creates a powerful musical statement.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Ho-teZSjgZY" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>38. <strong>"She’s Gone"</strong><br /> <strong>Eric Clapton—<em>One More Car, One More Rider</em> (2001)</strong></p> <p>This spirited live rendition of a track that originally appeared on Clapton’s 1998 studio album, <em>Pilgrim</em>, outstrips the original on several fronts. </p> <p>What had been a fairly lackluster electronic-tinged pop track in the studio becomes a full-blown lead guitar free-for-all in concert. Clapton bursts out of the gate like a steroid-crazed racehorse, strafing the audience with a rubato flurry of bluesy leads before the main riff and funk groove kicks in. </p> <p>The track’s two extended solo sections contain some of the most urgent playing in his catalog, and his overdriven Strat tone is harmonically rich with full-bodied sustain. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/ALYiwjp-3A8" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>37.<strong>"Just Like a Prisoner"</strong><br /> <strong>Eric Clapton—<em>Behind the Sun</em> (1985)</strong></p> <p>The last minute and a half of “Just Like a Prisoner” might represent Clapton’s mid-Eighties high-water mark, at least from a shred perspective. </p> <p>The song features what could easily be considered one of his “angriest” solos. He even keeps playing long after the intended fade-out point, until the band stops abruptly. </p> <p>Maybe he was upset about the overpowering Eighties production, ridiculous synthesizers and obtrusive, way-too-loud drums that threaten to hijack the song at any moment. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/9X6qu8SxW5A" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>36. <strong>"Old Love"</strong><br /> <strong>Eric Clapton—<em>24 Nights</em> (1991)</strong></p> <p>This quintessential live performance of the soulful R&amp;B-style ballad from Clapton’s 1989 album, <em>Journeyman</em>, finds the guitarist in top form, as he seems to effortlessly improvise phrase after phrase of perfectly timed licks and runs. </p> <p>Clapton varies his touch from delicate to ferocious and coaxes a wide dynamic range out of his Strat while judiciously using holes of silence between long, fast runs, allowing the groove to breathe. </p> <p>This track is also a great and rare example of Clapton using the Aeolian mode—specifically A Aeolian (A B C D E F G)—in this case over the repeating chord sequence Am-Dm7-Gsus4-G.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/5q8Awz5DeeQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>35. <strong>"5:01 AM (The Pros and Cons of Hitch Hiking, Part 10)"</strong><br /> <strong>Roger Waters—<em>The Pros and Cons of Hitchhiking</em> (1984)</strong></p> <p>Pink Floyd frontman Roger Waters’ first solo album abounded with something that Clapton’s early Eighties albums sorely lacked: screaming guitar solos. </p> <p>The title track features a mini masterpiece of a solo, a composition within a composition, much like his work on “Badge,” another blues-driven pop gem. </p> <p>For the album’s most generous serving of Clapton, check out “4:41 AM (Sexual Revolution),” which finds the guitarist dishing out a nonstop array of blues riffs in E minor using a compressed, crystal-clear Strat tone. Clapton’s contributions to <em>Pros and Cons</em> and George Harrison’s <em>Cloud Nine</em> stand out as highlights of his bountiful Eighties session work. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/90dnbzFGOSM" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>34. <strong>"While My Guitar Gently Weeps"</strong><br /> <strong>The Beatles—<em>The Beatles</em> (1968)</strong></p> <p>On September 6, 1968, Clapton entered Abbey Road Studios to overdub a solo on a new Beatles song, George Harrison’s “While My Guitar Gently Weeps.” Clapton played Lucy, Harrison’s red 1957 Gibson Les Paul, which was a gift from Clapton. </p> <p>In a sense, his presence in the studio was another gift to Harrison, since it forced John Lennon and Paul McCartney to take his song seriously. Clapton originally wasn’t all that into the idea, saying, “Nobody ever plays on the Beatles’ records.” “So what?” Harrison replied. “It’s my song.” </p> <p>As it turns out, the Fabs were on their best behavior that day.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/F3RYvO2X0Oo" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>33. <strong>"That’s the Way God Planned It (Parts 1 and 2)"</strong><br /> <strong>Billy Preston—<em>That’s the Way God Planned It</em> (1969)</strong></p> <p>In early 1969, when Cream were history and the Beatles were quickly heading in that direction, George Harrison invited Clapton to sit in on sessions for Billy Preston’s fourth studio album, which Harrison was co-producing. </p> <p>Clapton’s brilliance is best represented on the album’s powerful title track. While the verses and chorus feature Clapton’s sympathetic fills, things take off during the song’s final two and a half minutes. It’s as if Preston and Harrison pulled Clapton aside and said, “Okay, go nuts, man!” </p> <p>Maybe he was inspired by the presence of Cream/Blind Faith drummer Ginger Baker, who also plays on the track.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/kFTgrFSKbkk" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>32. <strong>"All Your Love"</strong><br /> <strong>John Mayall &amp; the Bluesbreakers—<em>Blues Breakers with Eric Clapton</em> (1966)</strong></p> <p>John Mayall’s cover of this 1958 Otis Rush song showcases Clapton’s tasteful, competent handling of a minor blues progression set to a medium-tempo, quasi-cha-cha groove. </p> <p>Using his 1960 Les Paul Standard, with the bridge pickup on, plugged into his cranked-up Marshall JTM45 2x12 combo, Clapton kicks things off in the arrangement’s opening 12-bar chorus by authoritatively digging into and bending notes within the A minor pentatonic scale, demonstrating a refined touch and excellent pitch control over his bends and vibratos. </p> <p>When the tempo, feel and backing progression abruptly change to a faster shuffle and dominant-seven chords at 1:50, Clapton leads the way with stinging, B.B. King–style A major- and minor-pentatonic licks, pausing in just the right places so as to let his phrases sink in and the groove breathe.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/rUUEtCBhn_Q" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>31. <strong>"Five Long Years"</strong><br /> <strong>Eric Clapton—<em>From the Cradle</em> (1994)</strong></p> <p>Clapton’s reading of this slow 12/8 blues standard showcases the guitarist tearing it up on his signature-model Strat, using a thick yet biting high-gain tone, and doing some impassioned “crammed” phrasing à la Buddy Guy. </p> <p>Playing in the key of A, Clapton relies predominantly on two scales—A minor pentatonic (A C D E G) and A blues (A C D Ef E G)—and occasionally touches upon the major third, A, so as to acknowledge the one chord, A7. </p> <p>This is some of Slowhand’s fastest blues shredding, yet it is characteristically polished, devoid of bad notes and embellished with finger vibratos that are fierce but never manic.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/8DXGso1V00o" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>30. <strong>"Tribute to Elmore"</strong><br /> <strong>Eric Clapton &amp; Jimmy Page—<em>Immediate All Stars</em> (1965)</strong></p> <p>Often credited to either the Immediate All-Stars (named for the Immediate label, on which the tracks first appeared), Cyril Davis’ All-Stars or the All-Stars, “Tribute to Elmore” is one of seven tracks recorded by Clapton and Jimmy Page alone at Page’s home studio. </p> <p>The “Elmore” in the title refers to blues legend Elmore James, and the track serves as a tribute to his essential blues-shuffle recordings, such as “Dust My Broom,” “I Believe,” “Sweet Home Chicago” and “Anna Lee.” </p> <p>Backed simply by Page’s rhythm guitar, Clapton adds deft soloing representative of his work during this period.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/V2pKkP5XiBU" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>29. <strong>"I'm So Glad"</strong><br /> <strong>Cream—<em>Fresh Cream</em> (1966)</strong></p> <p>Cream’s reworking of this old blues tune features Clapton performing some deft hybrid picking (pick-and-fingers technique) as he starts off the song with a turbocharged turnaround lick in E. </p> <p>He picks chromatically ascending and descending sixth intervals on the G and A strings in conjunction with the open B and high E strings to create a shimmering, banjo-esque waterfall of notes. </p> <p>His solo, beginning at 1:26, is noteworthy for the way Clapton harnesses the elusive power of controlled harmonic feedback from his cranked, reverberant Les Paul/100-watt Marshall rig and takes the time to allow notes to swell and sing, making his instrument work for him as opposed to just slavishly playing lick after lick without pause.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/L3GIQ86eu6c" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>28. <strong>"Bernard Jenkins"</strong><br /> <strong>John Mayall &amp; the Bluesbreakers—<em>Blues Breakers with Eric Clapton</em> (1966)</strong></p> <p>The B-side of the second single ever issued by John Mayall &amp; the Bluesbreakers featuring Eric Clapton, this swinging instrumental in G offers a perfect glimpse into Clapton’s playing in 1965, with his 1960 Les Paul Standard plugged into his JTM 45 Marshall combo, creating the sound that would change the face of blues and rock guitar. </p> <p>His smooth and effortless phrases depict the influence of B.B. King, Freddie King, Buddy Guy and T-Bone Walker, but even at 20 years of age, Clapton has already found a truly distinct and uniquely signature voice as a soloist. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/t65BE9zeZtU" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>27. <strong>"Can’t Find My Way Home"</strong><br /> <strong>Blind Faith—<em>Blind Faith</em> (1969)</strong></p> <p>Steve Winwood’s gorgeously wistful composition was a highlight of Blind Faith’s one-and-only album. </p> <p>He and Clapton both play acoustic guitars on this elegiac track, which can be read as a swansong for the Sixties—the comedown after the party. Clapton was hitherto known for his explosive electric playing, and his sensitive, supportive acoustic guitar work on this track was a revelation and a harbinger of Clapton ballads to come. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/3TyynO6O0kc" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>26. <strong>"Tales of Brave Ulysses"</strong><br /> <strong>Cream—<em>Live Cream Volume II</em> (1972) </strong></p> <p>This live version of a key song from Cream’s 1967 breakthrough album, <em>Disraeli Gears</em>, was recorded in 1968 and released in 1972, long after Cream split up. </p> <p>It exemplifies the group’s intensely creative way of using its studio recordings as vehicles for extended bouts of fierce freeform improvisation in concert. When Clapton’s wicked wah-pedal leads aren’t taking the spotlight, they’re providing support for Jack Bruce’s equally wild bass riffing, which edges perilously close to avant-garde atonality. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/u8hLc_nqx8g" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>25. <strong>"Ramblin’ on My Mind"</strong><br /> <strong>Eric Clapton—E.C. Was Here (1975) </strong></p> <p>Clapton first assayed this song by his seminal influence, bluesman Robert Johnson, on the 1966 <em>Blues Breakers with Eric Clapton</em> album, delivering it in a bare-bones piano/guitar duet that marked the guitarist’s vocal debut on record. </p> <p>Nine years later, he revisited the song on his live album <em>E.C. Was Here</em>, this time with a full band backing him. The tempo is slower than the earlier track, and Clapton’s vocal sounds more relaxed. </p> <p>The solo section modulates through a series of key changes (E, Fs, A, D, then back to E), as Clapton fluidly alternates eloquent legato passages with the terse bursts of notes that by this point had become a Slowhand trademark. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/f5S5ugy3fhI" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>24. <strong>"N.S.U."</strong><br /> <strong>Cream-<em>Live Cream</em> (1968)</strong></p> <p>Though it lasts only 2:48 on the studio album <em>Fresh Cream</em>, this Jack Bruce composition would usually be stretched to 10 minutes and beyond in concert, centered around a long jam in A (based on an A7 tonality). </p> <p>Clapton's ingenious opening guitar figure here is executed with hybrid picking (a combination of flatpicking and fingerpicking). </p> <p>While fretting a C root note (fourth string/10th fret) and G a fifth above (second string/eighth fret), he sounds the open G and open high E strings within an alternating-picking pattern. Additional mystery is added to this deceptive riff via the occasional pull-off on the B string from A (10th fret) to G (eighth fret). </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/sCHE2bxSJqI" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>23. <strong>"Had to Cry Today"</strong><br /> <strong>Blind Faith—<em>Blind Faith</em> (1969)</strong></p> <p>Though Blind Faith lasted barely long enough to record a single studio album, this disc captures Clapton at an essential stage in his development as a musician. </p> <p>A photo inside the album shows Clapton playing his 1963 ES-335 through a blonde Fender Showman “piggyback” combo, which was likely used for the recordings. He plugged straight into the amp and used no effects, achieving his full-bodied tone and rich sustain by cranking the amp. </p> <p>His rhythm parts are double-tracked, offering exquisite chordal counterpoint as well as harmonized single-note figures, while his initial solo is as perfectly constructed and melodic as the very best of his recorded solos. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/bjuxK0VpIsQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>22. <strong>"I Shot the Sheriff"</strong><br /> <strong>Eric Clapton—<em>461 Ocean Boulevard</em> (1974)</strong></p> <p>In 1974, Clapton had a Number One hit with his reggae-influenced cover of Bob Marley’s “I Shot the Sheriff,” a recording that doesn’t even feature a guitar solo. </p> <p>Wasn’t this guy playing 17-minute versions of “Spoonful” just six years earlier? That’s the point: the song represents Clapton’s evolution as an artist and guitarist, kicking off a stretch of seven studio albums where he morphed from guitar god to hit maker who just happened to play guitar. </p> <p>Ironically, the song evolved into a vehicle for extended soloing. Check out his explosive version of it from the <em>2004 Crossroads Guitar Festival</em> DVD.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/tRgcwT9X2J8" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>21. <strong>"Don’t Think Twice, It’s All Right"</strong><br /> <strong>Various Artists—<em>Bob Dylan: The 30th Anniversary Concert Celebration</em> (1993)</strong></p> <p>Although Johnny Winter and Neil Young contributed their share of electric guitar fireworks to Bob Dylan’s 30th anniversary tribute concert in October 1992, the undisputed guitar highlight of the show was Clapton’s scorching rendition of “Don’t Think Twice, It’s All Right.” </p> <p>Clapton—who transformed Dylan’s bouncy, fingerstyle acoustic masterpiece into a breezy electric country blues—left no doubt that he could still deliver intense, emotional solos that sent listeners’ hearts skyrocketing. </p> <p>The performance—and Clapton’s crunchy, overdriven Strat tone—foreshadowed his long-awaited, if temporary, return to the blues, 1994’s <em>From the Cradle.</em></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/qyL0LyozYWY" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>20. <strong>"Sleepy Time Time (alternate)"</strong><br /> <strong>Cream—<em>Royal Albert Hall London May 2-3-5-6, 2005</em> (2005)</strong></p> <p>Why would Cream’s live reunion album include an extra, “alternate” version of “Sleepy Time Time”? The answer might lie in Clapton’s exhilarating guitar solo. </p> <p>In the Sixties, this Fresh Cream track was a live highlight and vehicle for inspired soloing (See <em>Live Cream</em>). In 2005, Clapton didn’t disappoint. The second half of the solo in particular is full of fireworks—emotion-fueled bends that land in just the right spot, notes that subtly blend major and minor, even an off-the-rails moment when he unintentionally strikes several open strings. </p> <p>From 3:57 to 4:25, close your eyes and it’s 1968 all over again.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/DMhffn22wFE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>19. <strong>"Steppin’ Out"</strong><br /> <strong>Cream—<em>Live Cream Volume II</em> (1968)</strong></p> <p>One of the many standout tracks from 1966’s <em>Blues Breakers with Eric Clapton</em>, “Steppin’ Out” was a staple of Cream’s live shows, as evidenced by this 13:39 version recorded March 10, 1968, at San Francisco’s Winterland Ballroom. </p> <p>Clapton kicks off his solo by quoting the saxophone solo heard on the 1959 original by Memphis Slim featuring Chicago blues guitarist Matt Murphy, and he incorporates elements of Murphy’s guitar solo phrasing as well. </p> <p>At the four-minute point, bassist Jack Bruce drops out as the song breaks down to a guitar/drum duet, one that will provide endless fascination to those interested in a deep study of Clapton’s soloing style.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/OWTJVNPu_r4" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>18. <strong>"Groaning the Blues"</strong><br /> <strong>Eric Clapton—From the Cradle (1994)</strong></p> <p>In a 2011 GuitarWorld.com poll, <em>From the Cradle</em> was voted Clapton’s fourth-best guitar album, sandwiched between Cream’s <em>Wheels of Fire</em> (5) and <em>Disraeli Gears</em> (3). </p> <p>One of From the Cradle’s many guitar highlights is the dramatic and greasy “Groaning the Blues,” a Willie Dixon song recorded by Otis Rush in 1957. Sometime in the Eighties, Clapton began infusing his solos with wild “in the moment” bends. It’s an approach that’s put to effective use on “Groaning the Blues.” </p> <p>His solo, which is peppered with Gatling gun flurries of notes, also features repetitive staccato bends, including one particularly “out there” bend at 3:38. And it all works.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/T3Yvhc4y6QA" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>17. <strong>"Stormy Monday"</strong><br /> <strong>John Mayall &amp; the Bluesbreakers—<em>Blues Breakers with Eric Clapton (Deluxe Edition)</em> (2009)</strong></p> <p>T-Bone Walker’s signature blues composition, with its jazzily modulated ascent from the I to the IV chord of the standard blues progression, provides a vehicle for some of Clapton’s most explosive soloing ever. </p> <p>This version, recorded live at a Mayall club gig in 1966, fades in on the guitar solo, and it’s clear that Clapton is on fire. The track pairs the guitarist with bassist Jack Bruce, a classic match-up that laid the groundwork for the formation of Cream. This historic audio document reveals what all the excitement was about. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Az7sLKGOUe8" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>16. <strong>"The Core"</strong><br /> <strong>Eric Clapton—<em>Slowhand</em> (1977)</strong></p> <p>At the core of “The Core,” an often-overlooked track from Clapton’s popular <em>Slowhand</em> album, is a crunchy killer of a riff in A. One can’t help but wonder if the song, an almost-nine-minute-long duet with Marcy Levy, would have been a hit had it been edited down and released as a single. </p> <p>It has a lot going for it: a catchy bridge, lyrical depth, a kick-ass sax solo by Mel Collins and one of Clapton’s most exciting guitar solos from his “laid-back” mid-Seventies period. </p> <p>At the 4:13 mark, he unleashes a furious barrage of notes that recalls the Slowhand of 10 years earlier.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/zP6xPNVB6XY" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>15. <strong>"Sitting on Top of the World"</strong><br /> <strong>Cream—<em>Goodbye</em> (1969)</strong></p> <p>Cream first tackled this venerable blues classic in a studio recording on their <em>Wheels of Fire</em> album, in 1968. </p> <p>But this live version from <em>Goodbye</em>, released shortly after the group split up in 1969, offers a great opportunity for more extended soloing on Clapton’s part. </p> <p>By approaching the time-honored 12-bar structure with a degree of rhythmic freedom bordering on reckless abandon, bassist Jack Bruce and drummer Ginger Baker coax inventive phrases of remarkable fire and fluidity from Clapton and his ax. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/qDU_EHP0yl8?list=PL47E6E06E288C0D73" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>14. <strong>"Sunshine of Your Love"</strong><br /> <strong>Cream—<em>Disraeli Gears</em> (1967)</strong></p> <p>Perhaps the most artistic and certainly the most famous example of Clapton’s “woman tone,” this song features the guitarist wailing on his 1964 Gibson SG with its volume cranked and tone control rolled all the way off to produce a thick, dark, sustaining tone.</p> <p>Clapton milks the tone for all it’s worth in his solo by spending just as much time bending and smoothly shaking notes as he does burning though D major and minor pentatonic licks. </p> <p>He begins what would become one of his most memorable solos by quoting the melody to the old standard “Blue Moon,” cleverly juxtaposing it over this song’s sinister D blues-scale bass riff. His finger vibratos in the intro/verse riff and solo are laudable for their consistently even amplitude and width, and they serve as a great example of what it means to be a seasoned rock lead guitarist.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/IDZqmF3zS04" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>13. <strong>"Hideaway"</strong><br /> <strong>John Mayall &amp; the Bluesbreakers—<em>Blues Breakers with Eric Clapton</em> (1966)</strong></p> <p>This tour de force reading of the classic Freddie King instrumental established Clapton as Britain’s foremost blues guitarist. </p> <p>It’s also one of the tracks that made guitarists everywhere covet a sunburst Les Paul Standard and Marshall Model 1962 “Bluesbreaker” combo amp, the setup responsible for Clapton’s blistering guitar tone on the record. </p> <p>Clapton is often at his best in the 12-bar idiom, and this is one of his strongest performances ever. The band breaks out of the composition’s main shuffle groove for a number of rhythmic change-ups, including a quotation of Elmore James’ signature “Dust My Broom” riff.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/m9N8Qi6zLSU" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>12. <strong>"Have You Ever Loved a Woman"</strong><br /> <strong>Derek and the Dominos-<em>Layla</em> (1970)</strong></p> <p>This 1961 Freddie King song is a Clapton staple, one that he has performed at nearly every concert since 1970, the year that he cut this version of it with Derek and the Dominos. </p> <p>Within the first five seconds of his intro solo, we hear blazing virtuosity combined with deep feeling and pure originality. </p> <p>Through both his intro and two-chorus solo, Clapton floats over the beat with beautifully free phrases, with his “Brownie” Stratocaster plugged straight into a tiny Fender tweed Deluxe cranked to 10. It is simply one of the greatest and most inspired electric blues solos ever recorded. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/kVRQd8WN4i0" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>11. <strong>"Presence of the Lord"</strong><br /> <strong>Blind Faith—<em>Blind Faith</em> (1969)</strong></p> <p>Backed by a powerhouse, dream-team rhythm section of drummer Ginger Baker and bassist Ric Grech, Clapton kicks this soulful, gospel-flavored ballad into high gear during the double-time solo/interlude section that he initiates midway through the arrangement with a Hendrix-style, wah-inflected A minor pentatonic riff. </p> <p>This ushers in a rhythmically charged, psychedelic jam at 2:42, for which Clapton ran his Gibson Firebird’s signal through a Leslie rotary-speaker cabinet, set on slow to produce a swirly, phasing sound that ebbs and flows around his scorching melodic phrases. </p> <p>Clapton masterfully uses the wah and rotary speaker effects to accentuate the peaks and valleys in his licks and plays with a flowing, articulate touch, balancing quick bursts of 16th notes with held bends and vibratos, displaying his trademark spot-on control over both his timing and pitch.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/g69EWScWE0U" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>10. <strong>"Sleepy Time Time"</strong><br /> <strong>Cream—<em>Live Cream</em> (1968)</strong></p> <p>Cream’s initial inspiration grew from their dedication to a trailblazing, group-improvisational reinvention of blues forms, including Willie Dixon’s “Spoonful” and Skip James’ “I’m So Glad.” </p> <p>This track, which they originally cut in the studio for their late-1966 debut, <em>Fresh Cream</em>, offers bassist Jack Bruce’s singularly twisted view of a swinging 12/8 “modern” blues in a more condensed but no less cutting-edge form, as compared to the 15-plus-minute jams that highlighted Cream’s performances. </p> <p><em>Live Cream</em> combines four tracks recorded March 7–10, 1968, in San Francisco at the Fillmore West and Winterland Ballroom, plus one studio outtake, “Lawdy Mama.” Cream played a staggering 200 shows in 1967 and, after just two weeks off, resumed an equally grueling schedule from the very start of 1968. </p> <p>This LP captures them during their 223rd to 226th performances in just 14 months, so it’s no wonder they achieve the purely magical in-sync group improvisation displayed on this track and in evidence throughout this album.</p> <p>Playing through a pair of 100-watt Marshall stacks (using the 1960A and 1960B “tall” 4x12 bottom cabinets), Clapton produced a massive sound. There is debate over which guitar he used on specific live recordings, as he alternately played his 1964 “The Fool” Gibson SG, 1964 Firebird I and 1963 ES-335 during this period, though some photos from the 1968 tour show him with a Les Paul.</p> <p>Clapton’s soloing here evokes the influence of B.B. King as he moves deftly between phrases based on C minor pentatonic (C Ef F G Bf) and C major pentatonic (C D E G A). His lightning-fast hammer-pulls and heavenly “floating” vibrato illustrate why the 23-year-old Clapton was called God during this period. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/kGCZSQqiEHw" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>09. <strong>"Why Does Love Got to Be So Sad?"</strong><br /> <strong>Derek and the Dominos—<em>Live at the Fillmore</em> (1994)</strong></p> <p>In 1969, following the implosion of Cream and the short-lived Blind Faith, Clapton found himself at a career crossroads. </p> <p>Disillusioned and directionless, he joined the powerhouse husband/wife-led Delaney &amp; Bonnie and Friends as a sideman, and by that summer he appropriated Delaney Bramlett (with his entire band in tow) to produce his first solo release, Eric Clapton. </p> <p>Three musicians from this lineup—bassist Carl Radle, keyboardist and singer Bobby Whitlock and drummer Jim Gordon—formed the nucleus of Clapton’s next band, Derek and the Dominos, who recorded the seminal <em>Layla and Other Assorted Love Songs</em> in the summer of 1970 and toured as a four-piece through August. </p> <p>The Dominos’ live shows were filled with long jams, and at nearly 15 minutes, “Why Does Love Got to Be So Sad?” was one of the longest, opening with an extended wah-infused funk workout. With stellar high-harmony vocals added by Whitlock, this four-piece emits a huge sound. </p> <p>Clapton’s first solo has all the fire, fury and melodicism of his greatest playing, his 1956 “Brownie” Stratocaster screaming pure virtuosity and conviction. The second half of the song is a seven-plus-minute D major jam during which the 25-year-old guitarist displays inspired chordal and single-line inventiveness.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/pdg5ereIsaI" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>08. <strong>"Badge"</strong><br /> <strong>Cream—<em>Goodbye</em> (1969)</strong></p> <p>Much like “While My Guitar Gently Weeps” (see entry 34), Cream’s “Badge” is the result of a strong and ultimately long-lasting friendship between Clapton and the Beatles’ George Harrison. </p> <p>When Cream decided to call it quits in late 1968, each member of the band, including Jack Bruce and Ginger Baker, was required to come up with a new song for the group’s final album, <em>Goodbye</em>, the remainder of which would be filled with live cuts. </p> <p>Clapton called on Harrison for assistance. “I was writing the words down, and when we came to the middle bit, I wrote ‘Bridge,’ ” Harrison said. “And from where [Eric] was sitting, opposite me, he looked and said, ‘What’s that—Badge?’ ” Clapton wound up calling the song “Badge” because it made him laugh. For the session, which took place only a month after “While My Guitar Gently Weeps,” Harrison played rhythm guitar. </p> <p>Clapton, playing a shimmering, Beatles-inspired arpeggio riff through a Leslie rotary-speaker cabinet, enters the song at 1:06 and plays the rest of the way through. His guitar solo was overdubbed later. </p> <p>The brilliant solo, which lasts a cozy 33 seconds, is a prime example of a “composition within a composition.” It finds Clapton sending his considerable blues chops through a pop-rock funnel, something he’d do on and off for the next 45-plus years.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/EeGyQIgvSV0" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>07. <strong>"Spoonful"</strong><br /> <strong>Cream—<em>Fresh Cream</em> (1966)</strong></p> <p>Just as “Crossroads” introduced a new generation of music fans to the mystique of Robert Johnson, Cream’s “Spoonful” brought extra exposure to Willie Dixon, who wrote the song, and Howlin’ Wolf, who originally recorded it in 1960. </p> <p>And while Howlin’ Wolf’s stark-and-dark version is haunting in its own right, Cream’s take on the song—driven by Clapton’s guitar and Jack Bruce’s heavy bass—moves it several steps further along. </p> <p>Clapton’s solo, which starts at 2:23, seems almost playful at first, as if he’s toying with the listener, but at 2:46, things take a sudden and profound turn toward the dramatic. He plays a series of notes—virtual howls and moans—high on the neck, punctuating them with several perfectly timed cracks at his low E string. </p> <p>At 3:31, he launches into a completely new melody, taking Bruce and drummer Ginger Baker along for the ride. Clapton’s tone on the track, a unique dense, reverb-drenched sound that only a Gibson humbucker could produce, stands alone in Cream’s canon and in Clapton’s entire discography. </p> <p>At Cream’s live shows, “Spoonful,” like several other songs, gave the band members plenty of room to stretch out, as can be heard on the sensational, nearly 17-minute-long version on Cream’s <em>Wheels of Fire.</em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/MoNR0rwXiQM" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>06. <strong>"Layla"</strong><br /> <strong>Derek and the Dominos—<em>Layla</em> (1970)</strong></p> <p>Having played with several of the most influential bands of the Sixties, Clapton launched the Seventies with a new group of his own devising, Derek and the Dominos. </p> <p>He wrote this tune—the title track of their debut album—to express his unrequited love for Pattie Boyd, who was George Harrison’s wife at the time but would leave Harrison for Clapton later in the Seventies. The song’s killer main riff was something Clapton cooked up with legendary guitarist Duane Allman, who guested on the Derek and the Dominos sessions at the suggestion of producer Tom Dowd. </p> <p>The unusual half-step downward modulation from the D minor main riff/chorus key signature to the verses, which are in D flat minor, enhances the despairing mood of Clapton’s lovelorn lyric. </p> <p>There’s a deep sense of musical telepathy in the way his bluesy Strat lines interweave with Allman’s eerily spectral slide guitar improvisations during the song’s extended solo over the main riff structure. This gives way to the track’s stately piano-driven coda, penned by Dominos drummer Jim Gordon and affording Allman and Clapton even more real estate over which to stretch out. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/uSquiIVLhrQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>05. <strong>"Let It Rain"</strong><br /> <strong>Eric Clapton—<em>Eric Clapton</em> (1970)</strong></p> <p>This tastefully arranged song from Clapton’s debut solo album begins with the guitarist overdubbing a sweet-sounding mini choir of three harmony-lead guitars with perfectly synchronized finger slides and vibratos. </p> <p>Together they create the effect of one instrument playing a melody harmonized in triads, but with the brightness and clarity that can only be achieved by three separate single-note lines, or “voices.” Clapton recorded this song on Brownie, his Fender Stratocaster, using its bright single-coil bridge pickup for his lead parts to achieve a brilliant tone and crystal-clear note definition.</p> <p>Clapton’s solo over the song’s outro features his signature polished finger vibrato and use of parallel major and minor pentatonic scales (both in the key of A in this case). He begins by riding out on the high A root note on the high E string’s 17th fret with alternate-picked 16th notes. </p> <p>Clapton then proceeds to travel down the string through the A Mixolydian mode (A B C# D E F# G)—a distinctly different approach to position playing—before gravitating toward A major pentatonic box shapes, using multiple hammer-ons and pull-offs to create a succession of repetition licks with syncopated “threes on fours” rhythmic phrasing that creates an almost banjo-like country feel. </p> <p>While Clapton’s lead tone here is markedly brighter than what he used earlier in his career, his unique style, as determined by his phrasing, string bending and vibrato, remains his signature. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/M15y9NL3ANQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>04. <strong>"Steppin’ Out"</strong><br /> <strong>John Mayall and the Bluesbreakers—<em>Blues Breakers with Eric Clapton</em></strong></p> <p>“Steppin’ Out” is one of Clapton’s best-known Bluesbreakers tracks, and with good reason. Along with “Hideaway” (see entry 13), it delivers the heftiest dose of Clapton’s solid, mind-blowing tone and ferocious playing. </p> <p>This upbeat, straightforward blues instrumental in G finds him borrowing bits and pieces from Memphis Slim’s original 1959 version. Clapton (along with John Mayall on keyboards) plays the figure from Slim’s piano intro and then references the track’s tenor sax solo.</p> <p>At the 54-second mark, he incorporates an ingenious “scraping” technique from the original guitar solo, which was played by Matt “Guitar” Murphy, who would go on to join the Blues Brothers Band in the late Seventies. </p> <p>But there’s a lot more going on here. Clapton incorporates some serious finger vibrato on the 12th fret of the G string—which only adds to the sustain produced by his overdriven Marshall amp—and he uses finger slides as he shifts between several positions of the G minor pentatonic scale. </p> <p>The well-paced solo ends with Clapton, much like his idols B.B. King and Buddy Guy, bending high on the neck before returning to the intro figure. It’s worth noting that he recorded other versions of “Steppin’ Out” with his short-lived 1966 supergroup the Powerhouse and with Cream, including the knockout 14-minute version on <em>Live Cream Volume II</em>.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/PkulcvRkd4I" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>03. <strong>"White Room"</strong><br /> <strong>Cream—<em>Wheels of Fire</em> (1968)</strong></p> <p>Penned by Cream bassist Jack Bruce and Swinging London poet Pete Brown, “White Room” provided a suitably glorious opening track for Cream’s third album, 1968’s <em>Wheels of Fire</em>. </p> <p>From the first notes of the song’s 5/4 bolero intro, it’s clear that this is a landmark recording. Clapton’s mysteriously evocative layered guitar textures set a mood of high drama before the main 4/4 groove kicks in with an irresistible invitation to some serious hippie-era proto-head banging. </p> <p>The descending D minor verse progression is reminiscent of Cream’s earlier epic track “Tales of Brave Ulysses,” which is said to have been based on the chord pattern in the Lovin’ Spoonful’s 1966 hit “Summer in the City.”</p> <p>“White Room” contains some of Clapton’s finest wah-pedal artistry. He employs the device to create fluttery, aquatic magic in the choruses and to answer Bruce’s verse vocal lines with incandescent leads that match the fevered intensity of Brown’s lyrical imagery.</p> <p>Breaking with the time-honored tradition of putting a guitar solo in the middle of a song, “White Room” waits for the outro fade to unleash the full fury of Clapton’s slashing, psychedelic blues-wah frenzy. Clearly, they saved the best for last.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/pkae0-TgrRU" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>02. <strong>"Have You Heard"</strong><br /> <strong>John Mayall and the Bluesbreakers—<em>Blues Breakers with Eric Clapton</em> (1966)</strong></p> <p>Quite frankly, if Clapton’s “Have You Heard” guitar solo doesn’t cause heart palpitations, shortness of breath or at least a mild case of goose bumps, you might want to seek medical help. </p> <p>The dramatic, 73-second pentatonic masterpiece is hands down the most frenetic, passionate solo of the guitarist’s 51-year career. The solo, which bursts out of the starting gate at the 3:25 mark, strings together a series of spectacularly intense, incendiary bends, hammer-ons, strategically timed position shifts, and slides. </p> <p>Clapton caps it off with a bevy of climactic high notes, an earmark of his solos on <em>Blues Breakers with Eric Clapton</em>. All of it is delivered via his groundbreaking new sound, a solid, sustained, overdriven tone that he forged by plugging a 1960 Gibson Les Paul Standard into a 42-watt Marshall 2x12 combo and cranking it up to ear-splitting levels.</p> <p>On the album, Clapton burns and bedazzles like a futuristic amalgam of his many influences, including Freddie King, Otis Rush, Hubert Sumlin and Buddy Guy. Amazingly, Clapton was only 21 (about to turn 22) when <em>Blues Breakers</em> was recorded in March 1966. </p> <p>Even if he had simply vanished or faded away after the release of the album that summer (much like his stolen and still-missing 1960 Gibson Les Paul Standard), he still would have earned a respected place in the annals of electric blues guitar. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/a2FR1HYod44" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>01. <strong>"Crossroads"</strong><br /> <strong>Cream—<em>Wheels of Fire</em> (1968)
</strong></p> <p>“Crossroads” has long been regarded as Eric Clapton’s most inspired and well-crafted lead guitar performance, and with good reason. </p> <p>This live, highly reworked cover of Robert Johnson’s “Cross Road Blues” features him and band mates Jack Bruce and Ginger Baker performing some intense—and extended—interactive jamming on a 12-bar blues in A, set to an uptempo, double-time groove with a driving even-, or “straight-,” eighths feel. </p> <p>The high point comes during the arrangement’s second, prolonged guitar solo, when the group engages in a rhythmically dense improvisation that represents the exhilarating apex of blues-rock freeform jamming. Conjuring a killer creamy tone with his 1964 Gibson SG Standard and stacks of 100-watt Marshall amps, Clapton exploits the rig’s available sustain, using his signature vocal-like finger vibrato technique to make his guitar sing.</p> <p>Particularly noteworthy is Clapton’s consistently wide and impeccably intonated bend vibratos (bent notes that are then shaken), especially during his upper-register second solo, which he plays mainly in the 17th-position A minor pentatonic (A C D E G) “box” pattern. </p> <p>He combines notes from this scale with those from the parallel A major pentatonic (A B C# E F#) to create varying hues of melodic “light and shade,” more so during his first solo, and seamlessly shifts/drifts from one position to the next by using legato finger slides. </p> <p>The result is a performance that ably supports the then-popular declaration that Clapton is God. “Crossroads” may be a song about striking a deal with the Devil, but this recording shows Clapton in supreme command of his divine powers. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/PE9HvSdcaL4" 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="/eric-clapton">Eric Clapton</a> </div> <div class="field-item even"> <a href="/cream">Cream</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/ec-listening-eric-claptons-50-greatest-guitar-moments#comments Cream Damian Fanelli Derek and The Dominoes Eric Clapton GW Archive GWLinotte March 2014 The Yardbirds Guitar World Lists News Features Magazine Mon, 30 Mar 2015 10:57:17 +0000 Damian Fanelli, Alan di Perna, Jimmy Brown, Andy Aledort http://www.guitarworld.com/article/20652 ‘Tech N’ Roll’: Seek Irony Guitarist Alex Campbell Talks New Album and Gear http://www.guitarworld.com/tech-n-roll-seek-irony-guitarist-alex-campbell-talks-new-album-and-gear <!--paging_filter--><p>Modern rock/electronica band Seek Irony arose out of Tel Aviv, Israel's burgeoning music scene. </p> <p>But it wasn’t until founding members—and brothers—Kfir and Rom Gov relocated to Austin, Texas, that things really began to change. </p> <p>Shortly after their arrival, the brothers welcomed several new band members, including Berklee-trained guitarist Alex Campbell.</p> <p>As evidenced by the band’s recently released debut album, <em>Tech N’ Roll,</em> Campbell’s arrival takes Seek Irony to a different level altogether. “Devil in Me” and “Skin 2 Skin” reflect dark themes while still tastefully showcasing the band’s ability to combine electronic elements with inspired, hard-rock riffs.</p> <p>Seek Irony features Kfir Gov (vocals), Rom Gov (drums), Mikael Oganes (synths), Adam Donovan (bass) and Alex Campbell (guitar).</p> <p>I recently caught up with Campbell to ask him about <em>Tech N’ Roll,</em> gear and more!</p> <p><strong>GUITAR WORLD: How did you get involved with Seek Irony?</strong></p> <p>Back In 2013, I was doing a solo band while I was on a break from school. I was unsure if I was going back to Berklee and ultimately decided to audition for the band. I went down and met Rom and Kfir, and we really hit it off. They gave me music to learn; I auditioned, got the gig and have been full time ever since.</p> <p><strong>How did you approach recording for the band’s new album, <em>Tech N’ Roll</em>?</strong></p> <p>Rom and I come from a Dream Theater world in our approach to our instruments. My focus was to maintain that understanding on the guitar and translate some of that into the new music. It’s driven and heavy and a good mixture of hard rock and electronica.</p> <p><strong>What was the writing process like?</strong></p> <p>Most of the new album was written before I was in the band. Kfir and Rom wrote a majority of the songs. For new material, we’re constantly in pre-production in the studio. We rehearse and write there as well as throw down ideas. Some things work and some things don’t, but that’s part of the fun of being in a band!</p> <p><strong>Let’s talk about a few tracks from the <em>Tech N’ Roll</em>, starting with "Devil in Me."</strong></p> <p>That track has such a great guitar riff. Lyrically, it’s about addiction. It goes off the blues production of call and response. It’s very busy but maintains a dark atmosphere.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ShVudUmziPE" frameborder="0" allowfullscreen></iframe></p> <p><strong>"Skin 2 Skin"</strong></p> <p>That’s the track that made me fall in love with the band. It really has a dark, atmospheric vibe to it. It’s about picking someone up at a club with the sole purpose of forgetting about them the next morning [laughs]. It’s another guitar-heavy track.</p> <p><strong>What inspired you to want to play guitar?</strong></p> <p>I don’t think there was just one thing. I’ve always wanted to be a musician and took guitar very seriously when I was 12. It wasn’t something I was originally interested in at first, but after about six months of playing and realizing I was making good progress, I started playing more guitar and less video games. It eventually became everything I would do—eight to 12 hours every day for years!</p> <p><strong>Who were/are some of your influences?</strong></p> <p>When I first started playing, it was David Gilmour. His playing is so lyrical, and I was immediately drawn to it. When I started getting into speed and technique I got more into Joe Satriani and Eric Johnson. Then it became guys like Yngwie Malmsteen, John Petrucci and Guthrie Govan.</p> <p><strong>What made you decide to pursue a career at Berklee College of Music?</strong></p> <p>I knew it was a good school, and it became my dream to go there when I was in high school. I remember going up there to audition and getting accepted. I was beyond excited. Then when I actually got there, it was just as incredible. What you put in is what you get out.</p> <p><strong>How important is it for a guitarist to have an understanding of music theory?</strong></p> <p>It really depends on the player. For me, it’s in two parts. You have to understand why you play guitar. First is the motion and feeling you have from playing and the reason you picked it up in the first place. If you have that emotion but don’t have a good grasp of theory, you might be limited. But then look at it the other way. Suppose you go toward perfect technique and playing all the notes right all the time. You might find yourself playing around the notes instead of through them with emotion. You should really try to have the best of both worlds.</p> <p><strong>What’s your setup like?</strong></p> <p>It’s pretty simple. I run two 4x12 cabinets. The first is a Kustom 200 HD, the other is a VK 200-watt. They both run into my Boss GT 100 that handles everything. I have the amps set to be as clean as possible and will occasionally throw in some extra effects, but most of what you hear is straight out of the GT 100. For guitars, I’m using Ernie Ball Music Man JP7 and I’m beyond thrilled with it!</p> <p><strong>Now that the album is complete, what are you most looking forward to?</strong></p> <p>I’m looking forward to seeing this music get to everyone. It’s good demonstration of the merging of rock, metal and electronica. It’s a good medium and I’m glad people are so receptive to it.</p> <p><em>For more about Seek Irony, visit <a href="http://www.seekirony.com/">seekirony.com.</a></em></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href="http://gojimmygo.net/">GoJimmyGo.net</a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="https://twitter.com/JimEWood">Twitter @JimEWood.</a></em></p> http://www.guitarworld.com/tech-n-roll-seek-irony-guitarist-alex-campbell-talks-new-album-and-gear#comments Alex Campbell James Wood Seek Irony Interviews News Features Fri, 27 Mar 2015 17:49:58 +0000 James Wood http://www.guitarworld.com/article/23815 Free Lessons from Tosin Abasi on the Guitar World Lessons Store http://www.guitarworld.com/tosin-abasis-prog-gnosis-now-available-through-guitar-world-lessons-app-and-webstore <!--paging_filter--><p><em><a href="https://guitarworldlessons.com/product/5B237EE3-81E8-B521-354A-3EEA75E92854?utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=TOSIN">Prog-Gnosis,</a></em> <em>Guitar World's</em> exclusive lesson series by Animals As Leaders guitarist and composer Tosin Abasi, is now available through the Guitar World Lessons <a href="https://itunes.apple.com/us/app/guitar-world-lessons/id942720009?mt=8">App</a> and <a href="https://guitarworldlessons.com/product/5B237EE3-81E8-B521-354A-3EEA75E92854?utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=TOSIN">Webstore</a>. </p> <p>It joins the ranks of the hundreds of lessons already available through <a href="https://guitarworldlessons.com/">Guitar World Lessons.</a> </p> <p>To celebrate this new release, GW is offering the first <em>Prog-Gnosis</em> lesson, "Animal Instinct," for free! Note that all 13 <em>Prog-Gnosis</em> lessons are available for only $9.99.</p> <p>Below, you can check out a video trailer of lessons 1 ("Animal Instinct") and 5 ("Thumbs Up").</p> <p>In <em>Prog-Gnosis</em>, Abasi, a true seven- and eight-string guitar phenom, teaches the concepts and techniques behind his brilliant playing and composing, using excerpts from Animals As Leaders' songs to illustrate them. </p> <p>Over the course of 13 lessons, Tosin demonstrates many of his signature moves, including alternate picking, economy/sweep picking, hybrid picking, thumb slapping, double picking, playing in odd and shifting meters, devising wide-range chord voicings for eight-string guitar, seven-string arpeggios, two-hand tapping and more. </p> <p>The guitarist also offers some effective ways to warm up both hands and practice.</p> <p><strong><em>Prog-Gnosis</em> Contents:</strong></p> <p> • 1. <strong>Animal Instinct:</strong> Getting a feel for picking techniques with the track "Somnarium"<br /> • 2. <strong>Economies of Scale:</strong> Making effective use of economy picking, and how Abasi plays his solos in "Somnarium"<br /> • 3. <strong>Inter-Planetary Exploration:</strong> How to play the outro guitar solo in "Earth Departure"<br /> • 4. <strong>Double Up:</strong> Double picking, and the first solo in "An Infinite Regression"<br /> • 5. <strong>Thumbs Up:</strong> How to play the thumb-slapped intro to "An Infinite Regression"<br /> • 6. <strong>Lucky Sevens:</strong> Making odd meters feel natural, and how to play "Cylindrical Sea"<br /> • 7. <strong>Six Sense:</strong> Playing 6/4, and the hybrid-picked arpeggios in "David"<br /> • 8. <strong>Six of Another:</strong> More on playing in 6/4 meter, and how I perform the hybrid-picked arpeggios in "David," part 2.<br /> • 9. <strong>Voicing Opinions:</strong> Devising chord voicings on the eight-string guitar<br /> • 10. <strong>Turn on the Heat:</strong> Effective ways to warm up both hands<br /> • 11. <strong>Rollercoaster Ride:</strong> Seven-string arpeggios<br /> • 12. <strong>Two-Hand Touch:</strong> Examining the two-hand tapping and odd-meter phrasing in "Isolated Incidents"<br /> • 13. <strong>Connect the Dots:</strong> Analyzing the harmonized melody lines in "Isolated Incidents."</p> <p>Regarded as one of the new millennium's brightest guitar stars, Abasi has recorded and released three albums with Animals As Leaders: their self-titled debut (2009), <em>Weightless</em> (2011) and <em>The Joy of Motion</em> (2014).</p> <p><strong>For more information, visit the Guitar World Lessons <a href="https://guitarworldlessons.com/product/5B237EE3-81E8-B521-354A-3EEA75E92854?utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=TOSIN">Webstore</a> and download the <a href="https://itunes.apple.com/us/app/guitar-world-lessons/id942720009?mt=8">App</a> now.</strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/z3YwFQz2k9k" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/tosin-abasis-prog-gnosis-now-available-through-guitar-world-lessons-app-and-webstore#comments Guitar World Lessons Tosin Abasi Videos News Features Fri, 27 Mar 2015 14:07:26 +0000 Guitar World Staff http://www.guitarworld.com/article/23814 Five Headphone Songs Guaranteed to Blow Your Mind http://www.guitarworld.com/five-songs-made-better-through-advancements-headphones <!--paging_filter--><p>Headphone technology seems to be getting better every day. </p> <p>Recently, Ceekars <a href="http://ceek.com/ceekars">(pronounced “seekers”)</a> developed what it's calling the world’s first 4D headphones, and the aural experience is <a href="https://www.youtube.com/watch?v=8PZdxCGorls">trippy, to say the least.</a> </p> <p>The company recently reached out to <em>Guitar World</em> and asked us to suggest some music that would put their radically new concept to the test. We responded with the following five tracks. </p> <p>While these sound amazing using <a href="http://ceek.com/ceekars">Ceekars</a> 4D technology, they also sound great even using the most modest ear buds. Enjoy!<br /> <br /><br /> <strong>Grateful Dead, “Unbroken Chain”</strong></p> <p>This epic tune on the Dead’s <em>From The Mars Hotel</em> was so difficult for the band to play that it had to be recorded in carefully orchestrated sections. </p> <p>Filled with cascading piano licks, jazzy guitar runs that dance in both sides of the stereo spectrum and weird synth burbles that tease the top of the brain, it’s the perfect headphone experience—especially when you’re “Truckin’” where it’s legal. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/6WycvYhKW08" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Mastodon, “The Czar”</strong></p> <p>This is one case where a song not only sounds great under headphones, but the sprawling arrangement almost makes more sense. In fact, that description applies to almost every track on Mastodon’s underrated 2009 progressive metal masterpiece, <em>Crack the Skye.</em> </p> <p>Richly detailed, “The Czar” is virtual feast of brilliantly layered guitar tones that demands the deep dive you can only get through some fab ‘phones.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Jx2fp-kKOIw" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Muddy Waters, “Feel Like Going Home”</strong></p> <p>If you’ve ever wanted to know what it would be like to stand in the same room with Muddy Waters while he played the greatest blues the world has ever heard, just get a copy of the <em>Folk Singer</em> album recorded in 1964 and listen to this haunting studio performance. You will feel the very earth shake underneath your shoes. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/3sjzp6nGw-w" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Queen, “Killer Queen”</strong></p> <p>Everybody knows Queen are the masters of layering and overdubbing, but how do you get all those sounds to speak properly in the mix? </p> <p>“Killer Queen” from the 1974 album <em>Sheer Heat Attack</em> is a great mini-lesson in how to place all those elements in an entertaining stereo field, and it can only be appreciated with a great set of earphones. Guaranteed to blow your mind. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/BAf2S6ij2gk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Pantera, “5 Minutes Alone”</strong></p> <p>When most people think of headphone jams, they usually flash on something ethereal like Pink Floyd or Jimi Hendrix. But sometimes it’s great to just get a swift kick in the head, especially when you’re hitting the gym or getting psyched up for great night out. </p> <p>Almost anything off Pantera’s <em>Far Beyond Driven</em> does the trick, but “5 Minutes Alone” always works for me.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/7m7njvwB-Ks" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/8PZdxCGorls" frameborder="0" allowfullscreen></iframe></p> <p><em>Brad Tolinski is the editor-in-chief at </em>Guitar World.</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/grateful-dead">Grateful Dead</a> </div> <div class="field-item even"> <a href="/queen">Queen</a> </div> <div class="field-item odd"> <a href="/mastodon">Mastodon</a> </div> <div class="field-item even"> <a href="/pantera">Pantera</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/five-songs-made-better-through-advancements-headphones#comments Brad Tolinski Ceek Ceekars Grateful Dead Mastodon Muddy Waters Pantera News Features Thu, 26 Mar 2015 19:22:49 +0000 Brad Tolinski http://www.guitarworld.com/article/23774 Fingerpicking Beatles: Learn Solo Guitar Arrangements for 30 Beatles Songs http://www.guitarworld.com/fingerpicking-beatles-learn-solo-guitar-arrangements-30-beatles-songs <!--paging_filter--><p><em><a href="http://guitarworld.myshopify.com/products/fingerpicking-beatles-revised-expanded-edition/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=FingerpickingBeatles">Fingerpicking Beatles: Revised &amp; Expanded Edition</a></em> features 30 Beatles songs arranged for solo guitar in standard notation and tab. </p> <p>The arrangements in this book are carefully written for intermediate-level guitarists. Each solo combines melody and harmony in one superb fingerpicking arrangement. The book also includes an easy introduction to basic fingerstyle guitar. </p> <p>The 30 songs include "Across the Universe," "All You Need Is Love," "Can't Buy Me Love," "Hey Jude," "In My Life," "Let It Be," "Michelle," "The Long and Winding Road," "Something," "Yellow Submarine," "Yesterday" and more.</p> <p><a href="http://guitarworld.myshopify.com/products/fingerpicking-beatles-revised-expanded-edition/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=FingerpickingBeatles">The book is available now for $19.99 at the Guitar World Online Store.</a></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/Ms65JQTBCcQ" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/fingerpicking-beatles-learn-solo-guitar-arrangements-30-beatles-songs#comments The Beatles News Features Thu, 26 Mar 2015 15:42:10 +0000 Guitar World Staff http://www.guitarworld.com/article/17202 The Top 10 Biggest Hair Bands ... Literally http://www.guitarworld.com/top-10-biggest-hair-bands-literally <!--paging_filter--><p>Face it: They weren’t called “hair” bands for nothin’. In fact, the copious coifs of the artists on this list were so high, the FAA had to adjust flight patterns whenever these bands hit town.</p> <p>And don't just take our word for it. Check out the photo gallery after the list!</p> <p><strong>10. Whitesnake</strong> Most people think that Tawny Kitaen married Whitesnake singer David Coverdale for his big, um, white snake. Truth is she fell for his massive head ... of hair.</p> <p><strong>09. Cinderella</strong> The cover of their debut, <em>Night Songs</em>, depicts the four members of Cinderella standing in a dark alley. Insider secret: It wasn’t really dark — their hair was just blocking the sun.</p> <p><strong>08. Britny Fox</strong> The duties of a guitar tech are many and various, and this was particularly true for guitarist Michael Kelly Smith’s tech. Let’s see — cleaning, polishing, maintenance. Oh, and when he was done with Smith’s hair, he’d work on his guitars, too.</p> <p><strong>07. Firehouse</strong> These guys finally found the love of a lifetime, and her name was Aqua Net. Unfortunately for Firehouse, their debut record came out the same year as Nirvana’s <em>Nevermind</em> — and for hair metal, that was all she wrote.</p> <p><strong>06. Mötley Crüe</strong> If you had the vinyl version of <em>Shout at the Devil</em>, you’ll recall it was a fold-out cover featuring Vince, Nikki, Mick and Tommy in living color, with four of the biggest heavy metal hairdos of all time. Makes you wonder if the band was standing in a pool of water when they came in contact with a “live wire.”</p> <p><strong>05. Winger</strong> When your name is Kip Winger, you’re pretty much doomed to a life of ridicule, so big hair can only help. But when a respected stick man like Rod Morgenstein, formerly of the Dixie Dregs, buys into the bigger-is-better philosophy of money-making hair, something’s terribly wrong.</p> <p><strong>04. Twisted Sister</strong> It’s rather appropriate that the <em>now</em> ponytailed <a href="http://www.guitarworld.com/dee-throned-rockers-comedians-lay-dee-snider-revolverguitar-world-rock-roll-roast">Dee Snider</a> hosts the weekly <em>House of Hair</em> radio gig. In 2001, his famous curls made a comeback when he performed “Lady Marmalade” with Lil’ Kim, Mya and Pink. Oh wait, that was Christina Aguilera.</p> <p><strong>03. Stryper</strong> Michael and Robert Sweet possessed feathered ’dos that even a peacock would envy, but guitarist Oz Fox takes top prize for monumental moptop. What would Jesus say?</p> <p><strong>02. Vixen</strong> Soft rocker (and big-hair farmer) Richard Marx helped kickstart this all-female band by co-writing their signature hit, "Edge of a Broken Heart." We can't confirm whether or not he also co-styled their bountiful hair for that song's music video.</p> <p><strong>01. Poison</strong> Only Vixen could hang with Poison in the Aqua Net marathon, except they weren’t nearly as pretty as Bret, C.C., Bobby and Rikki.</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="/twisted-sister">Twisted Sister</a> </div> <div class="field-item even"> <a href="/motley-crue">Motley Crue</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/top-10-biggest-hair-bands-literally#comments Dee Snider Motley Crue Twisted Sister Guitar World Lists News Features Wed, 25 Mar 2015 15:42:23 +0000 Guitar World Staff http://www.guitarworld.com/article/1994 Guitar World's New 'Talkin' Blues Part 3' DVD Features Seven New In-Depth Video Lessons http://www.guitarworld.com/guitar-worlds-new-talkin-blues-part-3-dvd-features-seven-new-depth-video-lessons <!--paging_filter--><p>A new DVD, <em><a href="http://guitarworld.myshopify.com/products/talkin-blues-dvd-part-3/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=TalkinBluesDVDpart3">Talkin' Blues Part 3</a></em>, is available now at the Guitar World Online Store.</p> <p>With more than two hours of instruction, <em>Talkin' Blues Part 3</em> provides you with seven NEW in-depth video lessons to build your blues chops. Lessons include: </p> <p> • New Orleans-style rhythms and grooves<br /> • Pops Staples-style gospel riffs<br /> • Jimi Hendrix's R&amp;B-influenced rhythm guitar style<br /> • Organ-style pedal-point licks<br /> • The classic Stevie Ray Vaughan shuffle<br /> • Chromatic phrasing<br /> • How to create eerie musical tension</p> <p>...and much, much more! Get this deepest dive into the blues today!</p> <p><strong>Your instructor:</strong> For more than 35 years, Keith Wyatt 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. 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> http://www.guitarworld.com/guitar-worlds-new-talkin-blues-part-3-dvd-features-seven-new-depth-video-lessons#comments News Features Wed, 25 Mar 2015 12:15:41 +0000 Guitar World Staff http://www.guitarworld.com/article/23741 Big Strokes: A Beginner's Guide to Sweep Picking http://www.guitarworld.com/big-strokes-beginners-guide-sweeping <!--paging_filter--><p>Although often regarded as a “shredder’s” technique, the notion of sweeping (or raking) the pick across the strings to produce a quick succession of notes has been around since the invention of the pick itself. </p> <p>Jazz players from the Fifties, such as Les Paul, Barney Kessel and Tal Farlow, would use the approach in their improvisations, and country guitar genius Chet Atkins was known to eschew his signature fingerstyle hybrid-picking technique from time to time and rip out sweep-picked arpeggios, proving that the technique is not genre specific. Within rock, Ritchie Blackmore used sweep picking to play arpeggios in Deep Purple’s “April” and Rainbow’s “Kill the King.”</p> <p>Fusion maestro Frank Gambale is widely considered to be the most versatile and innovative sweep picker and the first artist to fully integrate the technique into his style, applying sweeping to arpeggios, pentatonics, heptatonic (seven-note) scales and modes, and beyond. </p> <p>Gambale explains his approach wonderfully in his instructional video, <em>Monster Licks and Speed Picking</em>. Originally released in 1988, it remains a must-watch video for anyone interested in developing a smooth sweep-picking technique.</p> <p>It was Stockholm, Sweden, however that would produce the name most synonymous with sweeping in a rock context, one that gave rise to a guitar movement known as neoclassical heavy metal. </p> <p>Swedish guitar virtuoso Yngwie Malmsteen was influenced by Jimi Hendrix, Ritchie Blackmore and Uli Jon Roth but was also equally enthralled by 19th-century virtuoso violinist Niccolò Paganini. Attempting to emulate on his Fender Stratocaster the fluid, breathtaking passages Paganini would compose and play on violin, Malmsteen concluded that sweep picking was the perfect way to travel quickly from string to string with a smooth, fluid sound much like what a violinist can create with his bow. </p> <p>Malmsteen’s style has since influenced two generations of guitarists, including Tony MacAlpine, Jason Becker, Steve Vai, Mattias “IA” Eklundh, Ritchie Kotzen, Marty Friedman, John Petrucci, Vinnie Moore, Jeff Loomis, Synyster Gates, Alexi Laiho and Tosin Abasi, to name but a few.</p> <p>The first five exercises in this lesson are designed to give you a systematic approach to practicing the component movements of sweep picking: from two-string sweeps to six-string sweeps, and everything in between. Practicing each exercise with a metronome for just two minutes every day will improve your coordination and your confidence to use the technique in your own playing. </p> <p>Work from two strings up to six, keeping your metronome at the same tempo. This means starting with eighth notes, and while this will feel very slow, the technique will become trickier with each successive note grouping: eighth-note triplets, 16th notes, quintuplets and, most difficult of all, 16th-note triplets and their equivalent sextuplets. Focus on synchronizing your hands so that your pick and fretting fingers make contact with the string at exactly the same moment. Only one string should be fretted at any time (this is key!), and any idle strings should be diligently muted with your remaining fingers. </p> <p>If you fail to do this and allow notes on adjacent strings to ring together, it will negate the desired effect and sound like you are simply strumming a chord. When it comes to sweep picking, muting is the key to cleanliness. It is also the aspect that will take the most practice to master.</p> <p>The second set of five exercises handles some common sweep-picking approaches. These are shown in one position and based on one chord type each, thus focusing your attention on the exercise until you have become accustomed to the technique. </p> <p>The final piece helps you tackle the various aspects of sweeping while bolstering your stamina, as the bulk of it consists of nonstop 16th notes, with only a few pauses for “breathing.” Break it down into four-bar sections and practice each with a metronome, gradually building up to the 100-beats-per-minute (100bpm) target tempo. </p> <p><strong>Get the Tone</strong></p> <p>In rock, this technique is best suited to Strat-style guitars, using the neck pickup setting for a warm, round tone. Use a modern tube amp with the gain set to a moderate amount—just enough to give all the notes a uniform volume and sustain, but not so much that string muting becomes an impossible battle. </p> <p>The thickness and sharpness of your pick will hugely impact the tone of your sweep picking. Something with a thickness between one and two millimeters and a rounded tip will provide the right amount of attack and still glide over the strings with ease.</p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_1_2.jpg" /></p> <p>[FIGURE 1] This Cmaj7 arpeggio on the two middle strings works just as well on the top two or bottom two. Lightly drag your pick across (push down, pull up) the two strings so that there’s very little resistance. This teaches your picking hand to make smooth motions rather than two separate downward or upward strokes.</p> <p>FIGURE 2 is a C7 arpeggio played across three strings. Strive to maintain the same smooth down/up motion with your pick used in the previous example. Focus on the pick strokes that land on downbeats, and allow the in-between, or “offbeat,” notes to naturally fall into place. Every three notes your pick will change direction. </p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_3.jpg" /></p> <p>Now let’s move on to four strings with this exotic C7 altered-dominant lick, reminiscent of one of Gambale’s fusion forays. Remember, sweep picking is most effective when each note is cleanly separated from the last, so aim to have only one finger in contact with the fretboard at a time in order to keep the notes from ringing together.</p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_4.jpg" /></p> <p>Now we move on to some five-string shapes, the likes of which you can hear in the playing of Steve Vai and Mattias Eklundh. The phrasing here is 16th-note quintuplets (five notes per beat). Once again, if you focus on nailing the highest and lowest notes along with the beat, the in-between notes should automatically fall into place. Move your pick at a constant speed to ensure the notes are evenly spaced. Say “Hip-po-pot-a-mus” to get the sound of properly performed quintuplets in your mind’s ear.</p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_5.jpg" /></p> <p>This six-string arpeggio is an A major triad (A C# E), with the third in the bass and a fifth interval added to the high E string’s 12th fret, so we have the right number of notes for 16th-note triplets (six notes per click). When ascending, use a single motion to pick all six strings, making sure only one note is fretted at a time. The descending section includes a pull-off on the high E string, which, although momentarily disruptive to your picking, is preferable to adding another downstroke.</p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_6.jpg" /></p> <p>This major triad shape is an essential part of the Yngwie Malmsteen school of sweeping. Pay special attention to the picking directions in both the ascending and descending fragments. The alternating eighth-note triplet and quarter-note phrasing allows you to focus on the picking pattern in small bursts and then rest for a beat.</p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_7.jpg" /></p> <p>This example includes ascending and descending fragments again, this time played together. Concentrate on the general down-up motion of your picking hand rather than each pick stroke. Once you are comfortable with this shape you can apply the same approach to minor, suspended and diminished-seven arpeggios.</p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_8.jpg" /> </p> <p>This example is reminiscent of players such as Jason Becker and Jeff Loomis. We start with the three-string shapes from the previous example, followed by the six-string shape from FIGURE 5. This is quite challenging for the picking hand, so start very slowly and remember to keep the hand moving smoothly.</p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_9.jpg" /></p> <p>Here we utilize two-string sweeps with pentatonic shapes. Use your first finger on the fifth fret and third finger on the seventh fret. Keep your fingers flat against the two-string groups, and transfer pressure between strings using a rolling action to mute inactive strings and prevent notes from ringing together. </p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_10.jpg" /></p> <p>Economy picking requires that your pick take the shortest journey possible when crossing from string to string. This essentially means that when you play a scale, there will be a two-string mini-sweep whenever you move to an adjacent string. This exercise combines the eight-note B whole-half diminished scale (B C# D E F G G# As) and a Bdim7 arpeggio (B D F G#).</p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_11.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/sweeppicking_11cont.jpg" /></p> <p>This piece is in the key of A minor. The first part is based around a “V-i” (five-one) progression, with the arpeggios clearly outlining the implied chord changes. We begin with some ascending two-string sweeps using alternating E (E G# B) and Bb (Bb D F) triads. Next come some A minor triads (A C E), played with a progressively increasing number of strings; this is a great way to build your confidence in sweep picking larger shapes. The Bm7b5 (B D F A) arpeggio in bar 4 has a series of three-string sweeps combined with some challenging string skips. Bar 7 is an A minor pentatonic scale (A C D E G) played in fourths using two-string sweeps/economy picking. </p> <p>The second part of the piece has a more neoclassical approach and begins with some Yngwie-style three-string triads incorporating pull-offs. Be sure to follow the indicated picking directions. Bar 12 is the trickiest part of the piece to play and utilizes some Jason Becker–inspired six-string shapes. If you have problems with string muting or note separation, apply some light palm muting to the notes as they are picked. This is an effective way to improve note clarity. The final bar is based on the A harmonic minor scale (A B C E D F G#) and incorporates economy picking when traveling from the fifth string to the fourth. </p> http://www.guitarworld.com/big-strokes-beginners-guide-sweeping#comments Avenged Sevenfold Guitar 101 Steve Vai Sweep Picking Tosin Abasi Yngwie Malmsteen News Features Lessons Tue, 24 Mar 2015 18:14:38 +0000 Charlie Griffiths http://www.guitarworld.com/article/17113 Joe Satriani, Tosin Abasi and Guthrie Govan Join Forces for 2015 G4 Experience — Video http://www.guitarworld.com/joe-satriani-tosin-abasi-and-guthrie-govan-join-forces-2015-g4-experience-video <!--paging_filter--><p><em>This is an excerpt from the April 2015 issue of Guitar World. For the complete interview, plus new-album previews from Joe Satriani, Guthrie Govan, Dream Theater, Megadeth, Warren Haynes and more, <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-april-15-abasi-satriani-govan?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=G4Excerpt">check out the April issue at the Guitar World Online Store.</a></em></p> <p>Seated across from one another in a cavernous, chilly San Francisco photo studio, Tosin Abasi and Guthrie Govan are deep in conversation, dissecting and debating the relative merits of various guitar neck tone woods. </p> <p>They’re both clearly attuned to the same profound level of guitar geekery—fretboard brothers. But it’s hard to imagine two human beings more different in appearance. </p> <p>Abasi is impeccably and stylishly dressed in head-to-toe black, including a well-cut jacket that’s the handiwork of his sibling, the fashion designer Abdul Abasi. His hair is styled with razor-sharp precision in a kind of asymmetrical, post-modern pompadour. </p> <p>Tosin’s professorial, tortoise rim eyeglasses lay primly on the table before him. His body language is angular and precise. He’s been pumping some iron of late…as if the dazzling virtuosity and abstract intensity of his eight-string guitar work with Animals as Leaders weren’t enough of an athletic accomplishment. </p> <p>Thin, wiry and slumped in a leather chair across from Abasi, Guthrie Govan is sporting a rumpled Pac-Man T-shirt that looks as if he’s slept in it. His abundant nut-brown hair and scraggly beard appear not to have known the benefit of comb, brush or even shampoo in quite some time. He’s just off the plane from London, but looks as if he might just as well have tumbled out of a time machine, transported from some grotty, early-Seventies Jethro Tull lineup into the 21st Century technopolis that is San Francisco. </p> <p>But the quietly understated wit and careful creativity with which he chooses his words belie his bedraggled appearance. The same strange mixture of offhand nonchalance, well-crafted mastery, retro rock references and fast-forward futurism distinguishes Govan’s exemplary guitar work with the Aristocrats, not to mention his solo discs and sideman work with Steven Wilson, Asia and others. </p> <p>Mahogany versus wenge has become the conversation’s focal point when Joe Satriani enters the room. Like Abasi, he’s all in black, albeit in a more casual way—the timeless rock and roll uniform of T-shirt, jeans and leather jacket. Satch pulls a black watch cap off his clean shaven cranium and takes a seat alongside his fellow guitar titans. His quiet humility and air of mature reserve contrast benignly with the youthful exuberance of his cohorts. </p> <p>Tosin Abasi and Guthrie Govan are both very much the children of Joe Satriani. Wildly disparate as they are in their musical and personal styles, Animals as Leaders and the Aristocrats could never have come into existence, let alone find a dedicated and enthusiastic audience, had Satriani not blazed a bold new trail in rock guitar playing in the Eighties—raising the bar for fretboard technique and making the world safe for shred. </p> <p>And now Satriani, Abasi and Govan are joining forces with fellow guitarist Mike Keneally (Frank Zappa, Steve Vai, Joe Satriani, Henry Kaiser) and <a href="http://g4experience.com/">Dreamcatcher Events</a> to present the second annual <a href="http://g4experience.com/">G4 Experience,</a> a four-day, immersive guitar camp held in the idyllic environs of the <a href="http://www.cambriapineslodge.com/">Cambria Pines Lodge</a> in California, June 28 to July 2. </p> <p>Satch, Tosin, Guthrie and Mike will be joined by Govan’s fellow Aristocrats who also serve, conveniently enough, as Satriani’s current rhythm section. And, along with performances by Animals as Leaders, auxiliary instructors include bassist Stu Hamm and <em>Guitar World’s</em> own Andy Aledort as well as other special guests. The four-day musical retreat will include both concert performances and ad hoc jams as well as up-close and personal instruction from the four guitar stars and their guests.</p> <p>The camp concept is very much Satriani’s brainchild, an offshoot of his much beloved G3 and G4 road tours. </p> <p>“I thought it would be nice if there were some way to get away from the folding chair and PowerPoint presentation vibe behind most clinics,” Satriani says. </p> <p>“Rather than just playing and teaching licks, I wanted to do something that mirrors my experience with the G3 tours. That’s where I see more rapt attention and people getting involved passionately, as concertgoers tend to do. I don’t really see that at clinics. So I was looking for a way to get the juicy fun of a live performance into a clinic situation. And that’s basically what I put to the <a href="http://g4experience.com/">Dreamcatcher Events</a> guys who came to me with this idea of doing some kind of clinic over a period of days.”</p> <p><strong>For more about the 2015 G4 Experience, visit <a href="http://g4experience.com/">g4experience.com.</a> </strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/scMF0b3BbUo" frameborder="0" allowfullscreen></iframe></p> <p><strong>The first question is for Guthrie and Tosin. What was your initial reaction like when you were approached to take part in this instructional camp?</strong></p> <p><strong>GUTHRIE GOVAN</strong> The logical thing to do when approached by Joe Satriani and asked to do something like this is to say yes. In no way was it a difficult decision. Based on my experience with guitar camps, it always turns out to be an extension of the personality of the guy who dreamed it up in the first place. So I’m really looking forward to this one. It looks like it’s going to be a real musical experience, as opposed to a parade of circus tricks. </p> <p> <strong> JOE SATRIANI </strong>Although we’re not beneath that! [laugher] That’s kind of what we do in a way. Let me just say there’s nothing wrong with that. I’ve often said in clinics that everything is equal. All scales are equal. All chords are equal. It’s really all the same. It’s just a question of when and how to use them.</p> <p><strong>TOSIN ABASI</strong> I’ve done clinics myself. My band did something similar to this—a camp setting where we had multiple days with the students. And while the instruction sessions are really cool, what can be even cooler is what happens outside the formal clinics: Students getting together with other students and sharing the ideas they just learned. There’s this really cool “behind the scenes” element. Bands form. Musical relationships are formed. Just having like-minded musicians all together in the same place, sharing the same information—it will be cool to facilitate that kind of interaction.</p> <p><strong>So what can people who take part in the camp expect to experience? </strong></p> <p><strong>SATRIANI</strong> I’m gonna play, I’m gonna talk and just take questions. I’m not going to make people pick up the guitar and say, “Put the third finger on the third fret.” It’s not gonna be like that. People will have a chance to observe me up close and ask questions. I think that’s the best way. There’s nothing like watching a guy do it. And this is one of the few times I won’t have to perform. I’m not gonna jump around. I’m gonna sit there and actually look at my guitar, and I can stand near my amp, which is cool! So that way, you can watch what I do. And if you see something weird, you can ask me about it and I’ll explain it in an honest way. </p> <p><strong>GOVAN</strong> That approach gets my vote as well. The people who are attending will get a more personal experience. We can listen to them and bounce back on whatever they turn out to be looking for…rather than turning up with a prescribed list of what we think they need to know. It’s better to be flexible. </p> <p><strong>ABASI</strong> I go with that too. It allows for an organic process that keeps unfolding, as opposed to predetermining which way it’s gonna go. And I think what Joe said about just watching is huge. There’s a cognitive level of understanding you get from watching people who have been playing guitar professionally for decades and have gotten to this high level of artistry. If you were to verbalize it, it wouldn’t be the same. To watch a guy like Guthrie, it’s not the same as watching a two-dimensional video screen. I can actually get close enough to see and hear how hard he’s picking! I think that level of instruction is invaluable.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/wUoi8jg1Z_w" frameborder="0" allowfullscreen></iframe></p> <p><strong>In Carlos Santana’s autobiography, <em>The Universal Tone</em>, he talks about how players he admired in Mexico when he was coming up never showed him anything, “They showed me their back,” he says, and that this a tradition he and others still really respect. “I have my chops, go find yours.” So the question becomes, does a learning situation like a clinic compromise a player’s originality? Is there any value in finding your own chops? </strong></p> <p><strong>GOVAN</strong> I think that was more showmanship than anything else. You can create a mystique for yourself by pretending that a lick you do is so special that you have to hide it from people. Now more than ever people are going to figure out what you’re doing, whether you’re going to share it with them or not. </p> <p><strong>SATRIANI</strong> When I was growing up you had to find somebody to show you how to play the way you wanted to play. There weren’t instructional videocassettes, let alone YouTube. But yeah, that’s a funny attitude, “I have my chops, go find yours.” I never understood that. That’s not the reality of the modern world. I don’t think people even worry about that. </p> <p><strong>ABASI</strong> I agree, it does seem a little fear based. I think inspiration is what drove all of us to pick up a guitar. And inspiration comes from other guitarists, usually. There’s a fine line between emulation and originality. I might try real hard to emulate something and fail, but all of a sudden I’ve got something that’s my own version of it. There are so many ways to approach it.</p> <p><strong>Okay, so now the question becomes, what has the viral availability of information on technique and things like that done for the art of guitar playing?</strong></p> <p><strong>SATRIANI</strong> It’s definitely elevated it to an incredible level, and here’s the proof right here. Look at these guys! When I started playing, most people played the same, I would say. Six strings. Fenders and Gibsons. Really. There weren’t that many artists. How many pedals were there? Some of the music may have been complicated, but the tools weren’t so great. So people weren’t trying to do much with the guitar. But now the art of guitar playing has been elevated to an incredible level. Look at Tosin and Guthrie here—or someone like Charlie Hunter—and you think, Oh my God, what happened? The future is here. And all that other music is still available too. You can go on YouTube and see a 14-year-old kid who sounds like one of the blues artists from back then.</p> <p><strong>ABASI</strong> The prevalence of all this information has brought a real cool evolution in guitar playing, but it also creates a sense of overload. Like for me, I would get one instructional video, devour it and then I’d have to go to the music store physically, pick out another and take that home. Now it’s like you can Google “melodic minor” and it’s this tremendous rabbit hole that, for me personally, can get a little overwhelming. The information is so accessible and so vast. But that’s why things like this camp are so important. Yes, all this information is now available, but what you’re going to get from us is more of a specialized, individual actual representation of all this information. How we express ourselves on the guitar. And I think that will help channel out all the distractions that can come from all the information out there. </p> <p><em>This is an excerpt from the April 2015 issue of Guitar World. For the complete interview, plus new-album previews from Joe Satriani, Guthrie Govan, Dream Theater, Megadeth, Warren Haynes and more, <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-april-15-abasi-satriani-govan?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=G4Excerpt">check out the April issue at the Guitar World Online Store.</a></em></p> <p><em>Photo: Justin Borucki</em></p> <p><img src="/files/imce-images/Screen%20Shot%202015-02-24%20at%2011.11.01%20AM_0.png" width="620" height="806" alt="Screen Shot 2015-02-24 at 11.11.01 AM_0.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="/joe-satriani">Joe Satriani</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/joe-satriani-tosin-abasi-and-guthrie-govan-join-forces-2015-g4-experience-video#comments April 2015 Guthrie Govan Joe Satriani Tosin Abasi Videos Interviews News Features Magazine Tue, 24 Mar 2015 10:39:23 +0000 Alan Di Perna http://www.guitarworld.com/article/23779 Available Now: Guitar One Presents Foo Fighters http://www.guitarworld.com/available-now-guitar-one-presents-foo-fighters <!--paging_filter--><p><em>Guitar One Presents Foo Fighters is <a href="http://store.guitarworld.com/collections/guitar-legends/products/guitar-one-presents-foo-fighters/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=LegendsFooFighters">available now at the Guitar World Online Store for $9.99</a>.</em></p> <p>In 1995, former Nirvana drummer Dave Grohl picked up a guitar and buried the past with Foo Fighters and their self-titled debut album. Since then, the Foo Fighters have carved their names in rock and roll history as one of the most successful alternative-rock bands, touting three Grammy wins for Best Rock Album. In 2011, they returned to the studio to make <em>Wasting Light</em>, their seventh album. <em>Guitar One Presents Foo Fighters</em> covers 15 years of interviews and tells the story behind every record. Buy it today for only $9.99!</p> <p><strong>This issue includes:</strong></p> <p> • Dear Guitar Hero: Dave Grohl and Chris Shiflett answer readers' questions.<br /> • Absolutely Foobulous: Dave Grohl and Pat Smear talk rock fashion, reminisce about Nirvana and praise the Foo Fighters' 1997 group effort, The Colour and the Shape.<br /> • The Foo Chain: A Foo Fighters axology.<br /> • Smear Campaign: The life and times of punk survivor Pat Smear.<br /> • True Foo: Dave Grohl rejects the glitz of Hollywood and heads home to Virginia to record the Foo Fighters' soul-searching third album, There Is Nothing Left to Lose.<br /> • Man of Steel: Dave Grohl says goodbye to rock and roll and hello to heavy metal with his smashing project, Probot.<br /> • Honor Society: After a two-year binge of side projects and guest performances, Dave Grohl returns to the Foo Fighters fold for the double album In Your Honor.<br /> • Top Flight: Combine Led Zeppelin's blues-inspired riff rock with Nirvana's post-punk aesthetic and the stoner metal sounds of Queens of the Stone Age. What do you get? Them Crooked Vultures, featuring John Paul Jones, Dave Grohl and Josh Homme.<br /> • Fighting Form: Foo Fighters are back in action with a three-guitar lineup and a hard-hitting, bone-crunching album, Wasting Light. Guitar World weighs in with Dave Grohl, Chris Shiflett and Pat Smear.</p> <p><strong><a href="http://store.guitarworld.com/collections/guitar-legends/products/guitar-one-presents-foo-fighters/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=LegendsFooFighters">Head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/available-now-guitar-one-presents-foo-fighters#comments Dave Grohl Foo Fighters News Features Tue, 24 Mar 2015 10:01:23 +0000 Guitar World Staff http://www.guitarworld.com/article/17957 Hear an Alternate Recording of "Bad Company" from the Legendary UK Band's New Deluxe Remasters — Exclusive http://www.guitarworld.com/alternate-recording-bad-company-band-new-deluxe-remaster-exclusive-premiere <!--paging_filter--><p>Today, GuitarWorld.com presents the exclusive premiere of a previously unreleased alternate recording of "Bad Company," the title track from the 1974 debut album by—you guessed it—Bad Company.</p> <p>The recording is from the new remastered, deluxe edition of the album, which will be released April 7 by Rhino. Rhino also will release a new deluxe version of the band's hit 1975 album, <em>Straight Shooter,</em> the same day.</p> <p>Both two-disc releases feature a host of rare and previously unreleased recordings by the influential U.K. rockers, all of which are from the original master tapes. You can see complete track lists for both albums below.</p> <p>Our exclusive premiere of "Bad Company" is a re-take from the reel that yielded the better-known master. This is actually take 2 (LMS Studio Reel 8 - 73 Session); the next complete version was the one used on the album.</p> <p>Vocalist Paul Rodgers, along with guitarist Mick Ralphs, bassist Boz Burrell and drummer Simon Kirke recorded <em>Bad Company</em> in November 1973 using Ronnie Lane’s mobile studio at Headley Grange, where Led Zeppelin frequently recorded. <em>Bad Company</em> went to Number 1 in the U.S. the following year.</p> <p>Its second disc features 12 tracks, including eight previously unreleased recordings such as the demo for “The Way I Choose” and an unedited version of “Superstar Woman,” which Rodgers later recorded in 1983 for his <em>Cut Loose</em> album. Also featured are the single edit of “Can’t Get Enough” and the B-sides “Little Miss Fortune” and “Easy on My Soul.”</p> <p><strong>For more about Bad Company, visit <a href="http://www.badcompany.com/">badcompany.com.</a> For more about Rhino, visit <a href="http://www.rhino.com/">rhino.com.</a> For more about the new deluxe editions of the albums, <a href="http://www.badcompany.com/news.html">head here.</a></strong></p> <p><iframe src="http://link.brightcove.com/services/player/bcpid4090277488001?bckey=AQ~~,AAAAAyiIY-k~,nwbxG65xosVaO0HxDy7voNpNZQgfgJq8&amp;bctid=4090631843001&amp;width=620&amp;height=365&amp;autoStart=false" width="620" height="365" frameborder="0" scrolling="no" allowtransparency="true" ></iframe></p> <p><strong>Bad Company Deluxe Editions | Track Listings:</strong></p> <p><strong><em>Bad Company</em> (1974)</strong></p> <p><em>Disc One</em><br /> 01. “Can’t Get Enough”<br /> 02. “Rock Steady”<br /> 03. “Ready For Love”<br /> 04. “Don’t Let Me Down”<br /> 05. “Bad Company”<br /> 06. “The Way I Choose”<br /> 07. “Movin’ On”<br /> 08. “Seagull”</p> <p><em>Disc Two</em><br /> 01. “Can’t Get Enough” (Take 1)*<br /> 02. “Little Miss Fortune” (Demo Reel 1)*<br /> 03. “The Way I Choose” (Demo Reel 1)*<br /> 04. “Bad Company” (LMS Studio Reel 2-73 Session)*<br /> 05. “The Way I Choose” (Version 1 Inc. F/S)<br /> 06. “Easy On My Soul” (Long Version)<br /> 07. “Bad Company” (LMS Studio Reel 8-73 Session)*<br /> 08. Studio Chat/Dialogue<br /> 09. “Superstar Woman” (Long Version)*<br /> 10. “Can’t Get Enough” (Single Edit)<br /> 11. “Little Miss Fortune” (B-side of “Can’t Get Enough”)*<br /> 12. “Easy On My Soul” (B-side of “Movin’ On”)*</p> <p><strong><em>Straight Shooter</em> (1975)</strong></p> <p><em>Disc One</em><br /> 01. “Good Lovin’ Gone Bad”<br /> 02. “Feel Like Makin’ Love”<br /> 03. “Weep No More”<br /> 04. “Shooting Star”<br /> 05. “Deal With The Preacher”<br /> 06. “Wild Fire Woman”<br /> 07. “Anna”<br /> 08. “Call On Me”</p> <p><em>Disc Two</em><br /> 01. “Good Lovin’ Gone Bad” (Alternate Vocal &amp; Guitar)*<br /> 02. “Feel Like Makin’ Love” (Take Before Master)*<br /> 03. “Weep No More” (Early Slow Version)*<br /> 04. “Shooting Star” (Alternate Take)*<br /> 05. “Deal With The Preacher” (Early Version)*<br /> 06. “Anna” (Alternate Vocal)*<br /> 07. “Call On Me” (Alternate Take)*<br /> 08. “Easy On My Soul” (Slow Version)<br /> 09. “Whiskey Bottle” (Early Slow Version)<br /> 10. “See the Sunlight”<br /> 11. “All Night Long”<br /> 12. “Wild Fire Woman” (Alternate Vocal &amp; Guitar)*<br /> 13. “Feel Like Makin’ Love” (Harmonica Version)<br /> 14. “Whiskey Bottle” (B-side of “Good Lovin’ Gone Bad” )<br /> * Tracks featured on Deluxe Edition LPs</p> <p><em>Photo: Carl Dunn</em></p> http://www.guitarworld.com/alternate-recording-bad-company-band-new-deluxe-remaster-exclusive-premiere#comments Bad Company News Features Mon, 23 Mar 2015 11:09:15 +0000 Damian Fanelli http://www.guitarworld.com/article/23769 Three Days Grace Guitarist Barry Stock Discusses Gear and New Album, 'Human' http://www.guitarworld.com/three-days-grace-guitarist-barry-stock-discusses-gear-and-new-album-human <!--paging_filter--><p><em>Human</em>, the new album by Three Days Grace, is the first to feature new vocalist Matt Walst, who happens to be the brother of TDG bassist Brad Walst. </p> <p>Besides bringing a familiar face to the band, Matt’s arrival heralds a new-found dynamic; <em>Human</em> introduces heavier, darker shades to the band's songwriting and sound. New tracks like “I Am Machine” offer inspired, hook-laden riffs while “Painkiller” tackles more personal topics from a unique point of view. </p> <p><em>Human</em>, which will be released March 31, reunites Three Days Grace with producer Gavin Brown, who was at the helm for the band’s platinum-selling self-titled debut in 2003.</p> <p>Three Days Grace also includes guitarist Barry Stock and drummer Neil Sanderson. We recently tracked down Stock to discuss the new album, his gear and more.</p> <p><strong>GUITAR WORLD: What was it like reuniting with Gavin Brown?</strong></p> <p>Gavin is awesome because he brought us back to the past. When he’s with us, it’s almost like having a fifth member of the band. He really has an ability to see inside of us and pull out these really deep feelings. He’s also great at making it not just about the lyrics but more like a conversation. He really gets involved in the music and creating sounds, and it was a blast working with him.</p> <p><strong>How would you describe <em>Human</em>?</strong></p> <p><em>Human</em> is the perfect title for this record because there’s been a lot of inner-struggle and loss in the last few years. We’ve had a few people close to us pass on and some addiction and personal issues. This record is really about the last few years of our lives.</p> <p><strong>What was the writing process like?</strong></p> <p>We did a lot of writing for this album while we were on the road. It was all about gathering riffs, melodies and vocal ideas. Then we would all get together in a room and start throwing all of the ideas around. It started from there. Songs can come from anywhere. Whether it’s a cool riff, a chorus idea or even just an emotion. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/8Zx6RXGNISk" frameborder="0" allowfullscreen></iframe></p> <p><strong>I’d like to ask you about a few tracks <em>Human,</em> starting with "I Am Machine."</strong></p> <p>It’s a song about a feeling we all have from time to time. Everyone is stuck in technology these days with our heads stuck down on our phones. We’re all guilty of that to some degree. The song is really about the idea that sometimes you just have to lift your head up and look around and see how beautiful things are.</p> <p><strong>"Painkiller"</strong></p> <p>That song is about how everyone has a vice and it’s written from the perspective of that vice drawing you back in. It can be anything, from drinking to drugs to cigarettes to sex. Whatever your vice is, it’s written from that perspective.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/-U98qkjbYek" frameborder="0" allowfullscreen></iframe></p> <p><strong>What are the band’s touring plans this year?</strong></p> <p>Our goal this time around is to focus on other parts of the world. We’ll be doing America and Canada and then going back and forth all over Europe, playing places we’ve never been to before or haven’t been to in a long time.</p> <p><strong>What inspired you to play guitar?</strong></p> <p>I had a bunch of older brothers. I remember sneaking into their rooms when they weren’t around to see what they were listening to. At the time it was a lot of Seventies music like Black Sabbath, Van Halen and AC/DC. I really wanted to play and actually started out on drums, but my dad made me get rid of them because he didn’t want to put up with them. So instead, he bought me a guitar. At the time, I didn’t have an amp so I had to play it through his reel to reel. By taking away my drums I wound up gassing his reel to reel to get distortion and ended up blowing it up! [laughs].</p> <p><strong>Who were, or are, some of your influences?</strong></p> <p>I’m a huge fan of Paul Gilbert. I also love Yngwie Malmsteen and those Eighties-era players. Tony MacAlpine is another great player. I also love the riff master Tony Iommi and guys like Ritchie Blackmore, Stephen Carpenter of Deftones and Daron Malakian from System of a Down.</p> <p><strong>Were you one of those guitarists who'd lock themselves in their room and play for hours?</strong></p> <p>In my younger days I did. I wasn’t a jock in school and didn’t have many friends so all I did was play music. I eventually made a lot of friends through music and got into bands and started moving around. Then as I got older I started focusing more on songwriting and playing cool parts. </p> <p><strong>How did you connect with Three Days Grace?</strong></p> <p>We were all out-of-town guys who centralized in Toronto and rehearsed in the same building. I was in a band down the hall from them and we’d always see each other in passing. Early on, I thought they could use a guy to fill out guitar so that Adam Gontier [the band's original vocalist] could focus on lead-singer duties instead of having to worry about guitar. We were all in from there and it’s been awesome.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/EiZqZfwZ074" frameborder="0" allowfullscreen></iframe></p> <p><strong>What’s your current setup like?</strong></p> <p>My rig is pretty extensive. My guitar tech/builder, Lonnie Tottman, spent a month rebuilding it. I’m still using the Diezel VH4’s and Marshall JMP1’s which are modded by Trace [Davis] at Voodoo Amps. They go into ENGL power amps. Everything is MIDI-controlled with a loop station and various cool fuzzes I use for different things.</p> <p><strong>What can you tell me about <a href="http://www.meanclothing.com/">your MEAN clothing line?</a></strong></p> <p>That was an idea I started in 2004 when I was putting that “mean” sticker on my guitars. For me, “mean” is more than just being bad ass. It was a feeling I was going though at the time. It’s about aggressive passion. If you’re going to do something, mean it. That’s how it started and I carried that idea on to making shirts with my wife and turned it into <a href="http://www.meanclothing.com/">this online company</a> that’s expanding every day. It’s another expression of myself.</p> <p><strong>What excites you the most about the release of <em>Human</em> and this next stage of Three Days Grace?</strong></p> <p>I’m really looking forward to getting out there and playing. It’s such a rush. I never look at it as us four guys up there and everyone else out there. It’s all of us together having a blast in one big social. And now that we have this new record, I’m also looking forward to the new songs. Our favorite thing to do is play live.</p> <p><em>For more about Three Days Grace, visit <a href="http://human.threedaysgrace.com/">human.threedaysgrace.com.</a></em></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href="http://gojimmygo.net/">GoJimmyGo.net</a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="https://twitter.com/JimEWood">Twitter @JimEWood.</a></em></p> http://www.guitarworld.com/three-days-grace-guitarist-barry-stock-discusses-gear-and-new-album-human#comments Barry Stock James Wood Three Days Grace Interviews News Features Sun, 22 Mar 2015 15:18:36 +0000 James Wood http://www.guitarworld.com/article/23768 Pedal to the Metal: The 25 Greatest Wah Solos of All Time http://www.guitarworld.com/pedal-metal-25-greatest-wah-solos-all-time <!--paging_filter--><p>Since the guitar's inception, there have been countless talented players who could make the instrument sing, but it wasn't until the mid-Sixties and the arrival of the wah pedal that guitarists could make it cry.</p> <p>Perhaps because it entered the collective consciousness at the hands—or feet, rather—of guitar gods like Jimi Hendrix and Eric Clapton, the wah pedal has been a vital part of the rock and roll lexicon since it was introduced by Vox, finding favor with guitarists who wanted to bring a whole new level of expressive possibilities to their playing. </p> <p>More than any other effect pedal, the wah has played a key role in some of modern guitar's shining moments, from Slash's epic, ascending run in "Sweet Child O' Mine" to Eddie Hazel making wah synonymous with funk in the Seventies to Hendrix simply doing that voodoo that he did so well. </p> <p>In honor of its place in rock history, the <em>Guitar World</em> staff recently picked out the very best wah solo moments of all time, each a snapshot of a great guitarist letting his voice be heard through a truly rock and roll pedal. Of course, we considered the quality of the solo itself and the song's iconic status in the world of rock and roll.</p> <p><strong>25. "1969" — The Stooges (<em>The Stooges</em>, 1969)</strong><br /> <strong>Soloist:</strong> Ron Asheton </p> <p>Raw, visceral and distorted to the max, Ron Asheton's solo on this Stooges classic may not win any composition awards, but it was the perfect compliment to Iggy Pop's gutteral snarl.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/k0mRfECsHrc" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>24. "Walk Away" — James Gang (<em>Thirds</em>, 1971)</strong><br /> <strong>Soloist:</strong> Joe Walsh</p> <p>It comes in just at the end of the song, but Joe Walsh's solo spot on "Walk Away" is a bit of a late-in-the-game show-stealer. Since 2007, Walsh has had his very own <a href="http://www.guitarworld.com/say-wah-five-essential-signature-wah-pedals?page=0,3">signature wah</a> made by Real McCoy Custom.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ICmD8P0x8_M" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>23. "Cult of Personality" — Living Colour (<em>Vivid</em>, 1988)</strong><br /> <strong>Soloist:</strong> Vernon Reid</p> <p>"Cult of Personality" was the song that instantly made Vernon Reid a household name in the alt metal community, combining manic use of the wah with a stream-of-conscious flurry of notes straight from the mind of a true guitar junky. Even more impressive, Reid stated in a 1988 <a href="http://www.guitarworld.com/archive-living-colour-guitarist-vernon-reid-talks-vivid-1988-interview"><em>Guitar World</em> interview</a> that the solo was a first take.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/7xxgRUyzgs0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>22. "25 or 6 to 4" — Chicago (<em>Chicago</em>, 1970)</strong><br /> <strong>Soloist:</strong> Terry Kath</p> <p>On the second half of a lengthy guitar solo on this Chicago classic, Terry Kath introduces a distortion-drenched, wah-driven guitar line that melds incredibly well with the song's horn section. Fun fact: Kath was once referred to as "the best guitar player in the universe" by Jimi Hendrix.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/WLiuMkGCOC4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>21. "Maggot Brain" — Funkadelic (<em>Maggot Brain</em>, 1971)</strong><br /> <strong>Soloist:</strong> Eddie Hazel</p> <p>On the opposite end of the the spectrum from the ultra-tight, ultra-clean guitar sounds many listeners identify with funk is Eddie Hazel's tone on this 10-plus-minute track from Funkadelic, which features no vocals and serves primarily as a vehicle for Hazel to explore the deepest reaches of space in his wah-wah-powered mothership.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/a9MgoRIXEqc" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>20. "Stop" — Jane's Addiction (<em>Ritual de lo habitual</em>, 1990)</strong><br /> <strong>Soloist:</strong> Dave Navarro</p> <p>Written all the way back in 1986, it would take four years for this <em>Ritual de lo habitual</em> cut to be unleashed upon the music world as large, climbing to No. 1 on the <em>Billboard</em> Modern Rock Tracks behind the strength of a high-energy performance from vocalist Perry Farrell and a muscular, wah-driven lead from Dave Navarro.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/ZwI02OHtZTg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>19. "The Needle and the Spoon" — Lynyrd Skynyrd (<em>Second Helping</em>, 1974)</strong><br /> <strong>Soloist:</strong> Allen Collins</p> <p>A clear tip of the hat to Eric Clapton's solo from "White Room," Allen Collins pulls out the wah to blend Sixties psychedelia seamlessly into a bona-fide Southern-rock classic.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/bFPaxK-q5gI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>18. "If You Have to Ask" — Red Hot Chili Peppers (<em>Blood Sugar Sex Magik</em>, 1991)</strong><br /> <strong>Soloist:</strong> John Frusciante</p> <p>On this cut from 1991's mega-selling <em>Blood Sugar Sex Magik</em>, Chili Peppers guitarist John Frusciante turns in a sparse, stop-start wah solo fitting for the song's funk-rock minimalism. Fun fact: On the studio version, you can hear the band and production crew applauding Frusciante's guitar work as the song comes to an end.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/dii6bZT0V74" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>17. "Whole Lotta Love" — Led Zeppelin (<em>Led Zeppelin II</em>, 1969)</strong><br /> <strong>Soloist:</strong></p> <p>While much of the bizzare, alien soundscape in the middle section of "Whole Lotta Love" is directly attributable to Jimmy Page's groundbreaking use of backwards tape echo and Page and engineer Eddie Kramer "twiddling every knob known to man," the wah pedal does make an appearance, adding a valuable, extra dimension to Page's most otherworldly guitar work this side of the <em>Lucifer Rising</em> soundtrack.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Mln0RciE2o0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>16. "The Joker" — Steve Miller Band (<em>The Joker</em>, 1973)</strong><br /> <strong>Soloist:</strong> Steve Miller</p> <p>Perfect for all those midnight tokers out there, Steve Miller's laid-back lead work on "The Joker" doesn't go overboard on the wah, opting instead for the tasteful, restrained approach. Fun fact: This song shot back to the top of the charts in 1990, thanks to a popular ad for Levi's jeans.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/DzSC2__LXk4" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>15. "I Ain't Superstitious" — Jeff Beck Group (<em>Truth</em>, 1968)</strong><br /> <strong>Soloist:</strong> Jeff Beck</p> <p>On the debut album from the Jeff Beck Group, Beck uses this wah-laden take on a Howlin' Wolf tune to show off his mastery of the multitude of sounds one can coax out of a guitar. Somehow, he still continues to baffle us with this skill.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/mQFdHlxMhZ0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>14. "Blue on Black" — Kenny Wayne Shepherd (<em>Trouble Is ...</em>, 1997)</strong><br /> <strong>Soloist:</strong> Kenny Wayne Shepherd</p> <p>Kenny Wayne Shepherd burst into the mainstream consciousness with this cut off his 1997 album, <em>Trouble Is ...</em> Any questions over who he was hoping to channel are laid to rest with the inclusion of a cover of "Voodoo Child" as the single's B-side.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/V94pBlA4n7U" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>13. "Pain and Sorrow" — Joe Bonamassa (<em>So, It's Like That</em>, 2002</strong><br /> <strong>Soloist:</strong> Joe Bonamassa</p> <p>Another blues-rock revivalist, Joe Bonamassa lays out some fiery wah work on this deep cut from his sophomore album, <em>So, It's Like That</em>. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/tjEOxHrM-Xo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>12. "Blinded by the Light" — Manfred Mann's Earth Band (<em>The Roaring Silence</em>, 1976)</strong><br /> <strong>Soloist:</strong> Dave Flett</p> <p>This tune may have originally been written by Bruce Springsteen, but it didn't become a hit—and eventually a classic—until guitarist Dave Flett and the rest of Manfred Mann's Earth Band got a hold of it for 1976's <em>The Roaring Silence</em>. </p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/OlBifX0H3yg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>11. "Gets Me Through" — Ozzy Osbourne (<em>Down to Earth</em>, 2001)</strong><br /> <strong>Soloist:</strong> Zakk Wylde</p> <p>Split between powerful melodies and a heaping helping of shred, the solo from "Gets Me Through" sees Zakk Wylde take his Hendrix Cry Baby to the edge and back on this standout track from Ozzy's 2001 comeback record. </p> <p>Zakk would eventually merit his <a href="http://www.guitarworld.com/say-wah-five-essential-signature-wah-pedals">very own wah pedal, complete with the Fasel inductor that was responsible for some of the classic wah sounds of the Sixties.</a></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/sthHMnytQOs" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>10. "Surfing with the Alien" — Joe Satriani (<em>Surfing with the Alien</em>, 1987)</strong><br /> <strong>Soloist:</strong> Joe Satriani</p> <p>"Surfing with the Alien" sees Joe Satriani put the pedal to the metal in every conceivable sense, not the least of which is his stunning work with the wah pedal. </p> <p>Paired with a Tubedriver and a classic Eventide 949, the wah provides just enough control over his alien tone for Satch to weave his way in and out of an asteroid belt of notes.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/uoERl34Ld00" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. "Turn Up the Night" — Black Sabbath (<em>Mob Rules</em>, 1981)</strong><br /> <strong>Soloist:</strong> Tony Iommi</p> <p>It's a rare occasion when Tony Iommi brings out the wah, but on this <em>Mob Rules</em> cut, the Godfather of Heavy Metal uses it too great effect, upping the aggression level one step further on what may be his most furious studio solo.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/qeepyLDSqgA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. "Telephone Song" — Vaughan Brothers (<em>Family Style</em>, 1990)</strong><br /> <strong>Soloist:</strong> Stevie Ray Vaughan</p> <p>Were you expecting to see the long-winded instrumental "Say What!" from Vaughan's <em>Soul to Soul</em> album? Not a chance, not when this mini-masterpiece of a wah solo exists. </p> <p>Even without the wah, it's one of his best-constructed, catchiest solos. This track comes from SRV's first full album with his brother, Jimmie Vaughan—which, sadly, turned out to be his last record.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/CYgIQF6WgPU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. "Bad Horsie" — Steve Vai (<em>Alien Love Secrets</em>, 1995)</strong><br /> <strong>Soloist:</strong> Steve Vai</p> <p>Like Hendrix before him, Steve Vai wanted to take the wah pedal to its limits, and he accomplished just that on his 1995 EP, <em>Alien Love Secrets</em>. </p> <p>And in all due fairness to the remaining songs on the list, "Bad Horsie" remains the only track in this whole feature to have its own wah <a href="http://www.guitarworld.com/say-wah-five-essential-signature-wah-pedals?page=0,2">named after it</a>. </p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/BJfhFZ684SU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. "Even Flow" — Pearl Jam (<em>Ten</em>, 1991)</strong><br /> <strong>Soloist:</strong> Mike McCready</p> <p>"That's me pretending to be Stevie Ray Vaughan," Pearl Jam guitarist Mike McCready told <em>Guitar World</em> of his classic solo from "Even Flow" back in 1995. </p> <p>A fitting tribute to the late SRV, the solo saw McCready break out the wah and churn out perhaps the most iconic solo of the grunge era.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/tkbgtVFlyCQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>05. "A New Level" — Pantera (<em>Vulgar Display of Power</em>, 1992)</strong><br /> <strong>Soloist:</strong> Dimebag Darrell</p> <p>Dimebag Darrell is among those guitarists that utilized the wah pedal more subtly, using it as a tone control in most cases. This isn't one of those cases. </p> <p>Darrell's use of the wah on his "A New Level" solo is as surgically precise as one comes to expect from the master craftsman, lending an all new connotation to the phrase, "on a Dime."</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/77f8u7puTFc" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. "Enter Sandman" — Metallica (<em>Metallica</em>, 1991)</strong><br /> <strong>Soloist:</strong> Kirk Hammett</p> <p>We're going to let Kirk take this one: "There's something about a wah pedal that really gets my gut going! </p> <p>People will probably say, 'He's just hiding behind the wah.' But that isn't the case. It's just that those frequencies really bring out a lot of aggression in my approach." (Read the full 1991 interview with James and Kirk <a href="http://www.guitarworld.com/metallicas-james-hetfield-and-kirk-hammett-talk-guitar-solos-and-gear-1991-guitar-world-interview">here</a>)</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/CD-E-LDc384" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. "Sweet Child O' Mine" — Guns N' Roses (<em>Appetite for Destruction</em>, 1987)</strong><br /> <strong>Soloist:</strong> Slash</p> <p>Known to break out the wah and fiddle around with "Voodoo Child (Slight Return)" as a live lead-in for "Civil War," Slash forged his own piece of rock and roll history with his unforgettable ascending run into one of the shining moments in Eighties guitar rock. </p> <p>Bookended by the feral yowl of frontman Axl Rose, Slash makes this would-be ballad anything but with a fierce lead made possible by a stock Cry Baby wah.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/1w7OgIMMRc4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. "White Room" — Cream (<em>Wheels of Fire</em>, 1968)</strong><br /> <strong>Soloist:</strong> Eric Clapton</p> <p>A masterful performance on "Tales of Brave Ulysses aside," with "White Room," Eric Clapton virtually wrote the book on how the wah pedal would be used in the context of rock guitar for decades to come. </p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/pkae0-TgrRU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. "Voodoo Child (Slight Return)" — The Jimi Hendrix Experience (<em>Electric Ladyland</em>, 1968)</strong><br /> <strong>Soloist:</strong> Jimi Hendrix</p> <p>The go-to song of any guitarist trying out a new wah pedal at Guitar Center, "Voodoo Child (Slight Return)" stands as a mammoth moment in rock history, setting a mark that has yet to be breached by any ambitious guitarist with a Cry Baby and a dream. </p> <p>Of the song's recording, engineer Eddie Kramer recalls that the track "was recorded the day after Jimi tracked 'Voodoo Chile,' the extended jam on <em>Electric Ladyland</em> featuring Traffic’s Stevie Winwood on organ and Jefferson Airplane bassist Jack Casady. </p> <p>Basically, Jimi used the same setup — his Strat through a nice, warm Fender Bassman amp. Jimi’s sound on both tracks is remarkably consistent, leading some to think they were recorded at the same session.” Stevie Ray Vaughan's version is no slouch either, by the way. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/6OTvz1lJzmI" 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="/jimi-hendrix">Jimi Hendrix</a> </div> <div class="field-item even"> <a href="/eric-clapton">Eric Clapton</a> </div> <div class="field-item odd"> <a href="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> <div class="field-item even"> <a href="/jeff-beck">Jeff Beck</a> </div> <div class="field-item odd"> <a href="/steve-vai">Steve Vai</a> </div> <div class="field-item even"> <a href="/joe-satriani">Joe Satriani</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/pedal-metal-25-greatest-wah-solos-all-time#comments Cream Eric Clapton Guns N' Roses Jimi Hendrix Metallica Slash Stevie Ray Vaughan Guitar World Lists News Features Fri, 20 Mar 2015 14:30:40 +0000 Guitar World Staff, Intro by Josh Hart http://www.guitarworld.com/article/16934 Eight Steps to Becoming a Legendary Hair Metal Guitarist http://www.guitarworld.com/eight-steps-becoming-legendary-hair-metal-guitarist <!--paging_filter--><p>From fashion trends to movie remakes, the Eighties are back with a vengeance. </p> <p>But are neon-colored Wayfarers and tiger-print bikinis enough to bring back the decade’s most recognizable musical period? It’s unclear at this point, but as the Boy Scouts say, let’s “be prepared.”</p> <p>It’s impossible to think about Eighties rock without vibrant visuals of half-naked dudes prancing around stage wearing more makeup and hair product than a horde of groupies. Even though the period broke almost every unwritten rule of rock and roll, it became one of its most successful sub-genres. </p> <p>So, what if this current Eighties revival is stronger than we realize and hair metal rises from the ashes like a Spandex and lace-clad phoenix? </p> <p>You’ll have to jump on the bandwagon and tap/palm mute your way to a record deal. However, being a hair metal guitarist is much deeper than just executing signature techniques. How you look and act is just as important as how you sound. </p> <p>Below are eight specific rules you’ll need to employ to become the leader of a full-fledged hair metal resurgence. </p> <p><strong>01. Smile the Entire Time You’re On Stage or Camera</strong></p> <p>One of glam or hair metal's original the genre’s first nicknames was "teeth metal" because band members smiled so much on stage. This style of rock was all about playing upbeat songs that focused on girls, cars and, well, being happy. There’s no way you can’t smile if you’re basically the Tony Robbins of rock music. </p> <p>Performing a song about the best night of your life with a death stare and clenched jaw kills your credibility. Plus, a badass, I’ll-break-your-face-if-you-even-look-me-in-the-eye persona is impossible to pull off while wearing makeup and lace gloves.</p> <p>Exception: Don’t smile when performing a ballad. Shed a minimum of three tears instead. </p> <p><strong>02. Guitars Must Have Custom Graphics</strong></p> <p>By the mid-Eighties, if your guitar didn’t display geometric art that utilized every color in the rainbow, you wouldn’t even be allowed to step on the stage of a high school talent show. However, don’t worry if you lack fine-art skills. You can cheat the rule by blinding fans with sparkly neon or color-shifting chameleon finishes. </p> <p><img src="/files/imce-images/JH.01.01.jpg" width="620" height="517" alt="JH.01.01.jpg" /></p> <hr /> <p><strong>03. Play a "Super Strat"</strong></p> <p>Almost every hair metal guitarist played a "Super Strat" (with the exception of the custom Flying-V) for three reasons: Eddie did it, it offered easy access to the whammy bar and it was extremely light-weight. </p> <p>You may ask, “What the hell did guitar weight have to do with hair metal?” </p> <p>Everything. Watch an old video or concert footage and you’ll notice the lead guitarist running, jumping, sliding, dancing, crawling, spinning and skipping on stage like a maniac that just swallowed 59 caffeine pills. A heavy axe limits aerodynamics and throws off counterbalance. </p> <p><strong>04. Hate Your Lead Singer</strong></p> <p>No explanation needed. </p> <p><img src="/files/imce-images/JH.01.02.jpg" width="620" height="517" alt="JH.01.02.jpg" /></p> <hr /> <p><strong>05. Incorporate the Following Techniques Into Every Song:</strong></p> <p><strong>Transitional Dive Bomb</strong>: Instantly executed after the song’s first solo or transition to the chorus, '80s guitarists were dropping it like it was hot long before Snoop Dog. Although Jimi Hendrix pioneered the technique in the late ‘60s, hair metal popularized dive bombs, instituting a standard presence in almost every recording from the era.</p> <p><strong>Pinch Harmonics</strong>: Pinch harmonics didn’t originate with hair metal but were widely commercialized by the genre. The goal was simple: Create the loudest, highest, most ear-splitting note imaginable. Shortly after they gained popularity, guitarists began combining them with dive bombs to produce an even crazier sequel that resembled a thoroughbred that just inhaled a 10,000-gallon helium tank.</p> <p><strong>High-String Palm Muting</strong>: From “Panama” to “Round and Round,” high-string palm muting is one of hair metal’s most recognizable methods. Muting the G, B and E strings during the bridge gave songs a different kind of sound and complemented the lead singer’s high-pitched voice. </p> <p><strong>Tapping</strong>: Listen to any song from the period and you’ll hear a raging fury of two-handed hammer-ons and pull-offs. Remember, one goal of a hair metal guitarist was to play as many notes per minute as possible. Tapping is an easy way to crank up a solo’s NPMs while looking innovative on stage. </p> <p><img src="/files/imce-images/JH.01.04.jpg" width="620" height="517" alt="JH.01.04.jpg" /></p> <hr /> <p><strong>06. Learn How to Play the Synth</strong> </p> <p>I know, this is a guide to becoming an Eighties guitarist. The funny thing is, most songs from the genre contain light synth work. If your song must have a keyboard hook, you want to be the guy playing it. It’s called taking one for the team. </p> <p>I know you’d rather be shredding a hole in your fretboard, but if you don’t tickle the acrylic keys, your lead singer will step up to the challenge. The last thing everyone needs is to add more self-entitlement to his “I am this band” ego. </p> <p><strong>07. All Headstocks Must Look Like Deadly Weapons</strong></p> <p>Some say Eighties headstocks were used to scare off stalkers in the crowd. Others say they were meant to remind the lead singer to sleep with one eye open. A few even allege they made it easy to quickly chop up lines in the dressing room. Regardless of the actual reason, to be a true hair metal guitarist, you’ll need to use razor-sharp headstocks that are strong enough to cut through flesh. </p> <p><img src="/files/imce-images/JH.01.03.jpg" width="620" height="517" alt="JH.01.03.jpg" /></p> <hr /> <p><strong>08. During Music Videos, Point at the Camera Before Executing a Trick</strong></p> <p>A power slide into a ground-level camera and a simple jump off the drum platform were mandatory scenes in every music video.</p> <p>Back then, superb guitar playing wasn’t good enough; guitarists needed to “wow” their fans by performing a stunt during the solo. </p> <p>To give a “This is slightly dangerous, but I’m going to do it anyway to blow your mind” heads-up to viewers, guitarists always pointed to the camera before executing a low-risk trick. However, a pre-point is not needed if you prefer a post-stunt wink instead. </p> <p><img src="/files/imce-images/JH.01.05.jpg" width="620" height="517" alt="JH.01.05.jpg" /></p> <p><em>Illustrations: Jordan Hart</em></p> <p><em>Jordan Hart is the author and illustrator of <a href="http://www.amazon.com/Steel-Rainbow-Legendary-Underground-Becoming/dp/0762780738/ref=sr_1_1?ie=UTF8&amp;qid=1343743287&amp;sr=8-1&amp;keywords=steel+rainbow">Steel Rainbow: The Legendary Underground Guide to becoming an ‘80s Rock Star</a> (Lyons Press). His spare time is spent collecting albums, designing concert posters, playing the drums excessively loud, split kicking off any elevated surface and shredding on one of his way-too-many guitars. You can follow him on <a href="https://twitter.com/jordan_hart">Twitter @Jordan_Hart</a>.</em></p> http://www.guitarworld.com/eight-steps-becoming-legendary-hair-metal-guitarist#comments Jordan Hart Steel Rainbow Blogs Features Fri, 20 Mar 2015 12:21:22 +0000 Jordan Hart http://www.guitarworld.com/article/16418