Richard Bienstock
Rich is the co-author of the best-selling Nöthin' But a Good Time: The Uncensored History of the '80s Hard Rock Explosion. He is also a recording and performing musician, and a former editor of Guitar World magazine and executive editor of Guitar Aficionado magazine. He has authored several additional books, among them Kurt Cobain: Montage of Heck, the companion to the documentary of the same name.
Latest articles by Richard Bienstock

By Daryl Robertson Last updated
So you're a budding guitarist? Get started with our pick of the best beginner electric guitars from Squier, Yamaha, and Epiphone

By Jackson Maxwell Published
Giraldo beat out 200 other guitarists to get the coveted spot in Derringer’s band, but there was one condition

By Janelle Borg Published
From the Archive When the trailblazing band called it quits in April 1979, it felt like a huge blow to Jett – so much so that she even considered quitting music altogether and joining the military

By Richard Bienstock Published
’Maiden made a big splash with their 1980 debut. Steve Harris and Dave Murray explain how, against all odds they made a metal classic

By Jonathan Horsley Published
STP’s 1992 debut album, Core, was just out in stores. Sex Type Thing had traction on MTV. But Dean DeLeo recalls those Megadeth support slots as a baptism of fire

By Richard Bienstock Published
The funk-rock guitar icon joined his favorite band at 18 years old, but finding his groove took time. He explains how studying Slovak helped him find his own voice – and ultimately made the Chili Peppers one of the biggest bands on the planet

By Jackson Maxwell Published
Much like Young's discography and creative arc, the story of how Old Black became the rugged, howling sonic beast that it is is a twisty one of fits, starts, and strange left turns

By Richard Bienstock Published
“When it comes to equipment, the idea with Neil is that you don’t change anything,” Young's guitar tech, Larry Cragg, told GW in 2009. “You don’t even think about it”
![[Left]Tom Morello plays an Ibanez guitar against a bright backdrop. He wears a ballcap and a red bandana. [Right] Black Sabbath photographed in 1970](https://cdn.mos.cms.futurecdn.net/LuGDvbR3RkDkV3iRaoNqzk-320-80.jpg)
By Richard Bienstock Published
Back to the Beginning will present Black Sabbath live for one last time, joined by metal's biggest stars, and RATM guitarist Tom Morello booked the bands. He tells us how it came together

By Richard Bienstock Published
The producer and guitarist explains how ’Sabbath and Ozzy were there for the beginning of his journey – and why he’ll to be there for the end of theirs

By Phil Weller Published
The two guitar heroes had signed up to play some classics with the Prince of Darkness – but nearly got more than they bargained for

By Naomi Baker Published
From shredder to super producer, Watts looks back on the car-crash that forced him into production

By Phil Weller Published
He's worked with and played guitar for the likes of Bruno Mars, Pearl Jam, and Ozzy Osbourne, but there’s one player he believes nails his catch-all approach

By Janelle Borg Published
Watt started his production career in the pop sphere, before the Prince of Darkness handpicked him to produce his record

By Scott Rowley Published
Four years ago, we published this video of Erik Rutan. It's since become one of our most-watched videos

By Phil Weller Published
The band had originally formed as a live act, but the project could yet live on after the residency wraps this week
![John Mayer and Bob Weir [left] of Dead & Company photographed against a grey background. Mayer wears a blue overshirt and has his signature Silver Sky on his shoulder. Weir wears grey and a bolo tie.](https://cdn.mos.cms.futurecdn.net/C6niSAybzVCHoYcpJ8ZZgE-320-80.jpg)
By Richard Bienstock Published
In this exclusive interview, Bob Weir and John Mayer break down the Sphere experience, latest gear adjustments and their ever-evolving musical partnership and float the possibility that they'll enter the studio one day

By Jenna Scaramanga Published
Despite saying his tone “can only come from the ignition inside of a tube”, the Dead & Company guitarist thinks this amp modeler is worthwhile

By Janelle Borg Published
The veteran guitarist and Slow Dancing In a Burning Room hitmaker also set the record straight on whether we can expect a Dead & Company studio album anytime soon

By Matt Owen Published
Mayer devised a workaround that would allow him to play his prized Dumble and Fender setup at the notoriously amp-unfriendly venue
![Cobra Kai composers Zach Robinson [left] and Leo Birenberg in the studio. Pictured in front of a bank of keyboards, Robinson plays an Ibanez RG550, while Birenberg plays woodwind.](https://cdn.mos.cms.futurecdn.net/YfxDAzMdyf8Mrf9cURm53e-320-80.jpg)
By Richard Bienstock Published
As the hit Netflix martial arts show takes the story global, its soundtrack composers are doing likewise. Leo Birenberg and Zach Robinson explain why it’s a good time to explore their influences – and bring some virtuoso guitarists along for the ride

By Richard Bienstock Published
A single-cut with a 25.5-inch scale length, EMG pickups rather than popular-in-metal Fishmans, and a brand-new headstock shape, Rowe's signature Jackson is as striking as her all-powerful playing

By Richard Bienstock Published
We’ve been saying it for years, but the man best known for his soaring vocals with Slash and Alter Bridge also happens to be one hell of a guitar player. On his new album, he busts out his riffs, his roar and his signature PRS
![[Left-to-right] Mark Tremonti, Myles Kennedy and Slash – Tremonti and Slash are playing their trademark singlecuts live onstage while Kennedy – a collaborator of both players' – is photographed with his new PRS signature model.](https://cdn.mos.cms.futurecdn.net/NWnPocmSNoWHAkJcmrx4dJ-320-80.jpg)
By Richard Bienstock Published
Any pro will tell you, the best way to improve as a musician is playing with great players. Kennedy, a collaborator of both Slash and Tremonti, would surely agree
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