Latest Features
Wednesday 13 on getting his guitar confidence back, and the Murderdolls future that never happened
He always worried people would think he was fake, and began to suspect he couldn’t play. But as he reflects on his new album, Mid Death Crisis, Wednesday 13 is feeling good about returning to where he started
Billy Corgan on critics, tone secrets, and how he keeps Smashing Pumpkins fresh
Aghori Mhori Mei sees Corgan and co. finding a fresh perspective in revisiting gear and writing approaches from the past, and – “for a change!” says Corgan – fans and media alike are loving it
Andy Summers on the stylistic clashes and unexpected successes of his ‘80s collab with Robert Fripp
As Summers’ and Fripp’s avant-garde albums of the 80s are reissued, we hear all about how the side-project came to be – and whether it could happen again
Fred Tackett compares his gigs with Bob Dylan, Tom Waits, and Bob Seger, and recalls his friendship with Lowell George
The veteran session Strat-slinger who restarted Little Feat in the ‘80s discusses how he developed an essential studio skill, why brass is his main inspiration, and the best advice he ever heard
Mark Morton explains why he’s jamming with Grace Bowers and Jason Isbell – and those Gibson signature rumors
His second solo album, Without The Pain, features Troy Sanders, Jason Isbell, Jared James Nichols, Grace Bowers and a stack of guitars from his frighteningly valuable collection
The Pretenders’ Chrissie Hynde and James Walbourne on what it takes to be a real guitar hero
Kick ’Em Where It Hurts is the new live album from the Pretenders and it serves as a testament to a creative rebirth as they emerged from lockdown
“It’s become extreme and unrealistic”: Has guitar relic'ing gone too far?
We have gone from “Journeyman” lightly aged to guitars that make Rory Gallagher's number one Strat look box-fresh. Is it time to rein relic'ing in?
Tashi Dorji explains why he sees little value in expensive instruments – but views improv guitar as anarchy
Tashi Dorji is a punk-rocker with a freewheeling improv jazz sensibility and he is totally okay with his music being impermanent, so long as it sounds alive in the moment
