Damian Fanelli http://www.guitarworld.com/taxonomy/term/651/all en Zero to Sixties in Five Pedals: Five Modern Effects that Conjure Far-Out, Vintage Tones http://www.guitarworld.com/zero-60s-five-pedals-five-modern-effects-conjure-far-out-vintage-tones <!--paging_filter--><p>Many guitar players—at some point—can't help but fall under the spell of the sounds found on classic rock albums of the mid- to late Sixties. </p> <p>Players like Jimi Hendrix, Eric Clapton, Jeff Beck, Jimmy Page, Pete Townshend and Robby Krieger were synonymous with wah, fuzz, univibe and/or tremolo. Throw George Harrison and Brian Jones into the mix and you get sitars and other sound- (and mind-) altering effects. They were always experimenting, changing things up, trying to outdo each other. </p> <p>Modern players who are obsessed with classic Sixties rock sounds can glue their eyes to eBay, waiting for pricey, hard-to-find vintage gear to show up. Or they can check out these five easy-to-find, modern effect pedals, as chosen by a group of <em>Guitar World</em> staffers including Gear Editor Paul Riario. </p> <p><strong>Vox V846-HW Hand-Wired Wah Wah</strong></p> <p>Stop, children, what's that sound? ... Well, if we're talking about the Sixties (and we are), it's probably Jimi Hendrix playing "Voodoo Child (Slight Return)" on a Fender Strat through a Vox V846 Wah Wah pedal.</p> <p>Vox actually created the first wah pedal in the Sixties, spawning an army of imitators that continues to grow, NAMM Show after NAMM Show. Back in the day, the Vox wah and its competitors found their way into the hands—or in this case, the feet—of countless top-notch rock guitarists, from Hendrix to Jeff Beck to Jimmy Page to Eric Clapton. But again, Vox was there first. </p> <p>Just a few years ago (2011), the company issued its V846-HW Hand-Wired Wah Wah Pedal, which does a fine job of capturing the tone, feel and weight of the original Vox pedal. Every component in the new model—inductors, resistors, capacitors and the potentiometer—is carefully selected. And like its name suggests, each unit features hand-wired turret board construction with no printed circuit boards. The only difference is a true bypass, a handy update for modern players. </p> <p><strong><a href="http://www.voxamps.com/v846hw">Check out this pedal at voxamps.com.</a></strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/V8dx4oS9FVI" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Dunlop Jimi Hendrix Fuzz Face Distortion</strong></p> <p>The Sixties may have started out clean, but by the end of the decade there were some pretty gnarly distortion and fuzz sounds filling clubs and arenas around the world. </p> <p>Among the most distinctive fuzz tones of the late Sixties undoubtedly belonged to Jimi Hendrix, who utilized a Dallas Arbiter Fuzz Face to add that extra layer of dirt to his already gritty brand of hard blues. Unless you're quick on the draw with your eBay bids or simply owned one back in the day, you won't have much luck finding Hendrix's original fuzz source these days, but fortunately Dunlop has produced a faithful replica in the Dunlop Jimi Hendrix Fuzz Face.</p> <p>Hand-wired and built around a BC108 silicon transistor, the Hendrix Fuzz Face is nothing less than a meticulous reproduction of the original pedal, one you'll need if you'll want to summon your inner-voodoo child.</p> <p>And if a Tone Bender is more your thing, check out the <a href="http://www.williamsaudio.co.uk/Tonebender-MK11-Professional.html">OC81D Williams Vintage Tone MK11 Professional</a>, as used by Ben King, a former Yardbirds guitarist. </p> <p><strong><a href="http://www.jimdunlop.com/product/jhf1-jimi-hendrix-fuzz-face">Check out this pedal at jimdunlop.com.</a></strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/18bBbNeMyhA" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Electro-Harmonix Ravish Sitar</strong></p> <p>You're in a Sixties cover band. The rowdy, drunken audience is clamoring for your "Paint It, Black" / "Norwegian Wood" medley. Do you just play the sitar parts on your Fender Esquire and smile knowingly, like, "Yeah, I know these notes were originally played on a sitar, but what the hell am I supposed to do?" Well, yes, you could do that. But you also could check out Electro-Harmonix's Ravish Sitar pedal. </p> <p>As we say in a recent <a href="http://store.guitarworld.com/collections/buyers-guide/products/buyers-guide-2013/?&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=60sPedals">Guitar World Buyer's Guide</a>, it's the "world's best sitar emulation for guitar. With the Ravish Sitar pedal, Electro-Harmonix has streamlined the essence of the sitar into a compact enclosure that offers a polyphonic lead voice a tunable sympathetic string drones that dramatically react to your playing with adjustable timbre."</p> <p>And besides all that, guitarists can finally tackle "Bangla Dhun," Ravi Shankar's 15-minute Indian-music recital that kicks off <em>The Concert for Bangladhesh</em>. Or not! </p> <p><strong><a href="http://www.ehx.com/products/ravish">Check out this pedal at exh.com.</a></strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/4GZGDYJ77xA" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Dry Bell Vibe Machine V-1</strong></p> <p>You'll find vibe effects all over the music of Jimi Hendrix and Procol Harem's Robin Trower, a fact that, in and of itself, makes a good vibe pedal an essential part of any Sixties guitar rig. </p> <p>There's no shortage of great vibe units to choose from, but for our money, the Dry Bell Vibe Machine is the top of the heap. Not only is it among the more compact options, it allows for maximum tone control with its "Bright" switch, avoiding the sound-dampening side effects of some of the other pedals on the market.</p> <p>If you want to nail that Hendrix-at-Woodstock tone, adding this little beauty in your arsenal certainly can't hurt. What it can't help? Your nerves playing "The Star-Spangled Banner" in front of a few hundred-thousand fans.</p> <p><strong><a href="http://www.drybell.com/vibe_machine_v1_en.html">Check out this pedal at drybell.com.</a></strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/YeMgNpS1EmM" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Fulltone Supa-Trem 1</strong></p> <p>As <em>Guitar World</em> has said in past reviews, Fulltone's Supa-Trem 1 is a tremolo pedal that lives up to its name. As you can tell by the photo in the gallery below, it's a simple, basic, gimmick-free effect that inadvertently captures the look of Sixties pedals while working hard to capture the sound. </p> <p>From personal experience, it's also a rugged pedal that can take a licking and keep on waving. It features a footswitchable Half/Full speed footswitch that stays in tempo and lets you channel some authentic-sounding Leslie-like moves. Another footswitch lets you choose between "Soft" smooth wavering or "Hard" square-wave machine-gun stutter. There's also an internal trimmer to fine tune the feel of the waveform.</p> <p>As a side note, Sixties rocker John Fogerty uses one of these pedals today to recreate his powerful CCR-era tremolo effects.</p> <p><strong><a href="http://www.fulltone.com/products/supa-trem-1">Check out this pedal at fulltone.com</a>.</strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/o7wfrMUXywo" 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="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/george-harrison">George Harrison</a> </div> <div class="field-item odd"> <a href="/jeff-beck">Jeff Beck</a> </div> <div class="field-item even"> <a href="/cream">Cream</a> </div> <div class="field-item odd"> <a href="/jimmy-page">Jimmy Page</a> </div> <div class="field-item even"> <a href="/robby-krieger">Robby Krieger</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/zero-60s-five-pedals-five-modern-effects-conjure-far-out-vintage-tones#comments Damian Fanelli Dry Bell Dunlop EHX Electro-Harmonix Fulltone George Harrison Jimi Hendrix VOX Guitar World Lists Effects News Features Gear Mon, 29 Jun 2015 12:16:27 +0000 Damian Fanelli, Josh Hart 16374 at http://www.guitarworld.com Chris Squire, Founding Yes Bassist, Dead at 67 http://www.guitarworld.com/chris-squire-founding-yes-bassist-dead-67 <!--paging_filter--><p>Bassist and vocalist Chris Squire, a founding member of <a href="http://www.yesworld.com/">prog-rock legends Yes,</a> died today, June 28, at age 67 after a brief battle with <a href="https://en.wikipedia.org/wiki/Acute_erythroid_leukemia">Acute Erythroid Leukemia (AEL),</a> an uncommon form of Acute Myeloid Leukemia (AML).</p> <p>The U.K.-born Squire had been receiving treatment in <a href="http://www.phoenixchamber.com/">Phoenix,</a> where he lived, since being diagnosed with the disease only last month.</p> <p>Geoff Downes, Squire's bandmate in Yes, posted the news <a href="https://twitter.com/asiageoff">via his Twitter account:</a></p> <p>"Utterly devastated beyond words to have to report the sad news of the passing of my dear friend, bandmate and inspiration Chris Squire."</p> <p>Squire, who had been a member of every configuration of Yes throughout the band's 47-year history, was recently replaced in the band's touring lineup by Billy Sherwood, a former member of the band (1997 to 2000).</p> <p>"This will be the first time since the band formed in 1968 that Yes will have performed live without me," <a href="http://www.guitaraficionado.com/yes-bassist-chris-squire-to-undergo-treatment-for-leukemia.html">Squire said in May.</a> "But the other guys and myself have agreed that Billy Sherwood will do an excellent job of covering my parts, and the show as a whole will deliver the same Yes experience that our fans have come to expect over the years."</p> <p>Squire was widely regarded as the dominant bass guitarist among the early Seventies British prog-rock bands, influencing peers and future generations of bassists with his biting sound and ultra-melodic bass lines. He often has been associated his trademark <a href="http://www.rickbeat.com/modelslibrary/4001spmc/4001spmc.htm">Rickenbacker 4001s</a> bass. (Note: Squire's trademark Rickenbacker bass was actually an RM1999, which he purchased in the U.K. in 1964. It's considered the Rose Morris version of the U.S. 4001s model.) His most beloved Yes bass lines include "Roundabout" (check out his isolated "Roundabout" bass line below), "Owner of a Lonely Heart," "Long Distance Runaround" and "The Fish."</p> <p>Besides his many years with Yes, Squire released a solo album, <em>Fish Out of Water,</em> in 1975 (his nickname was "Fish") and formed <a href="http://www.guitarworld.com/interview-former-genesis-guitarist-steve-hackett-talks-gear-tapping-and-squacketts-debut-album-life-within-day">Squackett with guitarist Steve Hackett in recent years.</a></p> <p>Squire was born in <a href="http://www.picturesofengland.com/England/Warwickshire/Kingsbury">Kingsbury,</a> a suburb of north west London, March 4, 1948. He was trained in the St. Andrew's church choir as a child, beginning his musical career with a group called the Selfs. After joining a string of other bands, including the Syn, <a href="http://www.guitarplayer.com/artists/1026/10-things-you-gotta-do-to-play-like-steve-howe/12843">Squire formed Yes with vocalist Jon Anderson, drummer Bill Bruford</a>, keyboardist Tony Kaye and <a href="http://www.guitarworld.com/original-yes-guitarist-peter-banks-dead-65">guitarist Peter Banks</a> in 1968.</p> <p><img src="/files/imce-images/downes400.jpg" width="400" height="166" align="left" style="padding:10px 20px 10px 0;" alt="downes400.jpg" /></p> <p>"I couldn't get session work because most musicians hated my style," he said. "They wanted me to play something a lot more basic. We started Yes as a vehicle to develop everyone's individual styles."</p> <p>Yes released their first album, <em>Yes,</em> in 1969, and their latest, <em>Heaven &amp; Earth,</em> in 2014. Throughout the band's many mutations and configurations, Squire's singing (backing vocals), bass playing and song writing remained welcome constants.</p> <p>The last time I spoke with Squire, in 2011, we discussed his distinctive bass sound and the evolution of Yes over the decades. What follows is a portion of <a href="http://www.guitarworld.com/interview-chris-squire-yes-discusses-fly-here-band-s-first-album-10-years?page=0,1">that interview:</a></p> <p><strong>I’d say you and Paul McCartney were among the biggest Rickenbacker representatives.</strong></p> <p>Yes. Of course, Paul McCartney’s sound is different from mine, but it’s the way you hear things, really. Paul’s Hofner bass playing doesn’t sound that different than his Rickenbacker bass playing. It’s more the player than the instrument, I think—or the way the player wants to hear things.</p> <p><strong>Speaking of your bass sound, I think when most people think of “the Chris Squire sound,” they picture your distinctive sound on “Roundabout.”</strong></p> <p>Yeah, it’s like the “Chris Squire quintessential.”</p> <p><strong>Would you say your bass sound has changed much over the years?</strong></p> <p>Well, no. I still basically use the same kind of tone settings. I’m still using the 100-watt Marshall amp I’ve had since the mid-Sixties. It still works, but of course, it has been through periods of needing work; it’s been broken down, had repairs. And nothing ever gets replaced with the same components because they’re not available all the time because they’re extinct now.</p> <p>So in small increments, the sound has changed. I’ve had to replace parts in the basses when they’ve gotten old or worn out, so everything isn’t absolutely original. But where I could, I try and find a guitar from the same vintage and raid it for parts, which I have done with a couple of other basses from the same time.</p> <p><strong>With so many versions of the band throughout the years, is there one that stands out as the strongest or most rocking?</strong></p> <p>The thing is, every era of Yes has had something to say. It’s distinctly different—<a href="http://www.guitarplayer.com/artists/1013/steve-howes-10-greatest-yes-solos--video/51688">the Steve Howe guitar style</a> and, of course, when Trevor Rabin was in the band in the Eighties going into the Nineties. He definitely was a different style of guitar player. So that sort of changed the band quite a bit in some ways, but there’s me and Alan White who are still playing, so yeah, things have moved around in the Yes sound picture, but basically, things have stayed the same as well. So I can’t really say which version is the more kickass because every version has come up with something good. </p> <p><strong><a href="http://www.guitarworld.com/interview-chris-squire-yes-discusses-fly-here-band-s-first-album-10-years?page=0,1">You can find the rest of this interview right here.</a></strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/GWIEZQ63NhI" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/GRjAgl1dQBk" frameborder="0" allowfullscreen></iframe></p> <p><em><a href="https://soundcloud.com/damian-fanelli/mister-neutron-super-1">Damian Fanelli</a> is the online managing editor at </em>Guitar World<em> and </em><a href="http://www.guitaraficionado.com/">Guitar Aficionado</a><em>. His New York-based band, <a href="https://soundcloud.com/damian-fanelli/the-blue-meanies-heart-full-of">the Blue Meanies,</a> has toured the world and elsewhere. Fanelli, a former member of Brooklyn jump-blues/rockabilly band <a href="http://www.thegashousegorillas.com/">the Gas House Gorillas</a> and New York City surf-rock band <a href="http://www.cdbaby.com/Artist/MisterNeutron">Mister Neutron,</a> writes GuitarWorld.com's <a href="http://www.guitarworld.com/next-bend-clarence-white-inspired-country-b-bender-lick-video">The Next Bend,</a> a column dedicated to <a href="http://www.guitarworld.com/next-bend-10-essential-b-bender-guitar-songs-damian-fanelli">B-benders.</a> Follow him on <a href="https://www.facebook.com/damianfanelliguitar">Facebook,</a> <a href="https://twitter.com/damianfanelli">Twitter</a> and/or <a href="https://instagram.com/damian_fanelli/">Instagram.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/yes">Yes</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/chris-squire-founding-yes-bassist-dead-67#comments bass Chris Squire Damian Fanelli Isolated Rickenbacker Roundabout Squackett Yes Videos Interviews News Sun, 28 Jun 2015 15:50:09 +0000 Damian Fanelli 24835 at http://www.guitarworld.com Jeff Beck's Top 10 Studio Guest Appearances http://www.guitarworld.com/top-10-studio-guest-appearances-jeff-beck <!--paging_filter--><p>When a legendary guitarist is invited to play on a recording session, he or she is expected to make a noticeable impact on the song or album being recorded. </p> <p>Bearing that in mind, Jeff Beck—as a session guitarist—has pretty much never disappointed. </p> <p>Here are his top 10 guest-session appearances.<br /> <br /><br /> <strong>10. The Pretenders, “Legalize Me"<br /> <em>Viva El Amor</em> (1999)</strong></p> <p>At first, one wonders if Beck is even playing on this song—until just around the 2:14 mark, when he boldly announces his presence with one of his freakish trademark whammy-bar moves—and it only gets better from there.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/f46nhp5p-bQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. Toots &amp; The Maytals, “54-46 Was My Number”<br /> <em>True Love</em> (2004)</strong></p> <p>This is from a Toots album that’s packed with guest appearances by big-name guitarists, including Eric Clapton, Trey Anastasio, Bonnie Raitt and Keith Richards. But Beck stands out in a crowd, delivering a cool, weird solo that almost makes it sound like his part was tracked backwards in the mix (It wasn't). </p> <p>It’s also a nice change of pace to hear him in a reggae setting. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/0sy6lzt2xU8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. Paul Rodgers, “I Just Want to Make Love to You”<br /> <em>Muddy Water Blues: A Tribute to Muddy Waters</em> (1993)</strong></p> <p>Beck’s evil tone on the intro riff alone is enough to earn this tune a spot on this list. It also represents the only slide guitar to be found among these choices. </p> <p>Beck appears on three songs on this Muddy Waters tribute album by the Bad Company and Free frontman. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/yhPnsWZRF0k" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. Paul Jones, “The Dog Presides”<br /> <em>Insane Times</em> (1968)</strong></p> <p>Here’s the Jeff Beck Group-era Beck sounding very much like his former Yardbird self on this song’s opening riff, fills and solo. The recording even features another former Yardbird, Paul Samwell-Smith, on bass. </p> <p>That’s Paul McCartney on drums, by the way. No one seems to remember the barking dog’s name. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/IO4Xn0S5MGE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. Nerada Michael Walden, “Saint and the Rascal”<br /> <em>Garden of Love Light</em> (1976)</strong></p> <p>This catchy, funky instrumental with a strong hook can almost be considered an outtake from <em>Wired,</em> Beck’s classic 1976 album. </p> <p>After all, Nerada Michael Walden played drums on <em>Wired</em> and wrote four songs on the album, including “Play With Me.” Beck returned the favor by playing with Walden. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/aU0L6BmxyrI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>05. Jimmy Copley, “Everyday I Have the Blues”<br /> <em>Slap My Hand</em> (2008)</strong></p> <p>For people who've survived listening to Beck’s over-produced <em>Flash</em> album (1986), it’s a real treat to hear him play with such a small, stripped-down band; in fact, all you really hear are the drums (Copley is a British drummer with impressive credentials) and Beck’s chunky-sounding Strat. </p> <p>And that’s fine, because you get to hear him turn a simple three-chord blues shuffle into a showcase for his whammy-bar hijinks and out-of-left-field bits and pieces.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/8lE1LrsPszE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. Rod Stewart, "Infatuation"<br /> <em>Camouflage</em> (1984)</strong></p> <p>Maybe this one will whet your appetite for the album Jeff Beck and Rod Stewart have been working on together in recent months.</p> <p>Regardless, listen to how Beck contributes something special and unique to what could’ve been just another catchy mid-1980s pop hit. Beck also appears in the video—as does actor <a href="http://en.wikipedia.org/wiki/Mike_Mazurki">Mike Mazurki</a>, who can be spotted in the films <em>Some Like It Hot</em> and <em>It’s a Mad, Mad, Mad, Mad World</em> (my all-time favorite movie). </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/CxcRczzbz9o" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. John McLaughlin, “Django”<br /> <em>The Promise</em> (1995)</strong></p> <p>Simply put, this one gives you twice the bang for your buck: You get Jeff Beck trading off with John McLaughlin on a seven-plus-minute rendition of John Lewis’ “Django,” a musical elegy for guitarist Django Rheinhardt. </p> <p>Beck starts things off with the basic melody, and things pretty much get more and more interesting as the song moves forward. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/uWnt3yJ9ZhA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. Stanley Clarke, “Hello Jeff”<br /> <em>Journey to Love</em> (1975)</strong></p> <p>When the star of the show—in this case, bassist Stanley Clarke—actually incorporates his session guitarist’s name into the title of the track he played on, you can expect some memorable fretwork. Such is the case on this mid-Seventies instrumental gem, which features impressive playing by everyone involved, including the brilliant Clarke. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/qUW5pS6JLvo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. Roger Waters, “What God Wants, Pt. 3”<br /> <em>Amused to Death</em> (1992)</strong></p> <p>Roger Waters is singing about vultures, bullets and soldiers, when, all of a sudden, a Strat bursts into the mix just before the two-minute mark, playing a powerful, emotional solo. </p> <p>Is it an outtake from Pink Floyd's <em>The Wall</em>? Nope; it’s one of a handful of Beck-enriched songs from Waters’ 1992 <em>Amused to Death</em> album. </p> <p>Check out Beck’s solo, and how he uses every inch of real estate Waters gives him. If nothing else, the song answers the rarely asked question, “What would Pink Floyd have sounded like if Jeff Beck were in the band?”</p> <p>By the way, Columbia Records/Legacy Recordings will release a remastered version of <em>Amused to Death</em> July 24. “I’m remembering the record from [over] 20 years ago, that most of what I had to say then sadly still pertains today and is maybe even more relevant to our predicament as people in 2015 even than it was in 1992,” Waters said this spring.</p> <p>The 2015 editions of the album feature a new 5.1 surround remix on high-definition Blu-ray audio and a remastered stereo mix completed by longtime Waters/Pink Floyd collaborator and co-producer James Guthrie. The cover and gatefold art has been updated for 2015 by Sean Evans, the creative director of Waters’ 2010-2013 “The Wall Live” tour and movie. We'll keep you updated on this release!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/nkXuLu4STLI" frameborder="0" allowfullscreen></iframe></p> <p><em><a href="https://soundcloud.com/damian-fanelli/mister-neutron-super-1">Damian Fanelli</a> is the online managing editor at </em>Guitar World<em> and </em><a href="http://www.guitaraficionado.com/">Guitar Aficionado</a><em>. His New York-based band, <a href="https://soundcloud.com/damian-fanelli/the-blue-meanies-heart-full-of">the Blue Meanies,</a> has toured the world and elsewhere. Fanelli, a former member of Brooklyn jump-blues/rockabilly band <a href="http://www.thegashousegorillas.com/">the Gas House Gorillas</a> and New York City surf-rock band <a href="http://www.cdbaby.com/Artist/MisterNeutron">Mister Neutron,</a> writes GuitarWorld.com's <a href="http://www.guitarworld.com/next-bend-clarence-white-inspired-country-b-bender-lick-video">The Next Bend,</a> a column dedicated to <a href="http://www.guitarworld.com/next-bend-10-essential-b-bender-guitar-songs-damian-fanelli">B-benders.</a> Follow him on <a href="https://www.facebook.com/damianfanelliguitar">Facebook,</a> <a href="https://twitter.com/damianfanelli">Twitter</a> and/or <a href="https://instagram.com/damian_fanelli/">Instagram.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/jeff-beck">Jeff Beck</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/top-10-studio-guest-appearances-jeff-beck#comments Damian Fanelli Jeff Beck Roger Waters Stanley Clarke The Yardbirds Yardbirds Guitar World Lists News Features Wed, 24 Jun 2015 12:16:20 +0000 Damian Fanelli 11197 at http://www.guitarworld.com Paul McCartney's Top Six Guitar Solos with The Beatles http://www.guitarworld.com/top-five-beatles-guitar-solos-paul-mccartney <!--paging_filter--><p>As a musician, Paul McCartney is probably best known for his creative, melodic Beatles and Wings bass lines. But he's always been a guitarist at heart. </p> <p>The guitar was, after all, his first instrument (if you ignore the trumpet his father gave him for his 14th birthday), and it's always been his main songwriting tool.</p> <p>And while George Harrison played the bulk of the Fab Four's lead guitar parts (especially in the band's early years), McCartney occasionally—and understandably—claimed the lead-guitar spotlight, as did rhythm guitarist John Lennon (<a href="http://www.guitarworld.com/video-eric-claptons-isolated-guitar-track-beatles-while-my-guitar-gently-weeps">and Cream's Eric Clapton, on one famous occasion</a>). </p> <p>On that note, here are McCartney's top six (yes, six) electric guitar solos as a member of the Beatles. Enjoy!</p> <p>06. <strong>"Back in the USSR," <em>The Beatles</em>, aka the White Album (1968)</strong></p> <p>By the White Album era, the days of the Beatles sticking to their traditional roles were very much over. In this case, McCartney wrote the song, sang it and played drums on it. Why not play lead guitar, too? </p> <p>The solo, which follows the melody line, is simple but effective—and don't forget his fine, fast, alternate picking during the last verse. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/kHD5nd3QLTg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 05. <strong>"Another Girl," <em>Help!</em> (1965)</strong></p> <p>This "solo" is more of a collection of creative, bouncy fills and bends by McCartney—more than enough to make it obvious that he started out as a guitarist. </p> <p>Check out this scene from <em>Help!,</em> below, where Harrison, playing Lennon's black Rickenbacker 325, mimes McCartney's lead parts while McCartney plays bass. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/YKeSY5gas5k" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 04. <strong>"Tomorrow Never Knows," <em>Revolver</em> (1966)</strong></p> <p>"People tend to credit John with the backwards recordings, the loops and the weird sound effects, but the tape loops were my thing," McCartney says in Barry Miles' <em><a href="http://www.amazon.com/Paul-McCartney-Many-Years-From/dp/0805052496">Many Years From Now.</a></em> "The only thing I ever used them on was 'Tomorrow Never Knows.' It was nice for this to leak into the Beatle stuff as it did.</p> <p>"We ran the loops and then we ran the track of 'Tomorrow Never Knows' and we played the faders, and just before you could tell it was a loop, before it began to repeat a lot, I'd pull in one of the other faders, and so, using the other people, 'You pull that in there,' 'You pull that in,' we did a half random, half orchestrated playing of the things and recorded that to a track on the actual master tape, so that if we got a good one, that would be the solo. We played it through a few times and changed some of the tapes till we got what we thought was a real good one. I think it is a great solo."</p> <p>Rumor has it that McCartney's "Tomorrow Never Knows" guitar parts are actually transplants from "Taxman."</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/zd61M256RfM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 03. <strong>"The End," <em>Abbey Road</em> (1969)</strong></p> <p>The extended guitar jam on "The End," the <em>Abbey Road</em> finale (unless you count "Her Majesty"), also could make the list of the best Beatles guitar solos by Harrison and/or Lennon, since all three guitarists take turns soloing for two bars each. </p> <p>McCartney starts it off, followed by Harrison, followed by Lennon—around and around until "the end." And speaking of solos, it's also the only Beatles song to include a Ringo Starr drum solo. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/YH9P_vwpLXk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 02. <strong>"Good Morning Good Morning," <em>Sgt. Pepper's Lonely Hearts Club Band</em> (1967)</strong></p> <p>Young, guitar-playing Beatles fans are often disappointed when they find out Harrison didn't play this very 1967-sounding, brash, psychedelic, distorted, raga-inspired gem of a guitar solo from <em>Sgt. Pepper's Lonely Hearts Club Band.</em> It was, in fact, played by McCartney.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/lzhSbBftWtk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 01. <strong>"Taxman," <em>Revolver</em> (1966)</strong></p> <p>On what is clearly one of the most powerful guitar solos to be found on a Beatles song, McCartney channels a bit of Jeff Beck (with descending pull-offs a la "Shapes of Things") and gives a nod to Harrison's current, Indian-inspired frame of mind. </p> <p>"I was pleased to have Paul play that bit on 'Taxman'," Harrison said in 1987. "If you notice, he did like a little Indian bit on it for me."</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Oyu5sFzWLk8" frameborder="0" allowfullscreen></iframe></p> <p><em><a href="https://soundcloud.com/damian-fanelli/mister-neutron-super-1">Damian Fanelli</a> is the online managing editor at </em>Guitar World<em> and </em><a href="http://www.guitaraficionado.com/">Guitar Aficionado</a><em>. His New York-based band, <a href="https://soundcloud.com/damian-fanelli/the-blue-meanies-heart-full-of">the Blue Meanies,</a> has toured the world and elsewhere. Fanelli, a former member of Brooklyn jump-blues/rockabilly band <a href="http://www.thegashousegorillas.com/">the Gas House Gorillas</a> and New York surf-rock band <a href="http://www.cdbaby.com/Artist/MisterNeutron">Mister Neutron,</a> writes GuitarWorld.com's <a href="http://www.guitarworld.com/next-bend-clarence-white-inspired-country-b-bender-lick-video">The Next Bend,</a> a column dedicated to <a href="http://www.guitarworld.com/next-bend-10-essential-b-bender-guitar-songs-damian-fanelli">B-benders.</a> Follow him on <a href="https://www.facebook.com/damianfanelliguitar">Facebook,</a> <a href="https://twitter.com/damianfanelli">Twitter</a> and/or <a href="https://instagram.com/damian_fanelli/">Instagram.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/paul-mccartney">Paul McCartney</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/top-five-beatles-guitar-solos-paul-mccartney#comments Damian Fanelli George Harrison John Lennon Paul McCartney Ringo Starr The Beatles Blogs News Features Fri, 19 Jun 2015 11:43:04 +0000 Damian Fanelli 11294 at http://www.guitarworld.com 10 Underappreciated Solo Paul McCartney Songs http://www.guitarworld.com/10-underappreciated-paul-mccartney-songs <!--paging_filter--><p>"When I'm Sixty-Four"? That's so nine years ago. Paul McCartney turns 73 today, June 18.</p> <p>With that in mind, you'll probably come across a host of online tributes that laud the former Beatle's longevity, countless achievements and best-loved songs. </p> <p>But while the masses will most likely praise "Band on the Run," "Maybe I'm Amazed," "Live and Let Die" and "Silly Love Songs" (well, maybe not "Silly Love Songs"), I'd like to draw attention to 10 tracks from McCartney's solo career—a career that started 45 years ago, by the way—that just don't get the love and attention they deserve in 2015.</p> <p>They are presented in chronological order, according to their official release dates.</p> <p><strong>"Oh Woman, Oh Why," B-side of "Another Day" (Paul McCartney, 1971)</strong></p> <p>In February 1971, McCartney released "Another Day," his first single as a solo artist. It was a mostly acoustic, observational, "Eleanor Rigby"-style affair—just light and fluffy enough for John Lennon to take a swing at in "How Do You Sleep?" from <em>Imagine</em>. </p> <p>On its flip-side, however, was "Oh Woman, Oh Why," a fun yet lonely-sounding bluesy rocker in A. McCartney's gritty, screaming vocal, which is right up there with his work on "Oh! Darling," adds a healthy dose of authenticity to the track. The fake gunshot sounds have the opposite effect.</p> <p>The song is the first in a long line of non-album McCartney B-sides that includes "The Mess," "I'll Give You a Ring," "Sally G," "Flying to My Home," "I Lie Around" and "Rainclouds." It has been included on several CD incarnations of <em>Ram</em>, including the 2012 <em>Ram</em> Special Edition.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/ZzU-iqRHubM" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"Eat At Home" from <em>Ram</em> (Paul and Linda McCartney, 1971)</strong></p> <p>John Lennon wasn't too crazy about McCartney's supposedly lightweight early Seventies output, but he did like "Eat At Home," calling it his favorite track on <em>Ram</em>.</p> <p>The song, with its twangy riff and bountiful guitar parts, could've been a hit single for McCartney; instead, it'll go down in history as merely another album track. And while McCartney and his band have <a href="http://www.youtube.com/watch?v=UxpHxGVTqg0">dug up and dusted off the album's opener, "Too Many People,"</a> on recent tours, the equally deserving "Eat At Home" is still waiting for its moment in the spotlight.</p> <p>By the way, a previously unreleased live version of "Eat At Home/Smile Away" from Wings' 1972 tour is available on the <a href="http://itunes.apple.com/us/album/ram/id524432328">iTunes version</a> of the recently released <em>Ram</em> Special Edition.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/cTKwulGyj9Q" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"The Mess," B-side of "My Love" (Wings, 1973) </strong></p> <p>Excluding unreleased material, it doesn't get much more obscure than "The Mess," a live track recorded in 1972 and released as the B-side to "My Love" in March 1973. </p> <p>It's a danceable ode (as the video below proves) that probably started out as several different song ideas that got grafted together in typical McCartney fashion ("The Pound Is Sinking" from <em>Tug of War</em> is another example of the McCartney patchwork method).</p> <p>"The Mess" was originally meant to be included on Wings' <em>Red Rose Speedway</em> album (It was supposed to be a double album at one point), and there's even a studio version of the song out there somewhere.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/3cmNNEENYp8" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"Big Barn Bed" from <em>Red Rose Speedway</em> (Wings, 1973)</strong></p> <p>Speaking of <em>Red Rose Speedway</em>, here's that album's opening track, "Big Barn Bed." </p> <p>Like several of McCartney's much more successful tunes, "Big Barn Bed's" simplicity is its strong point, right down to Henry McCullough's basic guitar riff in the song's intro. The soaring harmonies, shimmering acoustic guitars and weird but fun lyrics about big barn beds (huh?) and leaping armadillos don't hurt, either.</p> <p>As a side note, McCullough, Wings' original lead guitarist, recorded a new version of "Big Barn Bed" for his 2011 solo album, <em>Unfinished Business.</em> But, um, you should probably start (and stick) with the Wings version.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/1b8jM9RUXr0" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"Famous Groupies" from <em>London Town</em> (Wings, 1978)</strong></p> <p>On 1978's "Famous Groupies," McCartney goes into semi-comedic storytelling mode to recount the tale of a fictional pair of notorious groupies who do some pretty horrible things to the music-biz gents they supposedly adore:</p> <p>"There was a classic story of a roadie named Rory / who used to practice voodoo on the side / when the famous twosome suggested something gruesome / All that they found was a crater two miles wide / Which left the music business absolutely horrified."</p> <p>"Famous Groupies" is joined by other gems on <em>London Town</em>, including the forgotten single, "I've Had Enough"; the Elvis-inspired "Name and Address"; and the deep, dark and awesome "Morse Moose and the Grey Goose."</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/nrrpYfs3ifo" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"Spin It On" from <em>Back to the Egg</em> (Wings, 1979)</strong></p> <p>Although the <em>Back to the Egg</em> album cracked <em>Billboard's</em> Top 10 in 1979, it took a beating from critics, something McCartney <em>still</em> mentions in interviews. Big-shot reviewer Robert Christgau gave it a "C," and <a href="http://www.allmusic.com/album/back-to-the-egg-mw0000198282">Allmusic won't budge on its tepid two-star rating.</a> </p> <p>It's all a bit incongruous, really, since many McCartney fans (myself included) consider it their favorite McCartney album. If nothing else, it is Wings' most rocking album, with heavy tracks like "Old Siam, Sir," "So Glad to See You Here" and "Getting Closer" setting the tight, overdriven, solid tone. </p> <p>"Getting Closer" and "Arrow Through Me" got some FM airplay, and "Rockestra Theme," a thunderous instrumental featuring John Bonham, John Paul Jones, Pete Townshend and David Gilmour, earned a Grammy for Best Rock Instrumental Performance. But "Spin It On," an unassuming little album track that clocks in at 2:13, is one of the album's hidden highlights. </p> <p>It features some superlative playing by Wings' two newest members, drummer Steve Holly/Holley (I wish Steve would contact me and finally solve the Holly/Holley mystery) and the immensely gifted lead guitarist <a href="http://www.guitarworld.com/outside-box-exploring-acoustic-guitar-lj-whats-score">Laurence Juber</a>, who's now considered a fingerstyle master. In fact, its too-brief guitar solo represents Juber's shreddingest moment as a member of Wings.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/CDorpyJjfcw" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"On the Way" from <em>McCartney II</em> (Paul McCartney, 1980)</strong></p> <p>McCartney briefly topped the <em>Billboard</em> Hot 100 in the spring of 1980 with "Coming Up," a song that battled it out with Lipps Inc.'s "Funkytown." (Why do I know this stuff?)</p> <p>But besides "Coming Up" and, to some degree, the album's second single, "Waterfalls," the rest of <em>McCartney II</em> has faded into the land of early Eighties obscurity. Which is a shame, particularly in the case of "On the Way," a stark, blues-based number that features McCartney on heavily delayed vocals, bass, drums and lead guitar. </p> <p>And while no one is implying that the former Beatle is some great, unheralded bluesman, he does a pretty nice job on this track, especially in the terms of the guitar work. </p> <p>For more examples of McCartney's lead guitar playing, check out <a href="http://www.guitaraficionado.com/5463.html">this story about his top five guitar solos on Beatles songs.</a></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/AK9tVSXnY-s" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"Souvenir" from <em>Flaming Pie</em> (Paul McCartney, 1997)</strong></p> <p>McCartney has released several "return to form" and/or "comeback" albums during his solo career, including 1982's <em>Tug of War,</em> 1989's <em>Flowers In the Dirt,</em> 1997's <em>Flaming Pie</em> and 2005's <em>Chaos and Creation In the Backyard</em>.</p> <p><em>Flaming Pie</em>, in particular, was lauded for its near-Beatles-level of quality (It even features Ringo Starr on several tracks and non-album B-sides). And while the album's title track and singles ("The World Tonight" and "Young Boy") enjoyed a good share of the spotlight, stronger tracks like "Souvenir" were generally overlooked. </p> <p>This classy ode to Motown singles of a bygone era sports some gritty vocals and a meaty guitar riff during the choruses.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/t5B5EMS8SUE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"A Love for You" from <em>The In-Laws: Music from the Motion Picture</em> (Paul and Linda McCartney, 2003)</strong></p> <p>The catchy "A Love for You" was recorded during the <em>Ram</em> sessions in 1971 but didn't make it onto the album, proof that McCartney throws away more decent songs than most artists write. </p> <p>Fans discovered the song in the Eighties when <em>Cold Cuts</em>, an official collection of unreleased McCartney songs recorded from 1971 to 1980, was leaked, bootlegged and finally abandoned by McCartney. The song didn't get its first proper release until 2003, when it appeared on the soundtrack album for <em>The In-Laws</em>, the so-so Michael Douglas/Albert Brooks comedy.</p> <p>A different mix of the song turned up in 2012 as part of the <em>Ram</em> Special Edition release.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/9BK6SZlWVTs" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"That Was Me" from <em>Memory Almost Full</em> (Paul McCartney, 2007)</strong></p> <p>While Ringo Starr can't keep from making inane Beatles and Liverpool references on his last few solo albums, McCartney rarely looks back, lyrically, at least. </p> <p>But in "That Was Me," a song from his critically acclaimed 2007 album, <em>Memory Almost Full,</em> the former Beatle recalls his early, sweaty days on the way up, basically saying, "You know that young mop-topped Beatle guy in those ol' B/W videos? That was me, this older guy you're looking at now. All that stuff actually happened, and sometimes I have a hard believing it myself." </p> <p>But besides the fun blast from the past, the song has an ultra-cool bass line, a serious groove and a catchy, scat-style chorus reminiscent of "Heart of the Country." </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/v4WcHxIawmk" frameborder="0" allowfullscreen></iframe></p> <p><em><a href="https://soundcloud.com/damian-fanelli/mister-neutron-super-1">Damian Fanelli</a> is the online managing editor at </em>Guitar World<em> and </em><a href="http://www.guitaraficionado.com/">Guitar Aficionado</a><em>. His New York-based band, <a href="https://soundcloud.com/damian-fanelli/the-blue-meanies-heart-full-of">the Blue Meanies,</a> plays "Eat At Home," "The Mess" and other forgotten stuff.</em> He's a former member of <a href="http://www.thegashousegorillas.com/">the Gas House Gorillas</a> and <a href="http://www.cdbaby.com/Artist/MisterNeutron">Mister Neutron.</a></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/paul-mccartney">Paul McCartney</a> </div> <div class="field-item even"> <a href="/beatles">The Beatles</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/10-underappreciated-paul-mccartney-songs#comments Damian Fanelli David Gilmour Henry McCullough Laurence Juber Paul McCartney The Beatles Blogs News Features Thu, 18 Jun 2015 12:12:09 +0000 Damian Fanelli 16037 at http://www.guitarworld.com Stevie Ray Vaughan Plays "Texas Flood," Gets Booed at 1982 Montreux Jazz Fest — Video http://www.guitarworld.com/stevie-ray-vaughan-plays-texas-flood-gets-booed-1982-montreux-jazz-fest-video <!--paging_filter--><p>Sure, there are scores of stellar live versions of Stevie Ray Vaughan's "Texas Flood" online, but there's simply something magical about this raw performance of the Larry Davis tune from July 17, 1982, at the Montreux Jazz and International Music Festival in Switzerland.</p> <p>The extended, dynamics-filled rollercoaster ride finds Vaughan reaching into his bag of Albert-King-meets-Jim-Hendrix licks—not to mention behind his back, where his Fender Strat rests for the final quarter of the 10-minute-long performance.</p> <p>Vaughan floored everyone that night, except for a handful of blues purists who can be heard (and clearly seen in the video below) booing loud and clear.</p> <p>"We weren't sure how we'd be accepted," Vaughan told <em>Guitar World</em> in the early Eighties. But he must've known it went well when David Bowie appeared backstage ... and important alliance was born.</p> <p>In the video below, Vaughan puts his guitar behind his back at 8:22, and it stays there for the rest of the song. As for the booing, it starts right away, then picks up during the quiet part of the song (around 6:50 in the clip). You can actually see a group of knuckleheads booing at 10:14.</p> <p>Although I'm not defending the knuckleheads, I should mention that a good portion of the crowd was expecting the type of music they'd been hearing for most of the day: quiet, acoustic blues guitar (For instance, John Hammond played solo acoustic guitar at the event). When Vaughan and bassist Tommy Shannon turned up the amps and went to work, well, it was a bit of a shock.</p> <p>By the way, <a href="http://www.amazon.com/Stevie-Ray-Vaughan-Double-Trouble/dp/B0002SPPSC">this entire performance is available on DVD right here.</a> As the DVD's title suggests, <em>Live at Montreux 1982 &amp; 1985</em> also features the band's 1985 performance at the Montreux Jazz Fest. No one booed him in '85. No sane people, anyway.</p> <p><em>You can find Damian Fanelli's most recent liner notes in Sony/Legacy's </em>Stevie Ray Vaughan: The Complete Epic Recordings<em> box set from 2014. <a href="https://twitter.com/damianfanelli">Follow him on Twitter.</a></em></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/na-3l6DwEXQ" 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="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/stevie-ray-vaughan-plays-texas-flood-gets-booed-1982-montreux-jazz-fest-video#comments Damian Fanelli GWLinotte October 2014 SRVDF Stevie Ray Vaughan Texas Flood Videos News Magazine Wed, 10 Jun 2015 21:57:09 +0000 Damian Fanelli 22498 at http://www.guitarworld.com Austin Power: Stevie Ray Vaughan's 30 Greatest Recordings http://www.guitarworld.com/austin-power-stevie-ray-vaughans-30-greatest-recordings <!--paging_filter--><p><strong>Guitar World<em> celebrates the 30 greatest recordings of Stevie Ray Vaughan—from “Texas Flood” to “Riviera Paradise”…from “Couldn’t Stand the Weather” to “The Sky Is Crying.”</em></strong></p> <p>For someone who spent a mere seven and a half years as a heavy player on the world stage, Texas guitar-slinger Stevie Ray Vaughan left behind a wealth of recorded material—and one hell of a legacy.</p> <p>In that blink of an eye between his incongruous appearance on David Bowie’s <em>Let’s Dance</em> in 1983 and his death in a freak helicopter crash in 1990, Vaughan unleashed four indispensable studio albums that hijacked the trajectory of modern blues guitar. </p> <p>Without the aid of light shows, edgy haircuts and goofy rock-star posturing, he introduced the MTV generation to passion-fueled guitar music—not to mention the work and importance of Jimi Hendrix, Albert King, Buddy Guy and Howlin’ Wolf.</p> <p>He even had time to star in his own mini rock-star drama of drug and alcohol addiction, breakdown, recovery and triumphant return.</p> <p>In honor of what would have been Vaughan’s 60th birthday (It’s about as difficult to picture SRV at 60 as it is to picture Hendrix at 72), <em>Guitar World</em> looks back at what we consider his 30 greatest guitar moments. Our list digs deep into his six-string artistry, while taking historical importance and other factors into account. </p> <p>In terms of material, we’ve considered everything, including his official studio work and numerous posthumous studio and live releases—basically everything that will be included on Legacy Recordings’ recently released 13-disc box set, <em>Stevie Ray Vaughan and Double Trouble: The Complete Epic Album Collection.</em></p> <p>We also considered his DVDs and videos available on YouTube—pretty much everything and anything he recorded with a Fender Strat, a guitar that, as reported elsewhere in this issue, also happens to be celebrating its 60th anniversary this year. — <em>Damian Fanelli</em></p> <p><strong>30. “Texas Flood” (<em>Live at Montreux 1982 &amp; 1985</em>, 2001)</strong></p> <p>Sure, there are scores of stellar live versions of “Texas Flood” online, but there’s simply something magical about this raw performance from July 17, 1982, at the Montreux Jazz and International Music Festival. </p> <p>The extended, dynamics-filled rollercoaster ride finds SRV reaching into his bag of King-meets-Hendrix licks—not to mention behind his back, where his Strat rested for the final third of the song. SRV floored everyone that night, except for a handful of blues purists who can be heard (and seen in the video) booing loud and clear. </p> <p>“We weren’t sure how we’d be accepted,” Vaughan told <em>Guitar World</em> in 1983. But he knew it went well when David Bowie appeared backstage and an important alliance was born. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/na-3l6DwEXQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>29. Love Struck Baby (<em>Live at the El Mocambo</em>, 1991)</strong></p> <p>“Love Struck Baby,” the opening track on <em>Texas Flood,</em> is an SRV original, a straightforward rocker in the style of rock and roll pioneer Chuck Berry. </p> <p>This explosive live version from SRV &amp; Double Trouble’s July 20, 1983, performance at El Mocambo clearly illustrates Vaughan’s incredible touch, tone and phrasing from the very first note. </p> <p>The rhythm guitar parts are built from Berry’s signature alternating root-fifth/root-sixth style, and Vaughan’s solos borrow from both Berry and T-Bone Walker, Stevie’s great influence. During his first and second solos, Vaughan leans heavily on an Adim7 voicing fretted on the top three strings that is slowly bent up one half step and vibrato-ed in the style of Walker. </p> <p>At the end of his second solo, he employs an unusual A7add2 chord voicing—made popular by blues great Freddie King on his instrumental hit “Hide Away”—sliding down the fretboard from this voicing and jumping into unison bends played on the third and second strings, with the ring finger used to bend the third string and the index finger used to fret the second string.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/hMvusgY8PRQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>28. Say What! (<em>Soul to Soul</em>, 1985)</strong></p> <p>The opening track on SRV and Double Trouble’s third album, “Say What!” is a swinging 12/8 instrumental that features intense, virtuoso guitar work drenched in echo and heavy wah-wah. </p> <p>“ ‘Say What!’ had been a jam, like Hendrix's ‘Rainy Day, Dream Away,’ ” Tommy Shannon recalls. </p> <p>Rumor has it that, for this track, Vaughan used a wah that had formerly belonged to Jimi Hendrix. </p> <p>Allegedly, the wah was acquired by brother Jimmie Vaughan in a trade with Hendrix when the two played a show together in Forth Worth, Texas, in 1969. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/fHov57vgJgg" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>27. “Let's Dance” (David Bowie, <em>Let’s Dance</em>, 1983)</strong></p> <p>It’s crazy enough that, in the synth-happy early Eighties, newcomer Vaughan had a top-20 hit with a Strat-fueled, 12-bar-blues shuffle called “Pride and Joy.” </p> <p>Even more bizarre is that, the same year, his raunchy Albert King–inspired bends graced a bona-fide mega-hit, David Bowie’s jittery “Let’s Dance,” which spent a solid three weeks at the top of the charts. </p> <p>The song—and the album of the same name—is notable because it served as the world’s introduction to Vaughan’s dynamic fretwork, a fact lost on most of Bowie’s newer, younger audience. </p> <p>For a heftier serving of SRV, check out the seven-plus-minute version of this track, plus “Cat People (Putting Out Fire)” and “China Girl.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/N4d7Wp9kKjA" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>26. Ain’t Gone ’n’ Give Up on Love (Capitol Theater, 1985)</strong></p> <p>Cut originally for 1985’s <em>Soul to Soul</em>, “Ain’t Gone ’n’ Give Up on Love” is a great slow blues in A with some interesting twists and turns found in the bridge chord progression. </p> <p>This smoldering version, cut on September 21, 1985, at the Capitol Theater in Passaic, New Jersey, is one of the many great examples of Stevie’s pure and complete mastery of the slow blues idiom. Throughout the song, his soloing style leans heavily on his Albert King influence, blended masterfully with his incredibly precise articulation and powerfully emotional execution. </p> <p>Although he performs increasingly complex improvised phrases as the solo progresses, his rhythmic sense is sharp and he retains total control throughout.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/820u5aQ-HRg" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>25. Superstition (<em>Live Alive</em>, 1986)</strong></p> <p>Stevie Wonder originally wrote this fantastic riff rocker for Jeff Beck before reclaiming it as his own and making it a Number One smash in 1972. </p> <p>A decade later, SRV wrestled it back on his 1986 <em>Live Alive</em> and made it the monstrous guitar song it always wanted to be. The only demerit is that Stevie—the undisputed king of corny music videos—used the track as an excuse to make yet another hilariously bad promotional clip.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/T-31WquZirU" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>24. Change It (<em>Soul to Soul</em>)</strong></p> <p>Arguably Stevie’s best single. </p> <p>He sounds like the big bad wolf threatening to blow down some girl’s door—and if that won’t do it, his snarling guitar solo will. Although the lyrics are generally positive, his vocals are menacing as all hell. Another terrible video, though. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/TMY9Wrh1oPA" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>23. Blues at Sunrise (<em>In Session,</em> 1999)</strong></p> <p>Stevie Ray Vaughan and his hero and mentor Albert King convened on December 6, 1983, to perform for the <em>In Session</em> live music television series produced by the Canadian television station CHCH-TV in Hamilton, Ontario. </p> <p>Vaughan, whose debut release <em>Texas Flood</em> had been out for only a few months, was largely unknown to most viewers at that time. In fact, King didn’t know him by name and initially refused to perform with Vaughan—until King realized he was the same Austin, Texas, guitar prodigy that King had already played with many times before, known to him as “Little Stevie.” </p> <p>The show features King’s band and consists mostly of his material, aside from a scorching version of Vaughan’s “Pride and Joy.” The two guitarists “battle” back and forth beautifully, King often laughing as he is tickled pink by Vaughan’s virtuosity.</p> <p>“Blues at Sunrise” is the high point of a session that many consider to contain some of the greatest playing SRV ever recorded. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/NJgI_R2Mk84" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>22. Crossfire (<em>In Step</em>, 1989)</strong></p> <p>“When Stevie first heard ‘Crossfire,’ it reminded him of ‘Shotgun’ by Junior Walker,” bassist Tommy Shannon recalls of Vaughan’s only Number One hit. </p> <p>Shannon, one of the song’s composers, actually wrote the butt-shaking bass line that serves as its primary riff, but according to keyboardist Reese Wynans, the track had a somewhat difficult birth. </p> <p>“We put it together little by little, and it wasn’t easy,” he says. “But in the end it came out just right.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/F73EcycGCO8" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>21. “The House Is Rockin'” (<em>In Step</em>)</strong></p> <p>We’re suckers for a killer guitar riff, and “The House Is Rockin’,” the lead single from Vaughan’s 1989 comeback album, <em>In Step,</em> is built around a doozy. </p> <p>Actually, the riff—a Chuck Berry–inspired E power chord shape played on the seventh fret (tuned down a half-step, of course)—is fairly basic. It’s Vaughan’s pinky gymnastics on the fifth and sixth strings that give it its own chugging, barrelhouse flavor. </p> <p>“Doyle [Bramhall] wrote that part,” Vaughan told <em>Guitar World’s</em> Andy Aledort in 1989. “He writes these great songs.” With this track, Vaughan once again managed to bring a tasty piece of roots rock to the Top 20.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/-G84P5K-W1c" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>20. Tin Pan Alley (<em>Montreux,</em> 1985)</strong></p> <p>When Stevie Ray Vaughan and Double Trouble played the Montreux Jazz Festival for the second time on July 15, 1985 (almost three years to the day from their first appearance), Stevie joked with the adoring crowd: “First time here, we got booed… First time we got a Grammy!” </p> <p>The 1985 performance included Reese Wynans on keyboard, whicih led Vaughan to dub the group Serious Trouble. </p> <p>“Tin Pan Alley” is a very slow, emotive minor blues that had been in SRV’s live set for years by the time he first cut it in the studio in January 1984 for <em>Couldn’t Stand the Weather</em>. </p> <p>This version includes legendary Texas guitarist Johnny Copeland sitting in on vocals and guitar, and Stevie’s guitar work throughout—performed on the white Charlie Wirz Strat with Dan Armstrong “lipstick tube” pickups—is absolutely astonishing. </p> <p>His tone, his touch, his feel and his phrasing are just phenomenal. Electric blues guitar just does not get any better than this. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/AGPx-ekqZEo" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>19. Come On (Part III) (<em>Soul to Soul</em>) </strong></p> <p>Every Stevie Ray album had to have a little Hendrix on it somewhere, and his third album, <em>Soul to Soul</em>, was no different. </p> <p>While he stays pretty faithful to Jimi’s <em>Electric Ladyland</em> version of “Come On,” Vaughan outsings and outplays the original in every way. Hey, it was bound to happen. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/UL9z2xnwiDk" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>18. “The Sky Is Crying” (<em>Blues at Sunrise</em>, 2000)</strong></p> <p>Although the officially released version of this Elmore James cover, from 1991’s <em>The Sky Is Crying</em>, features welcome embellishment courtesy of keyboardist Reese Wynans, Vaughan’s tame and somewhat predicable solo owes a bit too much to “Texas Flood.” </p> <p>This three-piece version, recorded earlier (during sessions for <em>Couldn’t Stand the Weather</em>) and released nine years later on <em>Blues at Sunrise</em>, captures the band at its live-in-the-studio best. </p> <p>SRV slides up and down the neck with abandon, laying into a solo so fluid and tasty that it makes you wonder why it hadn’t been released during his lifetime.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/OC_Zozx8Hdg" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>17. Telephone Song (<em>Family Style,</em> 1990)</strong></p> <p>Released a month before Stevie’s death, this track is just one of the many highlights from the vastly underrated 1990 <em>Family Style</em> album, recorded with his older brother, Jimmie. </p> <p>If Stevie had a fault, it was that he was a little too earnest, but with his bro and producer Nile Rodgers onboard, he sounds like he’s loose and having a blast. </p> <p>“Telephone Song” is surely the funkiest studio track of his career, and his improvised rap at the end is a hoot.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/by5aYlJUmCY" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>16. Look At Little Sister (<em>Soul to Soul</em>)</strong></p> <p>To think of “Look At Little Sister” as a somewhat inferior follow-up to “Pride and Joy” is to miss its many virtues. </p> <p>Sure, it features less guitar, but Stevie’s lascivious vocals are fantastic, and the track’s superior sound and production add substantial heft to its grinding stripper chug. It’s dirty in a way that the blues should be. </p> <p>You can’t help but imagine what this sweet thing looks like when SRV spies her “shakin’ like a tree” and “rollin’ like a log.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/gF-svHxZy2o" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>15. “May I Have a Talk with You” (<em>The Sky Is Crying,</em> 1991)</strong></p> <p>This cover of a Howlin’ Wolf tune stands out as one of the rare polished-sounding studio recordings where Vaughan actually flubs a note. </p> <p>The (let’s call it) tiny imperfection occurs at the 4:01 mark, when SRV is coming back for a landing after a series of bends high on the neck. But the error plays only a bit part in this particularly exciting and majestic slow-burn solo and reminds us that Vaughan was, occasionally, mortal. </p> <p>Well, mortal-ish.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Ga412SA7hFY" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>14. Scuttle Buttin’ (<em>Couldn’t Stand the Weather</em>)</strong></p> <p>Composed as a tribute to Lonnie Mack, who is among rock’s first virtuoso lead guitarists, this 1:52 shot of pure adrenaline opens with one of Stevie’s flashiest and most imitated licks.</p> <p>Featuring a series of quick—and relatively easy—open-string pull-offs, “Scuttle Buttin’ ” is the song for guitarists to learn when they want to impress skeptical parents, buddies and girlfriends.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/IUsvRaRk9Fs" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>13. Cold Shot (<em>Rockpalast</em>, 1984)</strong></p> <p>Originally included on SRV’s brilliant sophomore release, 1984’s <em>Couldn’t Stand the Weather</em>, “Cold Shot” is a swinging shuffle with a dark, heavy blues feel. </p> <p>The song was written by keyboardist Mike Kindred, who was part of the Triple Threat group that preceded the formation of Double Trouble. Stevie loved “Cold Shot” and kept it in the repertoire for his entire career. </p> <p>At the time of this performance, which took place on August 25, 1984, at Freilichtbühne Loreley, St. Goarshausen, Germany for the <em>Rockpalast</em> television broadcast, SRV and Double Trouble were still performing as a trio, and the band’s pure power at this stage of its development is simply incredible. </p> <p>With his Fender Vibratone cranked to the max, Stevie rips through his first solo, relying on hybrid-picked non-adjacent double-stops played on the third and first strings. </p> <p>Notes on the high E string are fingerpicked, while notes on the G string are sounded with the pick. SRV’s solid fret-hand strength allows him to execute the many bends and hammer-ons played on the G string while simultaneously fretting the high A root note on the E string at the fifth fret. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/QJAgIYYJjPE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>12. Tightrope (<em>Austin City Limits</em>, 1989)</strong></p> <p>When Stevie cut 1989’s<em> In Step</em>, his last studio effort with Double Trouble, he showcased more of an R&amp;B/soul approach than ever before, evidenced by the hit tracks “Crossfire” and “Tightrope.”</p> <p> “Tightrope” is a straightforward 4/4 groover with a James Brown–meets–Albert King type of feel. Shot on October 10, 1989 for<em> Austin City Limits</em>, Stevie’s performance is extraordinary, displaying a combination of raw power, deep emotion and technical brilliance in perfect measure. </p> <p>His Fuzz Face–drenched solo is crushing in its power while also beautifully melodic and precise. The intense multistring bent vibratos at the start of his outro solo (3:42–3:46) are just the tip of the iceberg as he closes out this truly masterful performance.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/GX5ioDq1m5I" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>11. “Mary Had a Little Lamb” (<em>Austin City Limits</em>, 1989)</strong></p> <p>“When I go out and play [“Mary Had a Little Lamb”], I can hear people say, ‘Oh, that's Stevie's number,’ ” Buddy Guy once said. </p> <p>“So I say, ‘Okay man, that's Stevie's number.’ But Stevie knows whose number it was.” </p> <p>“Mary,” the first Guy composition to be recorded by Vaughan, was the perfect canvas for Vaughan and keyboardist Reese Wynans to slather with their mad skills. </p> <p>Like the rest of this priceless 1989 <em>Austin City Limits</em> broadcast, Vaughan is simply on fire. Between the song’s funked-up sections, he delivers a series of stellar, note-perfect solos that careen and soar with the aid of some nifty whammy-bar action.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/4cGphy7XeZk" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>10. Testify (<em>Texas Flood</em>)</strong></p> <p>The idea of Stevie Ray covering a funky song by the great R&amp;B band the Isley Brothers might seem bizarre until you consider that rhythm and blues was a big part of the Double Trouble playbook. </p> <p>Besides, his choice of “Testify” makes perfect sense when you realize that the guitarist on the Isley’s original 1964 version was none other than his hero, Jimi Hendrix. </p> <p>More a tip of the hat than a cover, Stevie pays respects to Hendrix’s original opening riff before ditching the rest of the song and heading into parts unknown. It’s just as well. “Testify” wasn’t very good in the first place, and Vaughan carves a much more exciting path while ripping a total of seven—count ’em, seven—electrifying solos, each more intense than the one before it. </p> <p>But what really makes this one of Stevie’s very best performances is the variety of sounds he gets by using his wah pedal to subtly color his sound, as it gradually shifts from silky smooth to full-on banshee wail. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/XQroST3_uWw" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>09. “Couldn't Stand the Weather” (Capitol Theatre, 1985)</strong></p> <p><em>Couldn’t Stand the Weather</em>, Vaughan’s 1984 sophomore album, featured impressive guitar work and sold well, two factors that confirmed SRV and Double Trouble weren’t a mere flash in the pan. </p> <p>Still, many critics and fans at the time couldn’t help but notice that the album was something of a letdown. With its combination of originals and covers and heavy reliance on the blues, the eight-song collection had a “more of the same” feel about it. </p> <p>Thirty years later, however, one can’t help but notice that <em>Couldn’t Stand the Weather</em> is where a Texas-sized portion of Vaughan’s most essential recordings live. These include “Voodoo Chile (Slight Return),” “Cold Shot,” “Tin Pan Alley” and the funky title track, which—contrary to the “more of the same” criticism—finds Vaughan working hard to break out of the blues mold of <em>Texas Flood</em>. The song features several fine guitar parts, from its free-form intro to its funky figures to its Albert King–Jimi Hendrix stew of a solo. </p> <p>One of the most inspiring performances of the song—from September 1985 at New Jersey’s Capitol Theatre—can be found on YouTube (below), courtesy of the Music Vault. It’s all there: Vaughan’s power, intensity, focus and mammoth stage presence, plus a new-for-1985 breakdown section that gave keyboardist Reese Wynans a chance to shine. This version also scores bonus points for its choreography! (<em>P.S.: I was in the audience that night! — Damian Fanelli</em>)</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/veOPrDAGLqE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>08. Riviera Paradise (<em>In Step,</em> 1989)</strong></p> <p>Stevie called it “The King Tone”—the bell-like, crystalline timbre of a Fender Strat played clean, warm and in the in-between (out-of-phase neck-middle and bridge-middle) pickup positions. </p> <p>And he put it to extraordinary use on In Step’s “Riviera Paradise,” one of his rare but unforgettable forays into the world of Wes Montgomery–inspired jazz blues. Done in one magic take, the recording session was the stuff of legends.</p> <p> “Stevie told me he had an instrumental he wanted to try, and I said that I only had nine minutes of tape left,” producer Jim Gaines recalls. “He said, ‘Don’t worry, it’s only four minutes long.’ We dimmed the lights and the band started playing this gorgeous song, which went on to six minutes, seven minutes, seven-and-a-half… The performance was absolutely incredible, totally inspired, dripping with emotion—and here we were, about to run out of tape. </p> <p>“I was jumping up and down, waving my arms, but everyone was so wrapped up in their playing that no one was paying me any mind. I finally got Chris’ attention and emphatically gave him the cut sign. He started trying to flag down Stevie, but he was hunched over his guitar with his head bent down.</p> <p> Finally, he looked up, and they brought the song down just in time. It ended, and a few seconds later the tape finished and the studio was silent, except for the sound of the empty reel spinning around.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/V8wtZeVAa9I" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>07. Rude Mood (<em>Texas Flood</em>)</strong></p> <p>Along with “Testify” and “Lenny,” “Rude Mood” is another of the three instrumental tracks recorded for SRV’s debut release.</p> <p>Written by Vaughan and inspired by the Lightning Hopkins song “Hopkin’s Sky Hop,” this barn-burning track serves as a tour de force display of Stevie’s mastery of a great many different guitar techniques, including fast alternate picking, complex sections devised of fingers-plus-pick hybrid-picking techniques, and seamless transitions from hard-driving rhythm playing to blazing single-note solos. </p> <p>As a composition, it is perfectly constructed into distinct and individual 12-bar choruses, each of which brings the intensity of the song to a new and higher level. </p> <p>Says Double Trouble drummer Chris Layton, “In early ’79, [country DJ] Joe Gracey made early recordings of Double Trouble while Lou Ann [Barton], Jack Newhouse and Johnny Reno were still in the band. That was blues stuff like, 'Ti Na Nee Na Nu,’ ‘Scratch My Back’ and ‘Sugarcoated Love,’ along with an early version of ‘Rude Mood.’ Those recordings were done in the tiny basement of KOKE, a country station. Gracey recorded us on a four-channel mixer with a reel-to-reel, with everything done totally live using just four microphones.”</p> <p>It’s fascinating to hear the recording of “Rude Mood” from that period, because the <em>Texas Flood</em> version, which is much faster, is a note-perfect recreation of it. There is virtually no improvisation whatsoever. It is almost unheard of for a blues guitar player to compose something that lengthy and complicated, and perform it note-perfectly for years and years, just as Stevie did. </p> <p>He displays incredible attention to detail on this song, and this is even more obvious when you compare the two studio versions, recorded four years apart.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/p2q0NXIL6m0" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>06. Lenny (<em>Live at the El Mocambo</em>)</strong></p> <p>“Lenny” is a beautiful, Hendrix-inspired ballad that Stevie wrote for his wife, Lenora. </p> <p>The solo section is made up of alternating bars of Emaj13 and Amaj9. Stylistically, the song is very similar to Jimi Hendrix’s classic ballad, “Angel.” For this El Mocambo performance, Stevie chose to play a guitar he dubbed Lenny, a 1963/1964 guitar that Lenny bought for Stevie in the early Eighties. </p> <p>It was stripped down to the natural wood and features a light-brown stain as well as a butterfly tortoiseshell inlay in the body. The guitar originally had a neck with a rosewood fretboard, but Stevie soon replaced it with a maple neck that was a gift from his brother, Jimmie. </p> <p>In true Hendrix style, Stevie treats the arpeggiated bridge section (the B6-D6-G6-Bb6-A6 chord progression) with subtle whammy bar manipulations. His improvised lines are based primarily on E major pentatonic (E F# G# B C#), with brief use of the minor third, G, as a passing tone into the major second, F#. </p> <p>Of great importance is the subtle use of hammer-ons, pull-offs and slides throughout, which serve to provide a liquid feel to his well-articulated and melodic phrases. When playing these lines, Stevie sticks with the index and ring fingers of his fret-hand. Of note is the smooth and effortless way he moves from playing straight 16th notes to playing lines articulated in 16th-note triplets. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/_YIHvK5WN7I" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>05. “Leave My Girl Alone” (<em>Austin City Limits</em>, 1989; released on <em>The Real Deal: Greatest Hits 2</em>, 1999)</strong></p> <p>One of the most frustrating things about Vaughan’s tragic death in August 1990 was the fact that, in the last two years of his life, his playing had somehow improved. </p> <p>Vaughan’s (and the rest of the band’s) coke-induced distractions were snuffed out, and his portal—that magical gateway that connected the guitarist to his unique source of inspiration, divine or otherwise—was wide open. </p> <p>A perfect example is this live 1989 version of Buddy Guy’s “Leave My Girl Alone,” recorded on the <em>Austin City Limits</em> TV show. Eric Clapton has mentioned how Jeff Beck “pulls” notes from his guitar; in this case, Vaughan is clearly “pushing” the notes out of his Strat, all in relentless, lightning-fast bursts that make you wonder what you’ve been doing with your life. </p> <p>His ominous groans between phrases underscore the passion and excitement he felt during every performance, especially when he was able to experience his surroundings as a clean and sober guitar god. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/lJXwZFwC3mw" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>04. Little Wing (<em>Live at the El Mocambo</em>, 1991)</strong></p> <p>Stevie Ray Vaughan’s electrifying performance of Jimi Hendrix’s timeless ballad during his July 20, 1983, performance at the El Mocambo Club in Toronto, Canada, is one of the best live versions he ever performed, beautifully filmed and captured at what was the very beginning of his rapid ascent to stardom. Stevie always played the song as an instrumental. </p> <p>Six months after this performance, he would record an instrumental version of “Little Wing” in the Power Station studio in NYC while working on his sophomore release, <em>Couldn’t Stand the Weather</em>. </p> <p>Without mimicking any of Jimi Hendrix’s licks, Stevie expresses his own distinct musicality—as well as complete and utter mastery of the guitar—while beautifully and faithfully emulating Jimi’s style. He relies on specific elements, such as strong and wide vibratos, razor-sharp string bending and expressive legato techniques, delivered with a swinging 16th-note triplet feel. </p> <p>Throughout, Stevie focuses his formidable technique on emotionally expressive phrases, as each new improvised melody balances perfectly against the last.</p> <p> Jimi’s original studio take may have been a mere 2:24 in length, but SRV uses “Little Wing” as a vehicle for extended improvisation, as this stellar version stretches out to just over seven minutes long. A huge plus for all guitarists is that the DVD of this concert, <em>Live at the El Mocambo</em>, stays focused on his hands virtually the entire time, allowing for close scrutiny of just about every blazing lick, bend and vibrato that he performs.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/NNgcKoJAYgs" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>03. Voodoo Chile (Slight Return) (<em>Couldn’t Stand the Weather</em>, 1984)</strong></p> <p>It’s ballsy when any guitarist attempts to cover a Jimi Hendrix song, let alone a masterpiece like “Voodoo Chile (Slight Return).” And even though SRV was no ordinary guitarist, he labored long and hard over the decision to include his version of the tune on his second album, <em>Couldn’t Stand the Weather.</em></p> <p> “I love Hendrix’s music,” Vaughan told <em>Guitar World</em> in 1985, “and I just feel it’s important for people to hear him. I know if I take care of his music that it will take care of me. I treat it with respect—not as a burden. See, I still listen to Hendrix all the time, and I doubt I’ll ever quit.”</p> <p> In many ways Stevie was a perfect envoy for Jimi, as witnessed by his electrifying studio take on “Voodoo.” His uncanny ability to smooth out some of Hendrix’s weirder edges without losing any of the music’s power or excitement allowed him to credibly deliver Jimi’s avant-garde blues to a whole new generation of guitar fanatics.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/sF2ZqlPNuqU" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>02. “Pride and Joy” (<em>Texas Flood</em>)</strong></p> <p>Imagine what radio listeners in 1983 thought when they first heard the fat, droning Eb notes that kick off Stevie Ray Vaughan’s “Pride and Joy.” </p> <p>After their steady diet of Irene Cara, Flock of Seagulls and Human League, did they even know it was a guitar? Regardless, the notes—which quickly morphed into a rollicking Texas shuffle—underscored the return of heart-felt guitar music as a viable artistic force. </p> <p>Part of what makes “Pride and Joy” stand out from, well, pretty much everything else is its reliance on heavy-gauge open strings, including the high E (.13, tuned to Eb), B (.15, tuned to Bb) and low E (.58, tuned to Eb). Throw in Vaughan’s trademark “Number One” Strat, an Ibanez TS-808 Tube Screamer, a Roland Dimension D Chorus and a Dumble amp (which belonged to Jackson Browne), and you’ve got something truly unique. </p> <p>“Stevie wrote ‘Pride and Joy’ for this new girlfriend he had when he was inspired by their relationship,” Layton said. “Then they had a fight and he turned around and wrote ‘I’m Cryin’,’ which is really the same song, just the flip side, lyrically.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/0vo23H9J8o8" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>01. “Texas Flood” (<em>Texas Flood,</em> 1983)</strong></p> <p>Stevie Ray Vaughan and Double Trouble—bassist Tommy Shannon and drummer Chris Layton—didn’t walk into Jackson Browne’s Down Town Studio in Los Angeles in late 1982 with highfalutin plans about recording their monster debut album. </p> <p>In fact, their sites were set much lower. “We were just making a tape,” Layton said. “We hoped maybe we were making a demo that would actually be listened to by a real record company.” Browne had offered them 72 hours of free time, and the group recorded 10 songs over its last two days at the studio. </p> <p>The last tune to be tracked was “Texas Flood,” an obscure slow-blues tune recorded in 1958 by Texas bluesman Larry Davis (with Fenton Robinson on guitar) that had been a staple of Vaughan’s live shows for years. Vaughan’s version, which borrowed heavily from Davis’ arrangement and singing style, was recorded in a single take—live—just as the clock ran out. According to Nick Palaski and Bill Crawford’s <em><a href="http://www.amazon.com/Stevie-Ray-Vaughan-Caught-Crossfire/dp/0316160695">Stevie Ray Vaughan: Caught in the Crossfire</a></em>, there were only two overdubs, both covering mistakes made when Vaughan broke strings. </p> <p>Listening to Vaughan’s ferocious Albert King–on-steroids two-string bends, it’s a miracle another three or four E and/or B strings didn’t self-destruct every few bars. </p> <p>The stark, five-and-a-half-minute recording is a composite of everything that made Vaughan great, from the note choices to the intensity to his ability to learn from, yet build upon, the groundwork laid by his influences.</p> <p><iframe width="360" height="365" src="https://www.youtube.com/embed/m3159YIe2OU" 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="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/austin-power-stevie-ray-vaughans-30-greatest-recordings#comments best Damian Fanelli geatest GW Archive GWLinotte October 2014 SRVDF Stevie Ray Vaughan top 30 Guitar World Lists Videos News Features Magazine Wed, 10 Jun 2015 14:16:41 +0000 Damian Fanelli, Brad Tolinski, Andy Aledort 23661 at http://www.guitarworld.com Stevie Ray Vaughan and Jimmie Vaughan Play Double-Neck Guitar — Video http://www.guitarworld.com/stevie-ray-vaughan-and-jimmie-vaughan-play-double-neck-guitar-video <!--paging_filter--><p>I know, I know. Die-hard Stevie Ray Vaughan and Jimmie Vaughan fans—myself included—have already seen this video 43.677777 times.</p> <p>However, that doesn't make it any less appealing. And, since it wound up in my crowded inbox this morning, I thought I'd share it with the masses!</p> <p>The clip, which was shot aboard the S.S. Presidente in New Orleans in February 1987, shows Stevie Ray and his big brother, then-Fabulous Thunderbirds guitarist Jimmie, playing a double-neck guitar—at the same time.</p> <p>They start with an upbeat I-IV-V tune along the lines of Stevie Ray's "Rude Mood" before shifting into "Pipeline," the Chantays' 1962 surf-rock classic, at the 3:16 mark. They also switch necks along the way!</p> <p>The guitar, which was built by <a href="http://www.robinguitars.com/">Robin Guitars</a> of Houston, had two maple necks, each with a different-scale length and a pointy "drooped"-style reversed headstock with locking machine heads. It also had (or has, assuming it's still around) <a href="http://www.riograndepickups.com/">Rio Grande single-coil pickups</a>. </p> <p>This guitar was dubbed the "Family Guitar," which foreshadowed the title of the Vaughan Brothers' only album as a bona-fide duo, 1990's <em>Family Style.</em></p> <p>Enjoy!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/iSjRggiSBrU" 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="/jimmie-vaughan">Jimmie Vaughan</a> </div> <div class="field-item even"> <a href="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/stevie-ray-vaughan-and-jimmie-vaughan-play-double-neck-guitar-video#comments Damian Fanelli Jimmie Vaughan SRVDF Stevie Ray Vaughan Videos Blogs News Tue, 09 Jun 2015 21:25:44 +0000 Damian Fanelli 23463 at http://www.guitarworld.com Deep Respect: Ritchie Blackmore's Musical Tribute to Jon Lord, "Carry On...Jon" http://www.guitarworld.com/deep-respect-ritchie-blackmores-musical-tribute-jon-lord-carry-onjon <!--paging_filter--><p>Blackmore's Night released their latest studio album, <em>Dancer and the Moon</em> (Frontiers Records), two years ago, right around this time of year.</p> <p>Among the album's highlights is an instrumental track called "Carry On...Jon," which Blackmore's Night guitarist and co-founder Ritchie Blackmore wrote as a tribute to his former Deep Purple bandmate, Jon Lord, who died July 16, 2012, at age 71.</p> <p>Today (June 9, 2015), on what would have been Lord's 74th birthday, we present "Carry On...Jon" for your listening pleasure.</p> <p>On the nearly six-minute-long minor-key track, Blackmore employs a creamy, overdriven Strat tone. The track has an organic, almost live feel to it; you can even hear what sounds like Blackmore flipping his five-way pickup switch at the 1:01 mark.</p> <p>Blackmore recently discussed the track with <a href="http://www.nj.com/entertainment/index.ssf/2013/06/ritchie_blackmore.html">New Jersey's Star-Ledger</a> newspaper:</p> <p>"We were snowed in ... the engineer and myself, the producer, we had nothing to do. I said, ‘I have an instrumental I’ve vaguely finished. Do you want to try it?’</p> <p>"I wrote it on the spur of the moment. I had a very melancholy kind of tune. Then I started thinking about Jon. I thought maybe we should do an organ part at the end, as a tip of the hat to Jon. Pat Regan is an accomplished organist. We put the organ sound on, and off he went. I guided him on a few things, like riffs and how Jon played syncopation with his right hand.</p> <p>"It was a throwaway idea that turned into something. It was something to Jon, a way of saying thanks for the years. It’s hard to talk about, when someone says, ‘What did you think of Jon?’ I’d rather play a tune. We wouldn’t have put it on if we hadn’t been snowed in. Maybe Jon caused the blizzard."</p> <p>Regan's keyboard work can be heard on albums by Blackmore's Night, Warrant, Billy Sheehan, Vanilla Fudge, Mr. Big and more.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/R5bc06vGF_c" 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="/deep-purple">Deep Purple</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/deep-respect-ritchie-blackmores-musical-tribute-jon-lord-carry-onjon#comments Blackmore's Night Damian Fanelli Deep Purple Jon Lord Ritchie Blackmore Blogs News Tue, 09 Jun 2015 14:52:47 +0000 Damian Fanelli 24658 at http://www.guitarworld.com Essential Listening: 10 Great Fuzz Guitar Songs http://www.guitarworld.com/essential-listening-10-great-fuzz-guitar-songs <!--paging_filter--><p>Musicians can still be a little fuzzy when it comes to describing the sound of fuzz. </p> <p>Some guitarists will tell you it sounds like a 2,000-pound bee trapped in a sturdy metal box—perhaps with a potentiometer installed somewhere behind the wings. </p> <p>And while many fuzz guitar tunes and tones did (and do) make the most of the original fuzz "buzz" sound, fuzz actually has many facets, many sides, many fuzz faces, if you will.</p> <p>Here are 10 songs—compiled by several members of the <em>Guitar World</em> staff—that we feel represent a wide spectrum of fuzz sounds and cover a lot of stomping ground. These songs are presented in no particular order. I repeat: These songs are presented in no particular order!</p> <p>If you want to track down any of these tracks, you'll find all 10 original album covers in the photo gallery below.</p> <p>For more fuzz box info, check out Chris Gill's <em>Guitar World</em> feature on <a href="http://www.guitarworld.com/how-buy-fuzz-box-guide-first-time-buyer">"How to Buy a Fuzz Box: A Guide for the First-Time Buyer."</a> And if you've still got stompbox fever, check out our guide to <a href="http://www.guitarworld.com/mass-effect-top-50-stomp-boxes-devices-and-processors-all-time">"The Top 50 Stomp Boxes, Devices and Processors of All Time."</a> Enjoy!</p> <p><strong>The Ventures, "The 2000 Pound Bee"</strong></p> <p>Let's start at the beginning, namely "The 2000 Pound Bee," a 1962 track by the Ventures, the best-selling instrumental band of all time. While no one (including us) wants to make the claim that this is <em>the</em> first song to feature intentional fuzz guitar (as in, fuzz as the result of an effect pedal, as opposed to a busted speaker cone), it is commonly accepted to be exactly that (Although we must mention that it's not necessarily true). The Ventures were always ahead of the curve when it came to weird effects, as best demonstrated by their very "out there" 1964 album, <em>The Ventures In Space</em>. That's Nokie Edwards playing the fun, fuzzy riff, by the way. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/U9UI92m77bY" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>The Yardbirds, "Heart Full of Soul"</strong></p> <p>And to think these guys originally tried to play this classic guitar riff on a sitar! Seriously, why bother? Jeff Beck's tone on this mid-1965 hit single pretty much exemplifies the still-much-sought-after mid-'60s "fuzz" and/or "buzz" tone. Oddly enough, Beck used a fuzz box to recreate the tone of a sitar, the very instrument that didn't cut it in the first place. Beck is playing an MKI Tone Bender pedal on this track. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/obZwT_MTxWA" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>The Doors, "When the Music's Over"</strong></p> <p>Back to California we go, with the Doors' 11-minute-long "When the Music's Over," a standout track from 1967's <em>Stange Days</em>. "Fuzz distortion was all we had," Doors guitarist Robby Krieger has said in past interviews. "We didn't have overdrive on our amps." In a <em>Guitar Player</em> magazine interview, he added that the fuzz was created by recording direct and cranking the gain/overdriving tube input on the mixing board. Regardless of how he achieved the fuzz tone on this track, it is beautiful, bizarre and creepy all at once!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/YkKRU1ajKFA" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>Iron Butterfly, "In-A-Gadda-Da-Vida"</strong></p> <p>Let's stay in the Sixties a bit longer with an extended visit to the garden of life, aka "In-A-Gadda-Da-Vida" from Iron Butterfly's super-psycho 1968 album of the same bizarre name. Yes, that sentence was a mouthful—and this 17-minute-long track is an earful of pretty much every late-'60s psychedelic-rock cliche. You have the lengthy drum solo, the spooky church-organ-style keyboards, the arguably meaningless lyrics and, of course, the fuzz guitar. This time, the fuzz is courtesy of an original Mosrite Fuzzrite—and teenage guitarist Erik Braunn. For more about the Fuzzrite, <a href="http://www.generalguitargadgets.com/projects/73-fuzz-tones/257-mosrite-fuzzrite">check out this site.</a></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/UIVe-rZBcm4" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>The Guess Who, "American Woman"</strong></p> <p>Don't worry—we'll return to Sixties (We have to; we haven't mentioned Jimi Hendrix and his Fuzz Face yet). However, let's take a brief detour to early 1970, and up north to lovely Canada, home of the Guess Who, a band that scored a major hit with this tune about women from "south of the border." The song is noteworthy for Randy Bachman's unique, creamy, sustaining, neck-pickup tone (or "cow tone," as Ozzy Osbourne might say). For more about Bachman's adjective-laden "American Woman" tone (and how it came to be that way), <a href="http://randysvinyltap.com/phpBB3/viewtopic.php?f=5&amp;t=29">check out this website.</a> </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/gkqfpkTTy2w" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>Jimi Hendrix, "Foxy Lady"</strong></p> <p>You knew this was coming! "Foxy Lady"—or pretty much any track from Jimi Hendrix's debut album, <em>Are You Experienced?</em>—is a prime example of Hendrix playing his Fender Strat through a <a href="http://en.wikipedia.org/wiki/Fuzz_Face">germanium Fuzz Face pedal</a> (a Fuzz Face using germanium transistors.) Most germanium pedals simply reflect the qualities of a vintage tube amp, but in super-cranked mode, providing a warm sound when the speaker breaks up. It's a "rounder" distortion, as heard on "Foxy Lady." It's not at all what you hear on the Yardbirds' "Heart Full of Soul" or "Over Under Sideways Down." These days, Jim Dunlop makes a faithful reproduction of a slightly-later Hendrix pedal—his 1969/'70 <a href="http://en.wikipedia.org/wiki/Dallas_Arbiter">Dallas Arbiter</a> Fuzz Face, which was built around a BC108 silicon transistor. For more about the new Hendrix Fuzz Face, <a href="http://www.jimdunlop.com/product/jhf1-jimi-hendrix-fuzz-face">head here.</a></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/2SXVOkJTSTs" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>Jeff Beck, "Beck's Bolero"</strong></p> <p>Yes, it's Jeff Beck again, this time as a solo act, still fuzzing away. "Beck's Bolero"—released in March 1967—was the B-side of Beck's first single, "Hi Ho Silver Lining" (which features the mop-topped guitarist on vocals—a true rarity). The brief but powerful instrumental features Beck and Jimmy Page on guitar (Beck on lead, of course), John Paul Jones on bass, Nicky Hopkins on piano and Keith Moon on drums. It was recorded in mid-1966, before there was a Led Zeppelin—and before Beck had even left the Yardbirds. Although we'll try to verify this the next time we speak to Beck, it is widely believed he used a Mk.II/Supa Fuzz pedal on this song. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/nmO0OZC6Ifk" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>Smashing Pumpkins, "Cherub Rock"</strong></p> <p>We haven't mentioned the Big Muff yet! Enter "Cherub Rock" by Smashing Pumpkins, a killer song in general and a perfect example of the sound of an early Big Muff. The rest of the Billy Corgan's recording chain is most likely a Strat and a Marshall amp; but the Big Muff is doing the talking here.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/q-KE9lvU810" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>Beastie Boys, "Sabotage"</strong></p> <p>Here's a curve ball for you, direct from New York City! It's "Sabotage" by the Beastie Boys, which makes this list on the merits of its fuzz bass sound, which is absolutely killer—and nearly as cool as the song's mustache-heavy music video. As heard in other fuzz-bass-centric tunes, including the Beatles' "Think for Yourself," the bottom end gets a bit lost, but the gains (no pun intended) are many. The bass was played through a Black Cat Superfuzz unit, which was based (again, no pun ...) on a 1970s Univox Superfuzz. Like its inspiration, the Black Cat truly pounces and shrieks! Insert your own cat-related puns here. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/z5rRZdiu1UE" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>The Rolling Stones, "(I Can't Get No) Satisfaction"</strong></p> <p>We'll wrap things up with a classic from 1965: "(I Can't Get No) Satisfaction" by the Rolling Stones. The famous fuzz riff with the almost-trombone-like tone is played by the maestro, Keith Richards, who happens to be playing through a Maestro Fuzztone FZ-1, a pedal made by Gibson/Norlin. The Maestro, which had a tone and fuzz potentiometer, plus a push on/off footswitch, was probably the best-known early commercial distortion circuit. The massive success of "Satisfaction" led to increased interest in fuzz pedals and sound research — not to mention stories like the one you're just finishing reading now.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/3a7cHPy04s8" frameborder="0" allowfullscreen></iframe></p> <p><em>Damian Fanelli is the online managing editor at </em>Guitar World<em>. <a href="https://soundcloud.com/damian-fanelli/the-blue-meanies-heart-full-of">Here he is playing a Fender Nashville Tele through a Tone Bender clone on the Blue Meanies' version of "Heart Full of Soul."</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/doors-0">The Doors</a> </div> <div class="field-item even"> <a href="/jeff-beck">Jeff Beck</a> </div> <div class="field-item odd"> <a href="/jimi-hendrix">Jimi Hendrix</a> </div> <div class="field-item even"> <a href="/billy-corgan">Billy Corgan</a> </div> <div class="field-item odd"> <a href="/keith-richards">Keith Richards</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/essential-listening-10-great-fuzz-guitar-songs#comments Beastie Boys Damian Fanelli Essential Listening Jimi Hendrix The Doors The Yardbirds Guitar World Lists News Features Mon, 08 Jun 2015 19:21:24 +0000 Damian Fanelli 18286 at http://www.guitarworld.com Stevie Ray Vaughan, B.B. King and Albert Collins Play "Texas Flood" — Video http://www.guitarworld.com/stevie-ray-vaughan-bb-king-and-albert-collins-play-texas-flood-video <!--paging_filter--><p>The recent passing of the great B.B. King has inspired a host of casual blues fans to dig deep into their record collections—or into the depths of their iTunes libraries—to take a quick refresher course on exactly what made King so special, so rare.</p> <p>Oddly enough, I had actually started revisited his expansive catalog back in April, the week before he was reported ill.</p> <p>Which then led me to look for seldom-seen clips of King and his beloved Gibson guitar, Lucille, in action—hopefully with my favorite guitarist of all time, Stevie Ray Vaughan, along for the ride.</p> <p>Luckily, there's a handful of King-and-Vaughan clips available on YouTube. My favorite of them all, however, is this pro-shot video from April 22, 1988, when Vaughan, King and fellow blues legend Albert Collins performed "Texas Flood" aboard the S.S. President as part of the 1988 New Orleans Jazz &amp; Heritage Festival.</p> <p>While I usually think of King as "the guitarist who says more with one note than most guitarists say with 20," he seems to have abandoned that philosophy in this clip in favor of some B.B. King-style shredding. Maybe he was inspired by the two fleet-fingered Texans on stage with him. </p> <p>What we hear (and see) is actually a very exciting, fluid and extended solo by King, who kicks things off with one of the Albert King-style bends so strongly associated with SRV's studio and live versions of the Larry Davis composition.</p> <p>Up next is a solo by Vaughan, who is his usual one-in-a-billion self, followed by a tasteful solo by Collins, who was known as "the master of the Telecaster" and "the Ice Man." It's fun to go from the tones of King's Gibson Lucille model to Vaughan's Strat to Collin's extra-pointy Tele.</p> <p>There's a lot of great guitar playing in this video, and it's great to see all the smiling faces and beautiful gear. But it's also a sad reminder that some of the greatest blues players of modern times are gone forever. Vaughan died August 27, 1990, just before turning 36. Collins died November 24, 1993, at age 60. King died May 14, 2015, at age 89.</p> <p><em>You can find Damian Fanelli's most recent liner notes in Sony/Legacy's </em>Stevie Ray Vaughan: The Complete Epic Recordings<em> box set from 2014. <a href="https://twitter.com/damianfanelli">Follow him on Twitter.</a></em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/p3KTjeqltuQ" 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="/bb-king">B.B. King</a> </div> <div class="field-item even"> <a href="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> <div class="field-item odd"> <a href="/albert-collins">Albert Collins</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/stevie-ray-vaughan-bb-king-and-albert-collins-play-texas-flood-video#comments Albert Collins B.B. King Damian Fanelli SRVDF Stevie Ray Vaughan Videos News Thu, 28 May 2015 19:37:07 +0000 Damian Fanelli 24571 at http://www.guitarworld.com Stevie Ray Vaughan's Top Five Studio Guest Appearances http://www.guitarworld.com/top-five-studio-guest-appearances-stevie-ray-vaughan <!--paging_filter--><p>For someone who spent a mere seven years in the spotlight, Stevie Ray Vaughan left behind an impressive amount of recorded material.</p> <p>He released four studio albums, a double live album and a Vaughan Brothers album (recorded with his big brother, Jimmie Vaughan), not to mention enough leftover live and studio material to fill several posthumous albums and a box set or two. </p> <p>He even found time to perform on albums by several other artists—from Teena Marie to Stevie Wonder to Don Johnson to Lonnie Mack—pretty much always with fiery results. </p> <p>With that in mind, here are Vaughan's top five guest appearances as a guest or session guitarist during his "famous" years, 1983 to 1990. We'll discuss his pre-fame session work in another story (maybe).</p> <p>Just so the Vaughanophiles are clear, this list does not take into account Vaughan's 1983 Canadian TV studio appearance with Albert King—or anything recorded in a TV studio, a radio studio or a studio apartment. </p> <p>It also doesn't include his <a href="http://www.guitarworld.com/stevie-ray-vaughan-and-dick-dale-play-pipeline-video-thats-got-it-all">1987 recording of "Pipeline" with Dick Dale</a> because that track is credited to the duo, so neither guitarist is the other's "guest."</p> <p><strong>05. A.C. Reed, "Miami Strut," from <em>I'm In the Wrong Business!</em> (1987)</strong></p> <p>A.C. Reed was a respected Chicago-based sideman who started his lengthy career in the Forties and worked with a host of big names, including Magic Sam, Son Seals, Albert Collins and Buddy Guy.</p> <p>"Miami Strut" is a funky instrumental that features Vaughan playing a Strat through a Leslie cabinet, its revolving speaker providing an exceptionally "wet" sound. Note how he plays around Reed's catchy tenor sax riffs, making his guitar an integral part of the track. Vaughan's guitar solo starts around 1:22.</p> <p>Because the album, which also features Bonnie Raitt, was released in 1987, it represents a lost period in Vaughan's discography, since <em>Soul to Soul</em> came out in 1985 and <em>In Step</em> came out in 1989. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/GZq5akABb9A" frameborder="0" allowfullscreen></iframe></p> <p><strong>WHILE YOU'RE AT IT</strong>: Check out "These Blues Is Killing Me" from the same album. Vaughan's guitar solo starts around 2:06. That's Reed on vocals.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/_YTQLQiNXIE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>04. Bennie Wallace, "All Night Dance," from <em>Twilight Time</em> (1985)</strong></p> <p>Here's Vaughan guesting with another sax player—this time Bennie Wallace (with Dr. John)—on another blues-based instrumental, a lengthy shuffle called "All Night Dance" from Wallace's now-out-of-print 1985 <em>Twilight Time</em> album. The song also was featured on the <em>Bull Durham</em> soundtrack album in 1988—and even that's out of print (Good luck finding it for less than $60 on Amazon Marketplace or eBay!).</p> <p>Stevie's guitar solo starts around 3:24, and he really pours it on, dialing up his <em>Soul to Soul</em> sound and including several signature SRV motifs and bends. </p> <p>Like a great songwriter who sometimes relegates jaw-dropping tunes to the cutting-room floor or non-album B-sides, Vaughan recorded this brilliant guitar solo one random day in his career—and then just moved on to the next gig, never really looking back.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/vfyhbaJ7CpU" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>03. Johnny Copeland, "Don't Stop by the Creek, Son," from <em>Texas Twister</em> (1984)</strong></p> <p>Texas blues guitarist and singer Johnny Copeland (father of blues singer Shemekia Copeland) invited Vaughan to play on two tracks on his <em>Texas Twister</em> album. On "Don't Stop by the Creek, Son," Copeland, a fine player in his own right, stepped aside to let Vaughan handle all the lead work. </p> <p>Although Vaughan's Strat was mixed a little too low in the original vinyl mix (It had to compete with Copeland's acoustic guitar), "Creek" is a fun, engaging, upbeat track with a catchy melody and some nifty guitar work from start to finish.</p> <p>It's worth noting that the original 1984 Black and Blues version of <em>Texas Twister</em> featured two tracks with Vaughan on guitar—"Don't Stop by the Creek, Son" and "When the Rain Stops Fallin'." However, when the album was reissued by Rounder Records in 1986, "When the Rain Stops Fallin'" was gone—and it's still gone. iTunes sells only the <a href="http://itunes.apple.com/us/album/texas-twister/id446039365">1986 version of the album</a></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/nM9-QRPGc_U" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>02. Lonnie Mack, "If You Have to Know," from <em>Strike Like Lightning</em> (1985)</strong></p> <p>Serious Vaughan fans got a nice bonus in 1985: Alligator Records released Lonnie Mack's masterful <em>Strike Like Lightning</em> album, which was co-produced by Vaughan and Mack, one of SRV's many guitar idols (Check out Mack's classic 1964 album, <em><a href="http://itunes.apple.com/us/album/the-wham-of-that-memphis-man!/id285852886">The Wham of That Memphis Man!</a></em>).</p> <p>Vaughan plays on several songs on the album, but he actually plays and sings on "If You Have to Know," making it the closest thing to a straight-ahead bonus SRV track. Check it out below.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/jMj-q5A7MfM" frameborder="0" allowfullscreen></iframe></p> <p><strong>WHILE YOU'RE AT IT</strong>: From the same album, be sure to get a taste of "Oreo Cookie Blues," which features Vaughan on acoustic guitar, predating "Life By the Drop" and his <em>Unplugged</em> appearance by five years ...</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/ZsDcBg4X7fQ" frameborder="0" allowfullscreen></iframe></p> <p>... and don't forget "Double Whammy" (a new recording of Mack's early Sixties instrumental hit "Wham!" featuring Vaughan and Mack duking it out in E), "Hound Dog Man" and "Satisfy Suzie," which you can hear below. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/Snxi6CW42fE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>01. David Bowie, "Cat People (Putting Out the Fire)," from <em>Let's Dance</em> (1983)</strong></p> <p>Come on, you knew something from David Bowie's <em>Let's Dance</em> album had to be No. 1 on this list. </p> <p><em>Let's Dance</em> served as the world's introduction to Vaughan, who, with Bowie, invented something new by adding Texas-style blues guitar to contemporary, dance-based pop music—raising eyebrows, expectations and bank accounts for all involved.</p> <p>Vaughan plays lead guitar on several tracks, including two of the album's many mega-hits ("Let's Dance" and "China Girl"), but guitar-wise, the song that truly kicks collective ass is the less-famous "Cat People (Putting Out the Fire)." It's also got the album's healthiest serving of SRV; he solos in the middle, adds Albert King-style bends throughout and then solos near the end of the song.</p> <p>Note that Bowie recorded two studio versions of this song in the early Eighties; be sure to seek out the <em>Let's Dance</em> version (not that there's anything wrong with the other one).</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/n4xpdaIZyzs" frameborder="0" allowfullscreen></iframe></p> <p><strong>WHILE YOU'RE AT IT</strong>: It just feels wrong to leave out the album's title track—which millions of people can credit as the first time they heard Stevie Ray Vaughan.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Af6jOq0dWqo" frameborder="0" allowfullscreen></iframe></p> <p><strong><a href="http://www.guitarworld.com/top-five-studio-guest-appearances-stevie-ray-vaughan?page=0,5">Click here to read about THREE MORE SONGS featuring SRV!</a></strong></p> <hr /> <p>Welcome to the bonus page! I don't think too many people get this far. Poor them ...</p> <p>Here are three extra tunes that feature Vaughan as the guest guitarist, each interesting in its own way. </p> <p>Please note that we seriously wanted to include "Bumble Bee Blues" from Brian Slawson's 1988 album, <em>Distant Drums</em>, but it's not available on YouTube. You can always track down the CD on eBay for about $5.</p> <p>Anyway, here we go:</p> <p><strong>Stevie Wonder, "Come Let Me Make Your Love Come Down," from <em>Characters</em> (1987)</strong></p> <p>While the Vaughan-heavy video below is promising, it's also misleading. </p> <p>Sadly, the finished studio recording of this 1987 Stevie Wonder track features much less of Vaughan's playing, although he can be heard closer to the end of the song, going head to head with B.B. King. So make the most of this video! </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/6loFxCKwQjE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Don Johnson, "Love Roulette," from <em>Heartbeat</em> (1986)</strong></p> <p>What's interesting about this one? First of all, <em>Miami Vice</em> star Don Johnson released an album in 1986. Second of all, he got Vaughan to play on it. Third of all, the album reached No. 17 on <em>Billboard's</em> Hot 100. </p> <p>The album, <em>Heartbeat</em>, was a star-studded affair that also featured Dickey Betts of the Allman Brothers Band, Ron Wood of the Rolling Stones, Dweezil Zappa and Willie Nelson. Johnson eventually recorded one more album, 1989's <em>Let It Roll</em>.</p> <p>Vaughan's solo on "Love Roulette," which you can check out below, starts around 2:51.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/4bFxjRdzWO4" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>And then there's this thing, which is from a weird late-Eighties commercial filmed in New Zealand. We don't know what to make of it (and we don't really like it), but we figured we'd share:</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/R8S7yIZFa78" frameborder="0" allowfullscreen></iframe></p> <p><em>Photo from </em>Martin Scorsese Presents the Blues: Stevie Ray Vaughan<em> album cover</em></p> <p><em>Damian Fanelli is the online managing editor at </em>Guitar World<em>. Follow him on <a href="https://twitter.com/DamianFanelli">Twitter</a>. Or not. Whatever.</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/top-five-studio-guest-appearances-stevie-ray-vaughan#comments Damian Fanelli David Bowie Johnny Copeland list lists Lonnie Mack SRVDF Stevie Ray Vaughan Stevie Wonder Teena Marie Guitar World Lists Blogs News Features Wed, 20 May 2015 15:20:36 +0000 Damian Fanelli 16097 at http://www.guitarworld.com Stevie Ray Vaughan and Dick Dale Play "Pipeline" — a Video That's Got It All http://www.guitarworld.com/stevie-ray-vaughan-and-dick-dale-play-pipeline-video-thats-got-it-all <!--paging_filter--><p>The video below, a clip of Stevie Ray Vaughan and Dick Dale performing "Pipeline," one of the most famous surf-guitar instrumentals of all time, has got it <em>all.</em></p> <p>I mean, you've got the late, great Stevie Ray Vaughan, a righty ... you've got the under-appreciated Dick Dale, a lefty ... you've got Dick Dale's bizarre hair ... you've got Annette Funicello ... you've got some lovely Fender Stratocasters ...</p> <p>You've got Gilligan and the Skipper from <em>Gilligan's Island</em> ... there's Pee-wee Herman, not to mention several high-quality Eighties women in bikinis, a few Wayfarers, Frankie Avalon and more.</p> <p>The clip is, of course, taken from a 1987 comedy called <em>Back to the Beach</em>. For more about this non-classic film, <a href="http://en.wikipedia.org/wiki/Back_to_the_Beach">head here.</a></p> <p>Enjoy!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/56SAxtf-RTg" frameborder="0" allowfullscreen></iframe></p> <p><em>Former surf guitarist (check out Mister Neutron) Damian Fanelli is the online managing editor at </em>Guitar World<em>. Follow him on <a href="https://twitter.com/DamianFanelli">Twitter</a>. Or not. Whatever.</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/stevie-ray-vaughan-and-dick-dale-play-pipeline-video-thats-got-it-all#comments Damian Fanelli Dick Dale SRVDF Stevie Ray Vaughan Videos Blogs News Thu, 14 May 2015 21:16:01 +0000 Damian Fanelli 22218 at http://www.guitarworld.com Al Jardine Dives Deep Into Beach Boys History, Working with the Wrecking Crew and Touring with Jeff Beck http://www.guitarworld.com/boys-life-al-jardine-discusses-brian-wilsons-genius-touring-jeff-beck-and-working-wrecking-crew <!--paging_filter--><p>Five decades ago, the Beach Boys’ “Help Me, Rhonda,” a Brian Wilson/Mike Love composition sung by Al Jardine, helped itself to the top spot on the U.S. singles charts. </p> <p>It proved that an American band could hold its own during the height of the British Invasion. </p> <p>The hit single was actually a re-recording of the song, which started its life as an unassuming album track from 1965’s <em>The Beach Boys Today!</em> </p> <p>Disc jockeys suddenly started playing it, so Wilson, the band’s multi-tasking leader and producer, re-arranged the song for radio and organized a new recording session—and a hit was born. The single version appeared on the band’s second 1965 album (they released three that year), <em>Summer Days (and Summer Nights!!).</em></p> <p><em>Today!</em> and <em>Summer Days</em> were landmark albums for Wilson and the Beach Boys. The songs’ increasing lyrical depth and Wilson’s sophisticated orchestral “Wall of Sound” approach to production—achieved through the use of a team of L.A. session musicians unofficially known as “The Wrecking Crew”—laid the groundwork for his undisputed masterpiece, 1966’s <em>Pet Sounds</em>. </p> <p>When viewed as a group, these three albums show Wilson at the apex of his creative powers—completely deserving of the “visionary” crown he wore—off and on—for the next 50 years. </p> <p>Fifty summers after <em>Summer Days</em>, Wilson and Jardine—who shared six-string duties with lead guitarist Carl Wilson until Carl’s death in 1998—have hooked up for <a href="http://www.brianwilson.com/tour/">Brian Wilson’s No Pier Pressure Tour,</a> a U.S. trek that also features former Beach Boys guitarist Blondie Chapman. </p> <p>Jardine and Chaplin also appear on Wilson’s new studio album, <em>No Pier Pressure</em>, which was released April 7 through Capitol Records, the Beach Boys’ original label. The album also features guitar work by David Marks, another occasional Beach Boy.</p> <p>With all this Beach Boys mojo in the air, <em>Guitar World</em> invited Jardine to chime in on some of the good, bad and ugly moments in the Beach Boys’ long, storied and sometimes bizarre history. </p> <p>Incidentally, the 72-year-old Jardine still sings “Help Me, Rhonda” in the original key.</p> <p><strong>GUITAR WORLD: It’s become common knowledge that many of the instruments on the Beach Boys’ mid-Sixties albums were played by session musicians, including a gang of L.A. pros later known as the Wrecking Crew. Did that ever bother you—not always playing guitar on your band’s albums?</strong></p> <p>Oh, no, no, no. [laughs] I could go clean the pool, [drummer] Dennis [Wilson] could go surfing. Dennis was the first one to bolt. He was such an outdoor guy; he just liked being out with his cars and boats, surfing and all that. He was thrilled to be able to take some time off. [Wrecking Crew drummer] Hal Blaine and those guys were so good, so it allowed the music to go to another level. </p> <p>You have to remember, we were always gone, always out touring, and we were beat to hell when we got home. And then Brian, who stayed back and worked on the albums in the studio, would be calling us in to do vocals, which was a project in itself. Brian didn’t sleep. He was so impatient for us to be home. But I think Carl attended most of those sessions because he was Brian’s Number One go-to guy.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/cUxMupNEno4" frameborder="0" allowfullscreen></iframe></p> <p><strong>When you listen to the outtakes from the “Good Vibrations” recording sessions, Brian can be heard directing the musicians, very much the man in charge. Was it like that as soon as he started producing, even on 1963’s <em>Little Deuce Coupe</em> and early 1964’s <em>Shut Down Volume 2</em>?</strong> </p> <p>Pretty much, yeah. It was his vision. He was hearing the pattern, the melodies. He knew what he wanted, and that was great. It’s wonderful to have that energy, to have someone in charge. Otherwise, it would be a train wreck. Later on I played bass on a couple of the albums, so it gave Brian the opportunity to be behind the window in the control room. It must’ve been wonderful for him; otherwise he’d have to go back and forth between the studio and the control room. He usually had a little chart made up for us each day. I was impressed with his ability to impart that to the rest of us, even though we didn’t have musical training. Brian and I took music classes, but I think he dropped out, and I got an F. [laughs]</p> <p><strong>Did Brian’s vision extend to Carl’s guitar solos?</strong></p> <p>No, Carl gave that part to the band. He made up the solos. I was always the rhythm guitarist because I never had any guitar training. I just became the anchor behind that. </p> <hr /> <p>Brian would go to Carl because they lived together for a long time; he’d come to Carl first with an idea. He might sketch it out on the keys, like with “California Girls.” I think he told Carl what to play on that one. That was a beautiful session. </p> <p>They had such a great rapport, being brothers. Carl would do anything for him. They could sit in the control room all nice and peaceful and quiet, while the whole damn band was out on the floor, plug directly into the console and work on an intro or riff. </p> <p>And then there’s no bleed in from the other instruments because you’re going direct. That’s why the purity is so beautiful on “California Girls” in particular. That’s one of my favorite intros of all time. It’s so grand and clean, just straight to tape, no extra cables, pure signal.</p> <p><strong>How would you describe or rate Carl as a guitarist?</strong></p> <p>He, like the rest of us, just grew up with this thing, so we weren’t technically very good. But he had exceptional talent, just like his older brother. He had something special about his ear. He had an ear for pitch and alacrity on the fretboard. He wasn’t Jimi Hendrix, but he could play in structured areas. We made songs more as two- or three-minute statements like vignettes, and every eight bars had a reason. It wasn’t like the Grateful Dead. [laughs] It was our mission to make great hit records…and it was fun.</p> <p><strong>In terms of gear, do you still have any of your Sixties-era Beach Boys guitars or basses?</strong></p> <p>The problem is we kept losing them because we toured so much. They’d get stolen right off the back of the truck. We could never keep them in stock. We’d just have to get new ones, so I don’t have a clue where they are. So through the Sixties we’d just keep recycling them. I have a couple of replica Strats that play almost as good as the originals, or as the one I was playing in the Eighties, which is in the Rock and Roll Hall of Fame. I think I’m gonna ask for it back so I can go out and play it. It’s nice to look at, but it should be played. </p> <p><strong>Did you ever attend the Wrecking Crew Beach Boys sessions and mingle or confer with those legendary session guitarists, including Glen Campbell, Tommy Tedesco or Barney Kessel?</strong></p> <p>Oh god, yeah. Glenn even came out on the road with us for about six months. I was able to work up a real great friendship with him and help him out onstage because he wasn’t used to playing out on the road. He replaced Brian [in the touring band] in late 1964. He was going to have to sing Brian’s high parts and play the bass. He’s primarily a guitar player, so I offered to play the bass so he could concentrate on the high parts. That was a lot to ask of him. It was very sudden, just a couple of days’ notice. </p> <p>But yeah, I did meet all the guys and I did attend some tracking sessions. I couldn’t tell you which ones; there were so many. By the way, someone told me Hal Blaine considers me the best rhythm guitarist. I said, “Is he crazy?” [laughs] There are so many better players than me. But there’s a trick to good rhythm guitar, so I take that as high praise.</p> <p><strong>Of course, even if you didn’t always play guitar or bass on a bulk of those mid-Sixties sessions, you’d still have to learn the parts for when you toured behind a new album. Was Brian involved in helping you come up with those live arrangements?</strong></p> <p>Oh, yeah. He actually came out on the road with us when we first performed “Good Vibrations,” and it sounded pretty damn good! That was one we were particularly concerned about. We had to have a Theremin made up, a little slide Theremin, a piece of wood with a ribbon on it, which made a real good sound. So we got that one down in its essential parts. </p> <p>What I’ve found is that all these songs were so well written that it really doesn’t matter if you have all the instruments. It’s wonderful if you can, and in this particular iteration of Brian’s band [on Wilson’s 2015 No Pier Pressure Tour], every part is on there, every instrument is being replicated. But in those days we had only five pieces, five guys singing and playing, but it still sounded good. It’s really all about the melody. If the melodies and harmonies are there, you can have a ukulele in the background. </p> <p><strong>After the cancellation of the doomed <em>Smile</em> album in 1967, Brian started to check out as the band’s sole producer. He struggled with drugs and even checked into a psychiatric hospital. How did the band take it, and how did you guys manage to take over the reigns so smoothly?</strong></p> <p>It was just necessary. He was checking out. He wasn’t always there, so we had to pick up the slack. So that’s when we started to contribute more as a band. I think it was remarkable what we came up with, looking back on it. It wasn’t commercial at the time, but it certainly has had an impact. </p> <p>Decades later, people were starting to appreciate what Dennis and Carl came up with—and me, for that matter. It really goes to show you what we can do when the chips are down. We encouraged Brian to stay involved, but mental illness has a way of having its own way. It’s amazing that we’re back again today doing this. It’s an amazing feat that he’s so accessible and capable of delivering the music with this great band. And we’re having a good time doing it! We should, we deserve it. Damn right, man, after all we’ve been through.</p> <hr /> <p><strong>After the “Wall of Sound”/Wrecking Crew era, when all the Beach Boys took a more hands-on approach to tracking and producing, did you guys ever feel drawn to the sort of thing Jimi Hendrix and Led Zeppelin were doing? </strong></p> <p>Did you want to go out and get some Marshall stacks? And, while I’m at it, did you ever meet Hendrix?</p> <p>No, I never met him. And no, we were minimally able to play our own music, let’s put it that way. We were pretty good, but we weren’t into “big and loud.” We didn’t have that need, because I think it’s a need. </p> <p>Sort of, “If something is louder, it’s better.” But for Carl and me, we were painting a canvas. Jimi was one of the best in the world, but they were more of a performance phenomenon, representing an era. We were more like painters, painting music with our guitars and our productions, and they were blasting it, I guess.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/uigK_hHW-b0" frameborder="0" allowfullscreen></iframe></p> <p><strong>Speaking of blasting it, there are some wild, uncharacteristically “big” guitar solos on some of the post–<em>Smiley Smile</em> albums the band produced as a team. For instance, who’s playing that crazy solo on “Bluebirds Over the Mountain” from 1969’s <em>20/20</em>?</strong></p> <p>Oh, god. That’s Eddie Carter, master of the guitar. He and Jimi were friends. So maybe you’re hearing some Jimi in there. Eddie played bass on all those tracks that Brian or I didn’t play on, and it was Eddie during the living room sessions [Editor’s note: The band often recorded in Brian Wilson’s Bel Air living room from 1967 to 1972]. But Eddie played guitar on “Bluebirds.” </p> <p>It was such a big deal at the time. You had to have a big guitar solo because all those big guitar guys were happening. So, hey, if the Beach Boys have a big guitar solo on their record, that’s really gonna be great! That’s really gonna help out. It didn’t work out as well as we thought it would. </p> <p>We joke with Eddie about it now because it was a really good solo but very out of character with what we were known for, as I mentioned earlier. It was kind of a clash of cultures, an experiment that went somewhat awry. But yeah, it was no big deal for Carl to say, “You play on this.” There were no egos in the band. Everybody has a threshold of what they do best. That’s what’s great about being in a group; if someone’s uncomfortable with something, let someone else do it. It’s always been about the song, the completed project. Get completion, get it done.</p> <p><strong>How about that metallic-sounding heavy-fuzz guitar solo on “Feel Flows” from 1971’s <em>Surf’s Up</em>?</strong></p> <p>That’s Carl. I just love that song. It’s Carl on the Wurlitzer too. That and “Long Promised Road.” He had that knack for playing the Wurlitzer; he got quite a sound on it, and the chorus was beyond real. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/gh1YKIZlXWs" frameborder="0" allowfullscreen></iframe></p> <p><strong>Speaking of great guitarists, what was it like touring with Jeff Beck in 2013?</strong></p> <p>He’s an exhibitionist, man. He’s got that beautiful style. He showed me a couple of riffs and said, “You can do this, it’s really easy. It sounds incredibly complicated, but…” [laughs] He just sees it differently, sees in different colors. He can’t believe I’m still playing with a pick! His hands are like the size of a football; his thumb is doing all the work. It’s hard to believe he can get that great sound, but he’s got it all dialed in. But yeah, we stood right next to each other on that tour. I had the best seat in the house.</p> <p><em>For more about Brian Wilson’s No Pier Pressure Tour featuring Al Jardine and Blondie Chaplin, visit <a href="http://www.brianwilson.com/tour/">brianwilson.com/tour.</a></em></p> <p><em>Photo: (from left) Ricky Fataar and Blondie Chaplin in the studio with Al Jardine, Mike Love and Carl Wilson in the early Seventies. Michael Ochs Archives/Getty Images</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/jeff-beck">Jeff Beck</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/boys-life-al-jardine-discusses-brian-wilsons-genius-touring-jeff-beck-and-working-wrecking-crew#comments Al Jardine Beach Boys Brian Wilson Damian Fanelli GWLinotte June 2015 Interviews News Features Magazine Thu, 14 May 2015 18:14:16 +0000 Damian Fanelli 24474 at http://www.guitarworld.com Dear Guitar Hero: Noel Gallagher Talks New Album, the Sad State of Rock and Billion-Dollar Oasis Reunion http://www.guitarworld.com/dear-guitar-hero-noel-gallagher-discusses-chasing-yesterday-state-rock-and-possibility-oasis-reunion <!--paging_filter--><p>As the primary songwriter in Oasis, he was responsible for such Nineties mega-hits as “Wonderwall” and “Champagne Supernova,” and occasionally had violent, public fights with his singer brother Liam. </p> <p>But what <em>Guitar World</em> readers really want to know is… </p> <p><strong>You produced the new Noel Gallagher’s High Flying Birds album, <em>Chasing Yesterday</em>, by yourself. It’s the first time you’ve ever done that. Why did you go that route, and what was the experience like? — Scott Ringle</strong></p> <p>Because my producer that I’ve used for the last 10 years, Dave Sardy, has decided to get into the film industry, so he’s not doing records anymore. At least that’s what he told me. He probably thought the demos were shit. [laughs] I found it very fulfilling. I also found it very easy, and I’ve come to the conclusion that producers actually might be the biggest batch of fucking chancers in all of musical history.</p> <p><strong>What gear are you using on your current tour? — Robert Nivelle</strong></p> <p>Amp-wise, I’m using a very special-edition Hiwatt Custom 100 combo that was made as a prototype for me in the late Nineties and was never put into production. I have the only one, and it’s fucking amazing. For just my own stage sound, not in the mix, I use a Fender Blues Jr. </p> <p>My guitars consist of a 1960 Gibson ES-355, two 1960s Gibson ES-345s, a Nash Guitars ’72 Tele-style, plus a Martin D-28 and Gibson J-150. I had a very expensive 1963 off-white Strat stolen from me about three years ago. It was the best Strat I’d ever played. And I thought, I’m not fucking spending that much money to replace it, so I bought a Nash copy of it, and it’s the best guitar I’ve ever owned. Ever. And the Nash Tele is astonishing. I use them both all over my new record.</p> <p><strong>I haven’t been hearing a lot of guitar on your recent albums. Any plans on getting back into guitar in the near future? — John Jellicoe</strong></p> <p>Well, on my previous record [2011’s <em>Noel Gallagher’s High Flying Birds</em>] there was one guitar solo. On this record, there are nine. So, fuck you [laughs]. It’s not something that was thought out in advance; it just depends on the songs I’m working on. These songs have guitar solos in them. The next album I make, if I do make another one, might have no guitars on it whatsoever. I don’t know. I’ll decide when I decide to make a record.</p> <p><strong>What do you listen to at home and in the car? — J. Algernon Hawthorne</strong></p> <p>I listen to pretty much everything apart from heavy metal. There’s no one particular music I prefer. I mean, I guess I prefer Sixties guitar pop above all else, but I listen to all sorts: dance music, jazz, punk…well, maybe not punk. But I listen to everything. That’s why my record’s so good. </p> <p><strong>Do you think popular music can ever be as important as it was in previous decades? — Damien Linotte</strong></p> <p>Clearly, the answer is no. There’s a new generation being born who were born in the modern age. I have a 15-year-old daughter, and the most important thing in her life is her fucking telephone, which just happens to have music on it. When I was growing up, the most important thing was music and television shows that had music in them, and the radio and shit like that. The modern world has a place for music, but it’s not the life-changing force it once was. There’ll never be another John Lennon, let’s put it that way.</p> <p> <strong>How’s your relationship with your brother Liam these days, and what would it take to get Oasis back together? — John Thomas</strong></p> <p>Our relationship is as good or as bad as it ever was, depending on how you perceive it. As for Oasis, it would take half a billion dollars. None of that Canadian shit. American dollars. Half a billion. Not million. Billion, with a B. </p> <p><strong>Do you have any plans for releasing a signature guitar through Gibson or Epiphone? — Trevor French</strong></p> <p>I’ve been asked and I kinda can’t be fucking bothered, do you know what I mean? It’s a funny thing, designing guitars. Because, let’s face it, somebody got it right in about 1956. What’s the point? You can do them in funky colors with funky switches and blah, blah, blah, this, that and the other. But really, if I was to sit down and design a guitar, it would be exactly the same as the one I fucking play. </p> <p>My main guitar, my 355, is in no way unique. It hasn’t got any unique, specific features on it. It’s just a fucking great guitar. It sounds great, has great pickups. I mean, what more could you do to a guitar? The guitar itself is really not important. It’s the fucking player, isn’t it?</p> <p><strong>If there were a fire at your house and you could save only one piece of gear, what would it be? — Luis Diaz</strong></p> <p>My white Nash Strat, considering it’s the only guitar I’ve got at my house. [laughs] But I’d probably regret not saving my big plastic bowl of plectrums. Because really, what the fuck is a guitar without a plectrum? </p> <p><strong>Former Smiths guitarist Johnny Marr appears on “Ballad of the Mighty I” on your new album. Do you think there’s a chance you’ll ever make a full album together? — Gus Bates</strong></p> <p>Let’s just say I could close my eyes and have a wild dream, and it would be for Johnny to be in my band. That would be amazing. But as he’s a solo artist and I’m a solo artist, it’s hardly likely to happen. But I would definitely be up for doing something with him, but a full-length record might be a bit too much.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/jBbyc3t-Ctc" frameborder="0" allowfullscreen></iframe></p> <p><strong>What’s it like when thousands of people, in some cases hundreds of thousands, sing along to “Don’t Look Back in Anger” at your shows? — Leslie Castle</strong></p> <p>You kind of have to detach yourself from it. It’s been that way since the day that record came out [1996]. It’s such an extraordinary song. Not that my part in it was extraordinary in any way, and not that the component parts are extraordinary. They’re not extraordinary chords or lyrics, and there’s not an extraordinary melody or arrangement or anything like that. </p> <p>But for some reason, it’s become this extraordinary piece of music that people…they took it, and it means so much to them, and I don’t know why. I’m just the guy playing the guitar while they’re singing their hearts out. It’s crazy. The song just arrived. Fuck knows why I played those chords or why they came in that order or who the fuck Sally is. Or where she’s going or why she was watching everybody walking on by. It was just a song that was in the air, and I’m glad I was around to write it. Because in the wrong hands, it could be a bit shit, do you know what I mean?</p> <p><strong>What do you think about the current state of rock? — Joe Lee Jr.</strong></p> <p>Oh, it’s dead, no matter what anybody fucking says. There are great bands—U2 and Coldplay and Kasabian and Arctic Monkeys and all that—but all those guys have been going for such a long time. If you’re talking about new rock music…people are going on about Royal Blood, but I’m like, “Really?” I don’t fucking get it. Show me the tunes. Rock has left the building.</p> <p><strong>Is it still easy for you to write songs in 2015? — John Babcock</strong></p> <p>I find it easy to start them, but it’s difficult to finish the bastards off. I could start a thousand songs a week and finish maybe one a month. But I’d rather have 75 songs that are in need of a second verse and an arrangement than finish one shit song. There’s many stages to what I do. There’s the writing, the recording, the mixing, the rehearsing, the gigs and all that. But my favorite thing to do is catch a bit out of the air and develop it into a song that didn’t exist, and a great song that’s gonna mean something to someone. That’s a great thing to be involved in.</p> <p><strong>Do you still hate the guys in Blur? — Damiano Sciancalepore</strong></p> <p>No, no, no. [laughs] Too old for hate now. To be quite honest, I don’t think anybody really hated each other anyway. It was just a very competitive time. Most of us in both bands were either drunk or high when we were doing it. In my case, I was both. When you’re young, you’re full of energy and spunk and you’re up for it. It turns out they’re lovely guys. </p> <p><strong>If you had to choose a single song that best represents your new album, what would it be? — Doyle Barr</strong></p> <p>Ah, this is why it’s a good album. There isn’t one song that really is representative. You could take any two songs; play “Riverman” and “The Right Stuff” to people and they’d think, This is kind of like a groovy, psychedelic jazz album. Then take “Ballad of the Mighty I” and “In the Heat of the Moment” and you’d think it’s like a disco record. You could take “Lock All the Doors” and “The Dying of the Light” and you’d think this is a classic example of what he does. But if I were to choose one track to play to some person who’s not into what I do, let’s call him a fucking square, I’d play them “Riverman.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/fuubqoEb4jE" frameborder="0" allowfullscreen></iframe></p> <p> <strong>Some journalist said “Riverman” sounds like a bit like “Wonderwall.” What are your thoughts on that? — Albert Woolson</strong></p> <p>What the fuck? [laughs] I mean, honest to God, it just goes to prove that the internet has given a voice to every fucking bozo on the planet. I mean, 99.9 percent of people on this planet are fucking dumbasses. And then there’s the 1 percent of the rest of us that are kind of discerning. You read stuff by people and you think, “You fucking morons.” Idiots. There’s only two things that connect that song to “Wonderwall.” One of them is me. The other one is the fact that I’m singing it. That’s it. Other than that, it bears no resemblance to it whatsoever. Oh, hang on a minute: It’s got an acoustic guitar on it, so it must be like fucking “Wonderwall.”</p> <p><strong>Will you be working on a box set anytime soon? — Fred Upham</strong></p> <p>No. I don’t like box sets. They’re too long. You lay all the shit out and you think, Will I ever live long enough to actually fucking listen to all this? Are there enough days in the rest of my life to get through this? But they do look good. I’ve got Pink Floyd box sets, and they look great on a shelf, and they’re great artifacts. But does anybody really listen to them? </p> <p><strong>You used to say you weren’t too fond of Oasis’ <em>Be Here Now</em> [1997]. Has your opinion of that album changed over the years? — Meg Matthews</strong></p> <p>It’s my least favorite of the albums I wrote, for sure. But I won’t take away anybody’s right to like it. I meet people regularly who say, “That’s your best album.” And I say, “Really?” but I think, You fucking moron, you don’t know what you’re talking about. If people like it, that’s great. Don’t expect me to play any of it.</p> <p><em>Photo: Ross Gilmore/Redferns/Getty Images</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/oasis">Oasis</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/dear-guitar-hero-noel-gallagher-discusses-chasing-yesterday-state-rock-and-possibility-oasis-reunion#comments Damian Fanelli Dear Guitar Hero GWLinotte June 2015 Noel Gallagher Oasis Interviews News Features Magazine Thu, 14 May 2015 17:38:08 +0000 Damian Fanelli 24472 at http://www.guitarworld.com