Features archive
April 2024
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51 articles
- April 16
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- “I strongly believe that if you give a guitar to five different players – same guitar, same amp – each one of them is going to sound different”: Alex Lifeson takes us behind the scenes at Lerxst to talk gear, tone and the possibility of new music
- “A lot of kids are getting millions of hits because they can play Eruption. If you want to impress me, write Eruption”: Jesse Dayton is glad he didn’t have a hit years ago – it might have taken away his freedom
- “When companies have success, or they have iconic models, we can tend to get lazy... Consumers and artists deserve better – they need to feel like we’re working hard”: How Martin made its groundbreaking Inception acoustic
- “As guitarists, we’re used to looking at wood on our guitars, but its role in shaping the cabinet’s sound is as important”: How does guitar cabinet material affect the sound?
- “He’d pull off bass riffs that were just amazing – he doesn’t just follow the roots”: Listen to Geddy Lee’s “flamenco” strumming technique on Rush’s Snakes & Arrows
- April 15
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- “Clyde McCoy was duly paid $500 to endorse a pedal he probably never used”: The wah pedal changed the sound of electric guitar – but was originally intended for the trumpet
- “I send two delays out to an amp each and pan them. You get this glorious wash that makes you feel like you’re on drugs”: With Oceansize, Mike Vennart influenced a generation of progressive guitarists – and he’s not ruling out a reunion
- April 14
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- “As a guitarist you can come in after the one without the house falling apart. But as a bass player, you always have to be there”: How Jonas Reingold switched from classical guitar and became Steve Hackett’s go-to bassist
- “We started at a slow tempo, but as the session wore on, people were heading to the bathroom and sniffing stuff, and the tempo got to be almost twice as fast!” Klaus Voormann’s bassline on John Lennon’s Whatever Gets You Thru The Night is a must-listen
- April 13
- April 12
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- “When I look back, The Strokes were like this tentpole. They led me to learn how to accompany myself and made me want to start my own band”: Waxahatchee’s Katie Crutchfield found her country voice via indie and riot grrrl
- “I know what it’s like to wake up and not having anything to eat… My blues comes out differently than somebody who just plays the blues because they like it”: Cedric Burnside on living the blues – and why he plays guitars built by a brain surgeon
- “Like so many of Leo Fender’s products, these instruments ended up being wildly successful at producing sounds that ran contrary to his intentions”: The history of Fender offset guitars
- “Plant let us know he usually hated people’s covers of Stairway, but he liked that one. Jimmy Page goes, ‘You nailed the guitar part!’” That time Heart performed Stairway to Heaven in front of Led Zeppelin – and reduced Robert Plant to tears
- “When my dad passed, I didn’t know what happened to his ’55 Tele. I got a call: ‘I need you to check something out.’ When I walked in, there’s a guitar case on the floor…” Nashville session master Rob McNelley on Lady A, Buddy Guy and an emotional reunion
- “When I was a kid, I thought bass playing was about throwing up and cutting yourself – I blame Gene Simmons and Sid Vicious”: Bad Religion’s Jay Bentley on his bass-playing influences and the “best-sounding P-Bass he’s ever heard”
- “When I go onstage and have a guitar, I feel like no-one can touch me”: Why Amy Winehouse's passion for guitar was key to her distinctive songwriting style
- April 11
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- “I’ve always loved Fenders. I’m almost working against a design that has been around since the ‘50s – I don’t know if it’s going to cooperate with me”: Pissed Jeans’ Bradley Fry on why he loves awkward offsets and solid-state Peavey amps
- “What makes a great blues player is taking on influences that aren’t blues-based”: Joe Bonamassa explains why the best guitarists always look beyond the blues
- “I know some guitarists that will work on a 30-second soundbite for days before filming it in a way that looks off the cuff”: How social media is affecting our perception of guitar playing
- “It’s one of my favorite basslines. I don’t know how I came up with it – doing the session was like floating in space”: Verdine White picks his top 5 Earth, Wind & Fire basslines
- April 10
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- “I heard Eruption by Van Halen and I was like, ‘What is that?!’ I love to push the boundaries, and I love when it sounds crazy”: Meet Emi Grace, the Trashy Tone Thursday pioneer tearing up the shred rulebook and taking on the haters
- “Noel Gallagher gave me one of Peter Green’s Gibson Les Pauls. Johnny Marr had given Noel a guitar, and maybe he felt it was customary that he do the same”: Bill Ryder-Jones on his ascent to UK indie rock royalty
- “Playing at the Super Bowl is the easy part. It’s the musical director responsibilities leading up that’s stressful”: Adam Blackstone heads up the biggest gigs on the planet – now with a 5-string Jackson bass named after his grandmother
- “I could have headed towards blues or shred. I chose blues… Fast-forward to 2020, I decided to become a 12 year-old learning guitar again – I went the other way and got an Ibanez with a Floyd Rose!” Gary Clark Jr. is finally unleashing his inner shredder
- April 9
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- “I have Marshall, Orange and Victory amps, but they just don’t have the bark I need for this project. The 5150 is what metal sounds like to me”: Meet Jaguar Throne, the UK metal big beasts following in the hoofprints of Mastodon
- “Some people use one guitar, one amp, and then, ‘This is what I am going to use for the rest of my life’... We change it up as much as we can”: The Gaslight Anthem are on an eternal tonal quest
- April 8
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- “I just need one good sound and I’m set. A lot of players forget that”: Gus G’s tone and soloing philosophy is always evolving – and right now, it’s full of Floyd Rose divebombs
- I used Fender Play for 8 weeks to learn the guitar from scratch – here’s how I got on
- “Those virtuoso guys can do anything. But sometimes it’s more fun to hit one note and see if it can mean as much. Sometimes it can mean even more”: Rich Robinson on earning AC/DC’s approval, losing guitars to a hurricane, and The Black Crowes’ return
- Wrestling with noisy pedals? One simple trick made my pedalboard whisper-quiet – and it didn’t cost me a thing
- “If you’re not reaching as deep as possible when you’re playing, you’re not fully being yourself. Finding your voice is not being afraid to let out exactly what you’re feeling”: Ariel Posen on telling the truth through music
- April 7
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- “It was always magical playing bass with Tony Iommi. To me, he's the greatest guitarist ever”: Geezer Butler’s 10 best basslines with Black Sabbath
- “He already had his signature tone and touch, and a few of his signature licks, too”: A year before he was discovered, Jaco Pastorius laid down this classic R&B bassline on Little Beaver’s 1974 hit, I Can Dig It Baby
- April 5
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- “I’d be there with bass pedals, a triple-neck guitar and keyboards, and Robert Plant would ask, ‘Can you sing, as well?’” How John Paul Jones became Led Zeppelin’s ultimate wingman
- “The initial thought was, ‘What the hell am I gonna play?’ There are so many players on this track, and so much is going on, but they just let me be me”: Steve Lukather takes you behind the scenes of Mark Knopfler’s Guitar Heroes
- “Steve Vai is always evolving… he continues to achieve what others thought impossible, and he finds new things to try every day”: How Philip Bynoe keeps up with the world-leading virtuoso
- April 4
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- “It was Clarkin alone who fed the band, writing the entirety of Magnum’s catalog and admitting in 2002 that he thought of little else”: Remembering Tony Clarkin, the driving force behind a British rock institution
- “I’ve always favoured humbuckers. They’re what my heroes used – Clapton, BB King and Paul Kossoff”: Connor Selby on his greatest gear hits and misses, and the Gibson ES-125 that was the bargain of the century
- “There does seem to be something of an obsession with lighter guitars”: Do lighter electric guitars sound better?
- “I bought a right-handed Hofner, re-strung it and learned to play like a lefty, which was a nightmare”: How The Bootleg Beatles’ Steve White became a carbon-copy Paul McCartney
- “I asked Ibanez for a Telecaster-style guitar with a single neck pickup. I was expecting them to make fun of me and say no!” Standards’ Marcos Mena is bringing joy to virtuoso playing with his custom mint green tapping machine
- April 3
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- “When I struggle with live sound, I think, ‘Oh God, I can play so much better when I’m just in a room and I can hear myself…’ But that’s when I dig in and try harder”: Tommy Emmanuel and Molly Tuttle give a tone, technique and touring masterclass
- “I was tired of not being able to hear my guitar when I played. I got a Gretsch Country Gentleman, and that changed the game for me”: Vincent Neil Emerson’s star is rising fast – whether he’s playing a Chet Atkins electric or rare George Harrison acoustic
- “If you don’t have good tone with just your amp and your guitar, ain’t no pedal gonna help you”: Sue Foley is dropping truth bombs and nylon-string blues in her tribute to the pioneering women of guitar
- April 2
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- "I was ill and when I picked the guitar up again, I wasn't playing Joe Satriani stuff – I was struggling to play Oasis!" Jack J. Hutchinson on how illness changed his playing style and his Black Crowes-inspired pedalboard
- “We’re trying to avoid sounding like a conventional guitar band… Our goal has always been to expand what guitars can do”: Idles’ radical guitar duo dissect their “violent, dark tones” and explain why modeling is “wack”
- “John was constantly seeking better solutions, which manifested as astonishing woodwork and innovative electronics”: Remembering John Diggins – the luthier who built guitars for Tony Iommi and the first Red Special replica
- “The quality of bands is much higher than it used to be… There’s something going on here that we cannot describe”: Why is Australia turning out some of the most amazing prog metal guitarists on the planet?
- April 1
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- “With Marvin Gaye, we could feel we were onto something extraordinary. We could feel the magic of Let’s Get It On from the beginning”: Meet Motown mainstay David T. Walker, the session guitarist behind some of music’s all-time classic albums
- “I’m constantly going back to Davey Graham… He is massively neglected as an insanely creative player. For me, he’s like Jimi Hendrix – his stuff should be analyzed in forensic detail”: Henry Parker on his journey from metal to virtuoso folk
