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IMPROVE YOUR FAST LEAD LICKS! BY SIMON BARNARD (RGT)

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“At that tempo it was like playing a brand-new song. I had to watch Bernard Purdie’s foot!” How Jerry Jemmott stayed on top of Aretha Franklin’s Respect – and recovered from his mistakes – at the Fillmore West in 1971

“There isn’t much guitar at all for the first three tracks. Nobody gave me the memo about what a record should sound like”: How Steve Vai revolutionized guitar with his debut album, Flex-Able

“Rick Nielsen would come into my dressing room with a guitar and say, ‘Joe, you really should buy this one’”: Joe Perry on the ’57 Gretsch Duo Jet that recorded Dude (Looks Like a Lady)

“When I recorded with Jason Becker, he was still able to speak… he articulated exactly what he wanted, down to every pinch harmonic, vibrato and out-of-tune note”: Shrapnel veteran Michael Lee Firkins reflects on the final days of shred

“In the ’80s, I was very much into playing fast and wanting to be the best. Later on I realized it was just a waste of time”: Europe’s John Norum on the one guitar he kept from the Final Countdown era, and what he learned from Don Dokken

“Sometimes I make the bassline too complex and too noodly, but Thom is good at putting the brakes on that”: How Colin Greenwood came up with his deceptive stop-start bassline on Radiohead’s Airbag

“The whole audience’s heads snap and look at the stage, and I go, ‘Oh my God, I can't forget this riff’”: Randy Bachman on how a broken string inspired his iconic American Woman guitar riff

“It made me realize how grateful I am to have the guitar in my life”: I applied to be the new Smashing Pumpkins guitarist – I didn’t get the gig, but it was one of the most life-affirming experiences of my musical career

“When I first played Jump for the guys nobody wanted anything to do with it. Dave said I was a guitar hero and I shouldn’t be playing keyboards”: The story of Van Halen’s 1984 – the Flying V, the synths and the end of the David Lee Roth era

“I try to score Tommy Shelby’s inner voice with my guitar. I’d play with a bow or hit the strings with the guitar on the ground, all sorts of weird stuff”: How Anna Calvi threw out the guitar rulebook to write the Peaky Blinders score

“I was all about Eddie Van Halen and George Lynch. But John Sykes really got me – he changed my world through his tone and vibrato”: How Fozzy’s Rich Ward took a shred attitude and funk-metal mindset to invent Stuck Mojo