Joe Walsh http://www.guitarworld.com/taxonomy/term/1748/all en The Top 10 Talk Box Moments in Rock http://www.guitarworld.com/top-10-talk-box-moments <!--paging_filter--><p>The goal of any musician is to sing through his chosen instrument. </p> <p>And thankfully, advances in technology have made that possible—literally. </p> <p>In the 1970s, someone had the bright idea to take an amp's signal and run it in to the guitarist's mouth via a plastic tube, allowing him to, in a sense, speak to the audience through single notes. At the time, it blew the wah pedal out of the water. </p> <p>So what makes a great talk-box player? Good question. </p> <p><strong>10. Bon Jovi, "Livin' on a Prayer"</strong></p> <p>Damn, man! This is the Jovi at their funkiest! A round of applause to Richie Sambora for laying down some sweet-ass talk box over that rolling bass groove. Keep that dream alive!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/lDK9QqIzhwk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. Mötley Crüe, "Kickstart My Heart"</strong></p> <p>Mick Mars is not one of metal's more remarkable soloists. Yet he may have been the first to send a flurry of tremolo-picked notes flying out of his mouth. It's a sound as scary as his makeup. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/CmXWkMlKFkI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. Nazareth, "Hair of the Dog"</strong></p> <p>To some Scottish accents render words unintelligible. So while Nazareth guitarist Manny Charlton is probably just making electronic noises in the breakdown of this cock-rocker, there's a chance he's actually issuing a cry for Scottish independence. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/kyXz6eMCj2k" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. Weezer, "Beverly Hills"</strong></p> <p>The talk box makes a comeback in the 21st century (we can't keep picking stuff from 1972, folks)! Oddly, because the song hints at the excess of Seventies rock, Rivers Cuomo's talk-box embellishments feel totally appropriate. For some reason, the Muppets come to mind when he cuts loose. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/HL_WvOly7mY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. Steely Dan, "Haitian Divorce"</strong></p> <p>One of the most melodic talk-box solos ever recorded is also a prime example of studio trickery. Session man Dean Parks played the lead, but Walter Becker added the effect later—which required him essentially to ghost-play the exact same solo, and jack his jaw accordingly. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/iWYchJI0Cv8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>05. Pink Floyd, "Pigs"</strong></p> <p>David Gilmour was already one of the most articulate lead players in the prog-rock pantheon. Give him a talk box and... look out! He's literally wailing on this track; a string bend becomes a drawing syllable that never ends. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/gOqblSqx_VI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. Alice in Chains, "Man in the Box"</strong></p> <p>Rather than using the talk box as other guitarists had—to make an ordinary solo sound like it was recorded by space aliens—Jerry Cantrell broke new ground by using it to "sing" harmonies with Layne Staley. Grunge reinvented <em>some</em> rock clichés for the better. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/TAqZb52sgpU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. Joe Walsh, "Rocky Mountain Way"</strong></p> <p>This song is a classic not just for its chunky riff but also for how Walsh takes robot scat singing to new heights. Live clips reveal that Walsh really gets into his box work; you can actually see the drool dripping from the tube. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/mmWWl65_juQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. Jeff Beck, "She's a Woman"</strong> </p> <p>Beck is a weird-guitar-sound pioneer, so it made perfect sense when he used the talk box to slur some syllables on this funked-up Beatles cover (Note: Although it's attributed to Lennon/McCartney, this is a Paul McCartney number all the way). Which raises the question: Is <em>Blow by Blow</em> truly an instrumental album?</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Khmsksk5w_o" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. Peter Frampton, "Do You Feel Like We Do"</strong></p> <p>Not only is <em>Frampton Comes Alive!</em> one of the biggest-selling live albums of all time, but with its biggest hit Frampton singlehandedly increased the vocabulary of the talk box, spitting out phrases previously unattempted by guitarists and easily one-upping Beck on articulation. Just listen to how the audience roars when the guitar asks the immortal question: "Do you feel like we do?" Stoned, maybe? </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/V9Yq5m9eLIQ" 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="/joe-walsh">Joe Walsh</a> </div> <div class="field-item even"> <a href="/peter-frampton">Peter Frampton</a> </div> <div class="field-item odd"> <a href="/jeff-beck">Jeff Beck</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/top-10-talk-box-moments#comments GO May 2006 Guitar One Jeff Beck Joe Walsh Peter Frampton talk box News Features Wed, 03 Jun 2015 18:06:00 +0000 Guitar World Staff 24596 at http://www.guitarworld.com Say Wah? Five Essential Signature Wah Pedals http://www.guitarworld.com/say-wah-five-essential-signature-wah-pedals <!--paging_filter--><p>For all the audio wizardry made possible by effect pedals, nothing quite rivals the expression allowed by a great wah pedal.</p> <p>Originally intended to mimic the sound of a muted trumpet, it didn't take long for guitarists like Jimi Hendrix and Frank Zappa to make that sweet, sweeping "wah-wah" sound an integral part of the rock and roll lexicon. Whether conjuring a voodoo child or a bad horsie, the human element of the active manipulation of the pedal and its voice-like qualities are what give the wah a special place on the pedalboards — in and in the hearts — of countless musicians.</p> <p>This week, we look at five essential pedals tailored especially for players who really took the wah and made it an integral part of their signature sound.</p> <p>As always, this list was compiled by a group of <em>Guitar World</em> staffers, including technical editor Paul Riario.</p> <p><strong><a href="http://www.jimdunlop.com/product/jc95-jerry-cantrell-wah">Jim Dunlop Jerry Cantrell Wah</a></strong></p> <p>Outside of the realm of fretboard dramatics, few guitarists have used the wah quite so effectively as a tone control than Alice In Chains' Jerry Cantrell. The wah makes a subtle appearance on countless AIC classics, including "Them Bones" and "Down in a Hole," helping one of grunge's greatest players to home in on that tonal "sweet spot" for his ripping leads.</p> <p>With a darker tonal spectrum than your stock Cry Baby, the JC95 gives you maximum control of your range by way of an adjustable Fine Tune knob. Thanks to Cantrell's predilection for cutting mids, you won't get bogged down with muddy bottom-end tones or shrill highs, instead getting a clear, throaty effect ideal for the careful tone-master and the stomp-happy guitarist.</p> <p><strong>What does it sound like?</strong> </p> <p>Our own Paul Riario tries out the Jerry Cantrell Wah:</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/0J6PNqV1EpI?rel=0" frameborder="0" allowfullscreen></iframe></p> <p><em>MSRP: $264.99 | <a href="http://www.jimdunlop.com/product/jc95-jerry-cantrell-wah">Learn more about this pedal.</a></em></p> <hr /> <p><strong><a href="http://www.voxamps.com/us/pedals/bigbadwah/">Vox Joe Satriani Big Bad Wah</a></strong></p> <p>The Vox Joe Satriani Big Bad Wah dual-mode wah pedal is the result of a collaboration between Vox and Joe Satriani (one of three such collaborations). </p> <p>In the context of wah pedals, the Vox BBW is unique because it truly is two wah pedals in one. Wah 1 is pretty much a classic VOX, complete with the expected vintage UK tones; Wah 2 captures Satriani's original drive and voice controls. The result is a wide range of new sounds — not exactly the kind of sounds you'd expect from your average wah pedal.</p> <p>The pedal has a Drive knob that mimics the Wah 1 gain at its lowest setting; it also delivers a 10-dB boost at the maximum settings for growling overtones. Wah 2 mode incorporates the Voice switch, which lets you choose everything from trad wah voicings to dark, resonant tones reminiscent of a vintage talk-box.</p> <p><strong>What does it sound like?</strong> </p> <p>Here's the official Big Bad Wah demo video, featuring Satriani in action, direct from <a href="http://www.voxamps.com/us/pedals/bigbadwah/">Vox's website</a>:</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/6Jx60tLXxdA" frameborder="0" allowfullscreen></iframe></p> <p><em> MSRP: $280 | <a href="http://www.voxamps.com/us/pedals/bigbadwah/">Learn more about this pedal.</a></em></p> <hr /> <p><strong><a href="http://www.morleypedals.com/dvai-1.html">Morley Steve Vai Bad Horsie Wah</a></strong></p> <p>By now, you’ve probably guessed that this pedal was "designed according to the artist’s specifications," much like everything else on this list. And that is indeed the case for this pedal, Morley’s Steve Vai Bad Horsie Wah. </p> <p>Vai has a close relationship with Morley Pedals, and the company makes three Vai signature models: the Bad Horsie, Bad Horsie 2 and the Little Alligator volume pedal.</p> <p>As any Vai fan knows, this pedal is named after "Bad Horsie," the wah-heavy opening track from Vai’s 1995 album, <em>Alien Love Secrets.</em> (<a href="http://www.youtube.com/watch?v=h5BrE1Pi5cU">Check out a video of the song here.</a>)</p> <p>The pedal features Morley's electro-optical design, so there are no pots (which tend to get scratchy and wear out over time). Another cool feature is that you simply step on the pedal -- as in, touch it with your foot -- to engage it, and then just step off the pedal for true bypass.</p> <p><strong>What does it sound like?</strong> </p> <p>Check out the two audio samples below, both of which are from <a href="http://www.morleypedals.com/dvai-1.html">Morley Pedals’ official website</a>:</p> <p>• <a href="http://www.morleypedals.com/vai-11.mp3">Morley Bad Horsie Sample 1</a></p> <p>• <a href="http://www.morleypedals.com/vai-12.mp3">Morley Bad Horsie Sample 2</a></p> <p>You also can check out Morley’s official demo video for this pedal, featuring Tommy Bolan, below. (And feel free to watch <a href="http://www.youtube.com/watch?v=yNj_gTEzCQk">this additional video by Gearmanndude</a>, who reviews countless pedals from all makers, large and small.)</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/RcUXKOZcLB8" frameborder="0" allowfullscreen></iframe></p> <p><em>MSRP: $204 | <a href="http://www.morleypedals.com/dvai-1.html">Learn more about this pedal.</a></em></p> <hr /> <p><strong><a href="http://www.realmccoycustom.com/JWSW.htm">Real McCoy Custom Joe Walsh Signature Wah</a></strong></p> <p>The Joe Walsh Signature Wah by Real McCoy Custom has been on Walsh’s pedal board (<a href="http://www.realmccoycustom.com/JWSW.htm">which you can see here</a>) since late 2007, when the company, also known as RMC, began producing the pedal. </p> <p>The pedal — which happens to be the company’s first signature model — was designed according to Walsh’s specs and aims to reproduce the wah sounds heard on Walsh’s early recordings.</p> <p>The Walsh model features true bypass, an exclusive RMC ROC-POT potentiometer and easily adjustable rocker tension. As a visual bonus, the flame graphics on the chassis were created by artist Perry Hall according to — once again — Walsh’s specs.</p> <p><strong>What does it sound like?</strong></p> <p>This pedal doesn’t leave much of a footprint on YouTube (no foot/pedal pun intended). Hopefully, RMC will create and post an official demo video. Until then, you’ll find only one or two poor-quality videos on YouTube, plus <a href="http://proguitarshop.com/video-reviews/real-mccoy-custom-joe-walsh-wah-pedal/P224">this helpful video from ProGuitarShop.com</a>.</p> <p><img src="/files/imce-images/JoeWahlsh620.jpg" width="620" height="484" alt="JoeWahlsh620.jpg" /></p> <p><em>MSRP: $235 | <a href="http://www.realmccoycustom.com/JWSW.htm">For more info about this pedal, visit realmccoycustom.com.</a></em></p> <hr /> <p><strong><a href="http://www.jimdunlop.com/product/zw45-zakk-wylde-signature-wah">Jim Dunlop Z-45 Zakk Wylde Signature Wah</a></strong></p> <p>You know any wah made for Zakk Wylde is going to be rough, tough and road-ready, and this metal-cased behemoth of a pedal is all of that and more.</p> <p>Used by Wylde with both Ozzy and Black Label Society, the Z-45 from Dunlop is a wah pedal that, in the words <em>Guitar World</em> gear reviewer Eric Kirkland, will make "each note cry with a deep and evil-sounding moan that resolved into an emotional peak."</p> <p>The secret to the Z-45's warm, cutting tones is the Fasel inductor, which was responsible for some of the most iconic wah sounds of the late '60s. A longtime user of the Jimi Hendrix Cry Baby, Wylde made sure his signature medal had both a "classic" feel as well as more than enough thickness cut through loads of gain.</p> <p><strong>What does it sound like?</strong></p> <p>Here's a video from Dunlop — featuring Wylde — that introduces and demos the Jim Dunlop Z-45 Zakk Wylde Signature Wah: </p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/2mVohobg2Hs?rel=0" frameborder="0" allowfullscreen></iframe></p> <p><em>MSRP: $200.55 | <a href="http://www.jimdunlop.com/product/zw45-zakk-wylde-signature-wah">Learn more about this pedal.</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="/joe-satriani">Joe Satriani</a> </div> <div class="field-item even"> <a href="/zakk-wylde">Zakk Wylde</a> </div> <div class="field-item odd"> <a href="/jerry-cantrell">Jerry Cantrell</a> </div> <div class="field-item even"> <a href="/steve-vai">Steve Vai</a> </div> <div class="field-item odd"> <a href="/joe-walsh">Joe Walsh</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/say-wah-five-essential-signature-wah-pedals#comments Alice in Chains Chickenfoot Dunlop Jerry Cantrell Jim Dunlop Joe Satriani Joe Walsh Real McCoy RMC Steve Vai VOX Zakk Wylde Guitar World Lists Effects News Features Gear Thu, 21 Nov 2013 14:51:31 +0000 Damian Fanelli, Josh Hart 16877 at http://www.guitarworld.com Joe Walsh: "You Have to Go Out and Play in Front of People; Even if You Suck at It at First, You Have to Do It" http://www.guitarworld.com/joe-walsh-you-have-go-out-and-play-front-people-even-if-you-suck-it-first-you-have-do-it <!--paging_filter--><p><em>From the GW archive: The story was originally published in the August 2012 issue of </em>Guitar World<em>. The legendary guitarist discusses his first song, first guitar, first show and more.</em></p> <p><strong>What inspired you to start playing guitar?</strong></p> <p>I had first played other instruments growing up. I had lessons on several instruments, and I knew I was musical because I heard music in my head a lot. </p> <p>But the guitar was the first instrument that I could really express myself with. I found that it was the best vehicle I had to get what was inside my head out of it and into somebody’s ears. And when I heard the Beatles while I was in high school, it was inspirational to me. I wanted to be like them, so I took up the guitar as well. </p> <p><strong>What was your first guitar?</strong></p> <p>It was a Silvertone acoustic that we ordered when I was 10 years old from the catalog of the mail-order company Sears Roebuck. It cost about $30. Let me tell you, when that thing finally arrived in the mail, after waiting for it for three weeks, I was on top of the world. And though I couldn’t yet play anything, it was the coolest thing.</p> <p><strong>What was the first song you learned?</strong></p> <p>It was the Ventures song “Walk, Don’t Run,” and it was the first song where I realized that playing guitar was all I wanted to do. And I learned the rhythm part, the lead part, the bass part and everything. I learned every note of that song.</p> <p><strong>Do you remember your first time onstage?</strong></p> <p>Yes, I was 12 and in ninth grade, and it was at a school assembly. I had learned to play stuff on the top four strings of the guitar, more like a ukulele, but I learned enough to be able to play a song, and I had a friend who played trumpet, so it was me on guitar and him on trumpet. It probably sounded horrible, and I remember being absolutely petrified. I eventually became more confident onstage, but I never forgot that first experience.</p> <p><strong>Ever had an embarrassing onstage moment?</strong></p> <p>I have had many. Everything that you think can happen has happened to me somewhere along the way—from totally forgetting the words to tripping on a guitar cord and falling down onstage to blowing up my amp a couple of times. And once that happens, you’re done for the night!</p> <p><strong>What is your favorite piece of gear?</strong></p> <p>I always come back to my 1958 Les Paul “Goldtop” and a 1956 Fender Stratocaster. They were two of the first electric guitars ever designed, and I am not sure anybody has topped them in all these years.</p> <p><strong>Got any advice for young players?</strong></p> <p>You have to go out and play in front of people; even if you suck at it at first, you have to do it. For anybody going onstage the first time, it can be a terrifying experience, and it can be so scary that they never go again. But you have to do it a couple times before you can make your mind up.</p> <p><em>Photo: Ross Halfin</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="/joe-walsh">Joe Walsh</a> </div> <div class="field-item even"> <a href="/eagles">Eagles</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/joe-walsh-you-have-go-out-and-play-front-people-even-if-you-suck-it-first-you-have-do-it#comments August 2012 Eagles GW Archive Inquirer Joe Walsh The Eagles 2012 Interviews News Features Magazine Tue, 19 Nov 2013 21:42:25 +0000 Joe Matera 16624 at http://www.guitarworld.com Greatest Guitar Solos of All Time Readers Poll: Elite Eight — "Stairway to Heaven" (Jimmy Page) Vs. "Hotel California" (Don Felder, Joe Walsh) http://www.guitarworld.com/greatest-guitar-solos-all-time-readers-poll-elite-eight-stairway-heaven-jimmy-page-vs-hotel-california-don-felder-joe-walsh <!--paging_filter--><p>A few years ago, the editors of <em>Guitar World</em> compiled what we feel is the ultimate guide to the 100 Greatest Guitar Solos of All Time.</p> <p>The list, which has been quoted by countless artists, websites and publications around the world, starts with Richie Sambora's work on Bon Jovi's “Wanted Dead or Alive” (100) and builds to a truly epic finish with Jimmy Page's solo on "Stairway to Heaven" (01). </p> <p>To quote our <a href="http://www.guitarworld.com/100-greatest-guitar-solos-no-1-stairway-heaven-jimmy-page">"Stairway to Heaven" story that ran with the list</a>, "If Jimmy Page is the Steven Spielberg of guitarists, then 'Stairway' is his <em>Close Encounters</em>." </p> <p>On June 10, we kicked off a summer blockbuster of our own — a no-holds-barred six-string shootout. We pitted <em>Guitar World</em>'s top 64 guitar solos against each other in an NCAA-style, 64-team single-elimination tournament. Every day, we asked you to cast your vote in a different guitar-solo matchup as dictated by the 64-team-style bracket. Now Rounds 1, 2 and 3 (also known as the Sweet 16 round) have come and gone, leaving us with eight guitar solos!</p> <p>So ... </p> <p><strong>WELCOME TO THE ELITE EIGHT ROUND</strong>, where all eight still-standing solos will go head to head before your eyes! As always, you can vote once per matchup, and the voting ends as soon as the next matchup is posted. </p> <p>In one or two cases, genre might clash against genre. But please get real, people! They're all guitar solos, played on guitars, by guitarists, most of them in some subset of the umbrella genre of rock. When choosing, it might have to come down to, "Which solo is more original and creative for its time? Which is more iconic or important? or Which one kicks a larger, more impressive assemblage of asses?"</p> <p><strong><a href="http://www.guitarworld.com/greatest-guitar-solos-all-time-readers-poll-elite-eight-free-bird-allen-collins-gary-rossington-vs-voodoo-child-jimi-hendrix">Results from the Latest Sweetwater Elite Eight Matchup</a></strong></p> <p><strong>Winner:</strong> "Voodoo Child (Slight Return)" (61.61 percent)<br /> <strong>Loser:</strong> "Free Bird" (38.39 percent)<br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">Today's Sweetwater Elite Eight Matchup (2 of 4)</span><br /> <span style="font-size:18px;font-weight:bold;"><em>"Stairway to Heaven" Vs. "Hotel California"</em></span></p> <p>Today (and for the next few days), the top-seeded guitar solo, Led Zeppelin's "Stairway to Heaven" (01) faces a Top 10 heavyweight, the Eagles' "Hotel California" (08). It's UK (Jimmy Page) against US (Don Felder and Joe Walsh). Which classic guitar solo should advance to the Final Four? Only you can decide!</p> <p><strong>HOW THEY GOT HERE</strong></p> <p>• <strong>"Stairway to Heaven"</strong> defeated Prince's <strong>"Little Red Corvette"</strong> (64) in Round 1, Jimi Hendrix's <strong>"Machine Gun"</strong> (32) in Round 2 and Led Zeppelin's <strong>"Heartbreaker"</strong> (16) in the Sweet 16 round.</p> <p>• <strong>"Hotel California"</strong> defeated Pantera's <strong>"Walk"</strong> (57) in Round 1, Steely Dan's <strong>"Reelin' in the Years"</strong> (40) in Round 2 and Queen's <strong>"Brighton Rock"</strong> (41) in the Sweet 16 round.</p> <p>Vote now! You'll find the poll at the very bottom of the story.<br /> <br /><br /> <strong><a href="http://www.guitarworld.com/100-greatest-guitar-solos-no-1-stairway-heaven-jimmy-page">01. “Stairway to Heaven”</a></strong><br /> <strong>Soloist</strong>: Jimmy Page<br /> <strong>Album</strong>: Led Zeppelin—<em>Led Zeppelin IV</em> (Atlantic, 1971)</p> <p>If Jimmy Page is the Steven Spielberg of guitarists, then “Stairway” is his <em>Close Encounters</em>. Built around a solid, uplifting theme—man’s quest for salvation—the epic slowly gains momentum and rushes headlong to a shattering conclusion. The grand finale in this case is the song’s thrill-a-second guitar solo.</p> <p>Page remembers: “I’d been fooling around with the acoustic guitar and came up with several different sections which flowed together nicely. I soon realized that it could be the perfect vehicle for something I’d been wanting to do for a while: to compose something that would start quietly, have the drums come in the middle, and then build to a huge crescendo. I also knew that I wanted the piece to speed up, which is something musicians aren’t supposed to do.</p> <p>“So I had all the structure of it, and ran it by [bassist] John Paul Jones so he could get the idea of it—[drummer] John Bonham and [singer] Robert Plant had gone out for the night—and then on the following day we got into it with Bonham. You have to realize that, at first, there was a hell of a lot for everyone to remember on this one. But as we were sort of routining it, Robert started writing the lyrics, and much to his surprise, he wrote a huge percentage of it right there and then.”</p> <p>Plant recalls the experience: “I was sitting next to Page in front of a fire at our studio in Headley Grange. He had written this chord sequence and was playing it for me. I was holding a pencil and paper, when, suddenly, my hand was writing out the words: ‘There’s a lady who’s sure, all that glitters is gold, and she’s buying a stairway to heaven.’ I just sat there and looked at the words and almost leaped out of my seat. Looking back, I suppose I sat down at the right moment.”</p> <p>While the spontaneous nature of Plant’s anthemic lyrics came as a pleasant surprise, the best was yet to come. The beautifully constructed guitar solo that Guitar World readers rated the “best ever” was, believe it or not, improvised.</p> <p>“I winged it,” says Page with a touch of pride. “I had prepared the overall structure of the guitar parts, but not the actual notes. When it came time to record the solo I warmed up and recorded three of them. They were all quite different from each other. All three are still on the master tape, but the one we used was the best solo, I can tell you that.</p> <p>“I thought ‘Stairway’ crystallized the essence of the band. It had everything there, and showed the band at its best. Every musician wants to do something that will hold up for a long time, and I guess we did that with ‘Stairway.’ ”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/BcL---4xQYA?rel=0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong><a href="http://www.guitarworld.com/100-greatest-guitar-solos-no-8-hotel-california-don-felder-joe-walsh">08. “Hotel California”</a></strong><br /> <strong>Soloist</strong>: Don Felder, Joe Walsh<br /> <strong>Album</strong>: The Eagles—<em>Hotel California</em> (Asylum, 1976)</p> <p>Credit for the guitar majesty of “Hotel California” is often given to Joe Walsh, who toughened up the Eagles’ laid-back California sound when he joined the band just prior to the <em>Hotel California</em> album’s recording. Actually, the primary guitar heard throughout the solo belongs to Don Felder, who wrote the music for the track and actually conceived and played the solo’s intricate harmonies on his initial, instrumental demo.</p> <p>“Every once in a while it seems like the cosmos part and something great plops into your lap,” says Felder. “That’s how it was with ‘Hotel California.’ I had just leased this beach house in Malibu and was sitting in the living room with all the doors wide open on a spectacular July day, probably in ’75. I was soaking wet in a bathing suit, sitting on the couch, thinking the world is a wonderful place to be and tinkling around with this acoustic 12-string when those ‘Hotel California’ chords just oozed out. I had a TEAC four-track set up in a back bedroom, and I ran back there to put this idea down before I forgot it.</p> <p>“I set this old rhythm ace to play a cha-cha beat, set the right tempo and played the 12-string on top of it. A few days later, I went back and listened to it and it sounded pretty unique, so I came up with a bass line. A few days after that, I added some electric guitars. Everything was mixed down to mono, ping-ponging back and forth on this little four-track. Finally, I wound up with a cassette that had virtually the entire arrangement that appeared on the record, verbatim, with the exception of a few Joe Walsh licks on the end. All the harmony guitar stuff was there, as was my solo.</p> <p>“Then I gave it to Don Henley on a tape with eight or 10 ideas, and he came back and said, ‘I really love the one that sounds like a Matador…like you’re in Mexico.’ We worked it all up and went into the studio and recorded it as I wrote it—in E minor, just regular, open chords in standard tuning—and made this killer track. All the electric guitars were big and fat and the 12-string was nice and full. Then Henley came back and said, ‘It’s in the wrong key.’ So I said, ‘What do you need? D? F sharp?’…hoping that we could varispeed the tape. But he said no, that wouldn’t work, and we sat down and started trying to figure out the key—and it turned out to be B minor! So out comes the capo, way up on the seventh fret. We re-recorded the song in B minor and all of a sudden the guitar sounds really small and the whole track just shrinks! It was horrible, so we went back and tried it again. Luckily, we came up with a better version in B minor.</p> <p>“I kept the capo on and recorded the acoustic guitar through a Leslie. They took a D.I. out of the console and a stereo Leslie, and they got this swirly effect. Then I went back and did most of the guitars, except for the stuff where Joe and I set up on two stools and ran the harmony parts down. I play the first solo, then it’s Joe. Then we trade lines and then we go into the lead harmonies.</p> <p>“Now that I’ve heard it for 20 years, the 12-string part sounds right to me, but it’s still not as nice as the E minor version we did. And even when we’d finished the song and made it the title track, I wasn’t convinced that it should be our single. I thought it was way too long—twice the normal radio length—and sort of weird because it started out quiet and had this quiet breakdown section in the middle. I was very skeptical, but I yielded to the wisdom of Henley.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/uF8-tk9qGrc" frameborder="0" allowfullscreen></iframe></p> <p><strong><a href="http://store.guitarworld.com/collections/tab-books/products/guitar-worlds-100-greatest-guitar-solos-of-all-time/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=ReadersPollEliteEight">[[ When you're done voting, start learning most of the guitar solos in this poll — and and a whole lot more! Check out a new TAB book from Guitar World and Hal Leonard: 'The 100 Greatest Guitar Solos of All Time: A Treasure Trove of Guitar Leads Transcribed Note-for-Note, Plus Song Notes for More Than 40 of the Best Solos.' It's available now at the Guitar World Online Store for $29.99. NOTE: Neil Young's "Cortez the Killer" guitar solo (solo number 39 on our list) is NOT included in this book. ]]</a></strong></p> <h1>Voting Closed!</h1> <p><strong>Winner:</strong> "Stairway to Heaven" (54.75 percent)<br /> <strong>Loser:</strong> "Hotel California" (45.25 percent)</p> <p><strong><a href="http://www.guitarworld.com/tags/greatest-guitar-solos-all-time">Head HERE to see the current matchup and all the matchups that have taken place so far!</a></strong></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="/joe-walsh">Joe Walsh</a> </div> <div class="field-item even"> <a href="/eagles">Eagles</a> </div> <div class="field-item odd"> <a href="/led-zeppelin">Led Zeppelin</a> </div> <div class="field-item even"> <a href="/jimmy-page">Jimmy Page</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/greatest-guitar-solos-all-time-readers-poll-elite-eight-stairway-heaven-jimmy-page-vs-hotel-california-don-felder-joe-walsh#comments Don Felder Eagles Greatest Guitar Solos of All Time Jimmy Page Joe Walsh Led Zeppelin Poll Polls News Features Wed, 28 Aug 2013 09:00:16 +0000 Guitar World Staff 19106 at http://www.guitarworld.com Greatest Guitar Solos of All Time Readers Poll: Sweet 16 — "Hotel California" (Don Felder, Joe Walsh) Vs. "Brighton Rock" (Brian May) http://www.guitarworld.com/greatest-guitar-solos-all-time-readers-poll-sweet-16-hotel-california-don-felder-joe-walsh-vs-brighton-rock-brian-may <!--paging_filter--><p>A few years ago, the editors of <em>Guitar World</em> compiled what we feel is the ultimate guide to the 100 Greatest Guitar Solos of All Time.</p> <p>The list, which has been quoted by countless artists, websites and publications around the world, starts with Richie Sambora's work on Bon Jovi's “Wanted Dead or Alive” (100) and builds to a truly epic finish with Jimmy Page's solo on "Stairway to Heaven" (01). </p> <p>To quote our <a href="http://www.guitarworld.com/100-greatest-guitar-solos-no-1-stairway-heaven-jimmy-page">"Stairway to Heaven" story that ran with the list</a>, "If Jimmy Page is the Steven Spielberg of guitarists, then 'Stairway' is his <em>Close Encounters</em>." </p> <p>On June 10, we kicked off a summer blockbuster of our own — a no-holds-barred six-string shootout. We pitted <em>Guitar World</em>'s top 64 guitar solos against each other in an NCAA-style, 64-team single-elimination tournament. Every day, we asked you to cast your vote in a different guitar-solo matchup as dictated by the 64-team-style bracket. Now Rounds 1 and 2 have come and gone, leaving us with 16 guitar solos and eight matchups.</p> <p>So ... </p> <p><strong>WELCOME TO THE SWEET 16 ROUND</strong>, where all 16 still-standing solos will go head to head before your eyes! As always, you can vote once per matchup, and the voting ends as soon as the next matchup is posted. </p> <p>In some cases, genre will clash against genre; a thrash solo might compete against a Southern rock solo. But please get real, people! They're all guitar solos, played on guitars, by guitarists, most of them in some subset of the umbrella genre of rock. When choosing, it might have to come down to, "Which solo is more original and creative? Which is more iconic or important? or Which one kicks a larger, more impressive assemblage of asses?"</p> <p><strong><a href="http://www.guitarworld.com/greatest-guitar-solos-all-time-readers-poll-sweet-16-voodoo-child-slight-return-jimi-hendrix-vs-whole-lotta-love-jimmy-page">Latest Sweetwater Sweet 16 Results</a></strong></p> <p><strong>Winner:</strong> "Voodoo Child (Slight Return)" (63.36 percent)<br /> <strong>Loser:</strong> "Whole Lotta Love" (36.64 percent)<br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">Today's Sweetwater Sweet 16 Matchup (7 of 8)</span><br /> <span style="font-size:18px;font-weight:bold;"><em>"Hotel California" Vs. "Brighton Rock"</em></span></p> <p>Today and tomorrow (Wednesday and Thursday), we'll watch as the Eagles' "Hotel California" (08), featuring a classic guitar solo by Don Felder and Joe Walsh, competes against Queen's "Brighton Rock" (41), which features the fretwork of Brian May. Because Queen's "Bohemian Rhapsody" was eliminated by Pink Floyd's "Comfortably Numb," this is May's last chance to advance to the next round. This is also the only appearance of Don Felder and Joe Walsh in the Sweet 16.</p> <p><strong>HOW THEY GOT HERE</strong></p> <p>• <strong>"Hotel California"</strong> defeated Pantera's <strong>"Walk"</strong> (57) in Round 1 and Steely Dan's <strong>"Reelin' in the Years"</strong> (40) in Round 2.</p> <p>• <strong>"Brighton Rock"</strong> defeated Metallica's <strong>"Fade to Black"</strong> (24) in Round 1 and Ozzy Osbourne's <strong>"Crazy Train"</strong> (09) in Round 2.</p> <p>Get busy! You'll find the poll at the very bottom of the story.</p> <p><strong><a href="http://www.guitarworld.com/100-greatest-guitar-solos-no-8-hotel-california-don-felder-joe-walsh">08. “Hotel California”</a></strong><br /> <strong>Soloist</strong>: Don Felder, Joe Walsh<br /> <strong>Album</strong>: The Eagles—<em>Hotel California</em> (Asylum, 1976)</p> <p>Credit for the guitar majesty of “Hotel California” is often given to Joe Walsh, who toughened up the Eagles’ laid-back California sound when he joined the band just prior to the <em>Hotel California</em> album’s recording. Actually, the primary guitar heard throughout the solo belongs to Don Felder, who wrote the music for the track and actually conceived and played the solo’s intricate harmonies on his initial, instrumental demo.</p> <p>“Every once in a while it seems like the cosmos part and something great plops into your lap,” says Felder. “That’s how it was with ‘Hotel California.’ I had just leased this beach house in Malibu and was sitting in the living room with all the doors wide open on a spectacular July day, probably in ’75. I was soaking wet in a bathing suit, sitting on the couch, thinking the world is a wonderful place to be and tinkling around with this acoustic 12-string when those ‘Hotel California’ chords just oozed out. I had a TEAC four-track set up in a back bedroom, and I ran back there to put this idea down before I forgot it.</p> <p>“I set this old rhythm ace to play a cha-cha beat, set the right tempo and played the 12-string on top of it. A few days later, I went back and listened to it and it sounded pretty unique, so I came up with a bass line. A few days after that, I added some electric guitars. Everything was mixed down to mono, ping-ponging back and forth on this little four-track. Finally, I wound up with a cassette that had virtually the entire arrangement that appeared on the record, verbatim, with the exception of a few Joe Walsh licks on the end. All the harmony guitar stuff was there, as was my solo.</p> <p>“Then I gave it to Don Henley on a tape with eight or 10 ideas, and he came back and said, ‘I really love the one that sounds like a Matador…like you’re in Mexico.’ We worked it all up and went into the studio and recorded it as I wrote it—in E minor, just regular, open chords in standard tuning—and made this killer track. All the electric guitars were big and fat and the 12-string was nice and full. Then Henley came back and said, ‘It’s in the wrong key.’ So I said, ‘What do you need? D? F sharp?’…hoping that we could varispeed the tape. But he said no, that wouldn’t work, and we sat down and started trying to figure out the key—and it turned out to be B minor! So out comes the capo, way up on the seventh fret. We re-recorded the song in B minor and all of a sudden the guitar sounds really small and the whole track just shrinks! It was horrible, so we went back and tried it again. Luckily, we came up with a better version in B minor.</p> <p>“I kept the capo on and recorded the acoustic guitar through a Leslie. They took a D.I. out of the console and a stereo Leslie, and they got this swirly effect. Then I went back and did most of the guitars, except for the stuff where Joe and I set up on two stools and ran the harmony parts down. I play the first solo, then it’s Joe. Then we trade lines and then we go into the lead harmonies.</p> <p>“Now that I’ve heard it for 20 years, the 12-string part sounds right to me, but it’s still not as nice as the E minor version we did. And even when we’d finished the song and made it the title track, I wasn’t convinced that it should be our single. I thought it was way too long—twice the normal radio length—and sort of weird because it started out quiet and had this quiet breakdown section in the middle. I was very skeptical, but I yielded to the wisdom of Henley.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/uF8-tk9qGrc" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong><a href="http://www.guitarworld.com/100-greatest-guitar-solos-no-41-brighton-rock-brian-may">41. "Brighton Rock”</a></strong><br /> <strong>Soloist</strong>: Brian May<br /> <strong>Album</strong>: Queen—<em>Sheer Heart Attack</em> (Elektra, 1974)</p> <p>Universally venerated for his lavish guitar orchestrations and tasteful British restraint, Brian May kicked over the traces on this high energy rocker that leads off Queen’s third album, <em>Sheer Heart Attack</em>. One of May’s most blues-based excursions ever, the song’s extended solo section grew out of the guitarist’s experiments with an Echoplex tape delay unit. His original goal was to reproduce his multi-part guitar harmonies live onstage with Queen, back in the days before harmonizers were invented.</p> <p>“I started messing around with the Echoplex, the delay that was available at the time,” May recalls. “I turned up the regeneration until it was giving me multiple repeats. I discovered you could do a lot with this—you could set up rhythms and play against them, or you could play a line and then play a harmony to it. </p> <p>"But I decided that the delay [times] I wanted weren’t available on the Echoplex. So I modified it and made a new rail, which meant I could slide the head along and make the delay any length I wanted, because the physical distance between the two heads is what gave you the delay. Eventually, I had two home-adapted Echoplexes. And I discovered that if you put each echo through its own amp, you wouldn’t have any nasty interference between the two signals. Each amp would be like a full-blown, sustaining, overdriven guitar which didn’t have anything to do with the other one.</p> <p>“So, ‘Brighton Rock’ was the first time that got onto a record. I’d already been trying it live onstage in the middle of ‘Son and Daughter’ [from Queen’s self-titled ’73 debut album], when Queen first toured with Mott the Hoople. It was rather crude at first. But I certainly had a lot of fun with it.”</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/TdUKi3_QntE" frameborder="0" allowfullscreen></iframe></p> <p><strong><a href="http://store.guitarworld.com/collections/tab-books/products/guitar-worlds-100-greatest-guitar-solos-of-all-time/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=ReadersPollSweet16">[[ When you're done voting, start learning most of the guitar solos in this poll — and and a whole lot more! Check out a new TAB book from Guitar World and Hal Leonard: 'The 100 Greatest Guitar Solos of All Time: A Treasure Trove of Guitar Leads Transcribed Note-for-Note, Plus Song Notes for More Than 40 of the Best Solos.' It's available now at the Guitar World Online Store for $29.99. NOTE: Neil Young's "Cortez the Killer" guitar solo (solo number 39 on our list) is NOT included in this book. ]]</a></strong></p> <h1>Voting Closed!</h1> <p><strong>Winner:</strong> "Hotel California" (62.27 percent)<br /> <strong>Loser:</strong> "Brighton Rock" (37.73 percent) </p> <p><strong><a href="http://www.guitarworld.com/tags/greatest-guitar-solos-all-time">Head HERE to see the current matchup and all the matchups that have taken place so far!</a></strong></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="/brian-may">Brian May</a> </div> <div class="field-item even"> <a href="/queen">Queen</a> </div> <div class="field-item odd"> <a href="/eagles">Eagles</a> </div> <div class="field-item even"> <a href="/joe-walsh">Joe Walsh</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/greatest-guitar-solos-all-time-readers-poll-sweet-16-hotel-california-don-felder-joe-walsh-vs-brighton-rock-brian-may#comments Brian May Don Felder Eagles Greatest Guitar Solos of All Time Joe Walsh Poll Polls Queen News Features Wed, 21 Aug 2013 11:44:36 +0000 Guitar World Staff 19057 at http://www.guitarworld.com Greatest Guitar Solos of All Time Readers Poll: Round 2 — "Hotel California" (Don Felder, Joe Walsh) Vs. "Reelin' in the Years" (Elliott Randall) http://www.guitarworld.com/greatest-guitar-solos-all-time-readers-poll-round-2-hotel-california-don-felder-joe-walsh-vs-reelin-years-elliott-randall <!--paging_filter--><p>A few years ago, the editors of <em>Guitar World</em> magazine compiled what we feel is the ultimate guide to the 100 Greatest Guitar Solos of All Time.</p> <p>The list, which has been quoted by countless artists, websites and publications around the world, starts with Richie Sambora's work on Bon Jovi's “Wanted Dead or Alive” (100) and builds to a truly epic finish with Jimmy Page's solo on "Stairway to Heaven" (01). </p> <p>To quote our <a href="http://www.guitarworld.com/100-greatest-guitar-solos-no-1-stairway-heaven-jimmy-page">"Stairway to Heaven" story that ran with the list</a>, "If Jimmy Page is the Steven Spielberg of guitarists, then 'Stairway' is his <em>Close Encounters</em>." </p> <p>In June, we kicked off a summer blockbuster of our own — a no-holds-barred six-string shootout. We pitted <em>Guitar World</em>'s top 64 guitar solos against each other in an NCAA-style, 64-team single-elimination tournament. Every day, we asked you to cast your vote in a different guitar-solo matchup as dictated by the 64-team-style bracket. Now Round 1 has come and gone, leaving us with 32 guitar solo and 16 (sweet) matchups. </p> <p>You can vote only once per matchup, and the voting ends as soon as the next matchup is posted (Basically, that's one poll per day). </p> <p>In some cases, genre will clash against genre; a thrash solo might compete against a Southern rock solo, for instance. But let's get real: They're all guitar solos, played on guitars, by guitarists, most of them in some subset of the umbrella genre of rock. When choosing, it might have to come down to, "Which solo is more original and creative? Which is more iconic? or Which one kicks a larger, more impressive assemblage of asses?"</p> <p><span style="font-size:18px;font-weight:bold;">Yesterday's Results</span></p> <p><strong>Winner:</strong> "Little Wing" (56.51 percent)<br /> <strong>Loser:</strong> "Highway Star" (43.49 percent)<br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">Today's Round 2 Matchup (4 of 16)</span><br /> <span style="font-size:18px;font-weight:bold;"><em>"Hotel California" Vs. "Reelin' in the Years"</em></span></p> <p>Today, the guitar solo on the Eagles' uber-classic "Hotel California" (08), featuring a solo by Don Felder and Joe Walsh, goes up against Elliott Randall's solo on Steely Dan's "Reelin' in the Years" (40). Get busy! You'll find the poll at the bottom of the story.</p> <p><strong><a href="http://www.guitarworld.com/100-greatest-guitar-solos-no-8-hotel-california-don-felder-joe-walsh">08. “Hotel California”</a></strong><br /> <strong>Soloist</strong>: Don Felder, Joe Walsh<br /> <strong>Album</strong>: The Eagles—<em>Hotel California</em> (Asylum, 1976)</p> <p>Credit for the guitar majesty of “Hotel California” is often given to Joe Walsh, who toughened up the Eagles’ laid-back California sound when he joined the band just prior to the <em>Hotel California</em> album’s recording. Actually, the primary guitar heard throughout the solo belongs to Don Felder, who wrote the music for the track and actually conceived and played the solo’s intricate harmonies on his initial, instrumental demo.</p> <p>“Every once in a while it seems like the cosmos part and something great plops into your lap,” says Felder. “That’s how it was with ‘Hotel California.’ I had just leased this beach house in Malibu and was sitting in the living room with all the doors wide open on a spectacular July day, probably in ’75. I was soaking wet in a bathing suit, sitting on the couch, thinking the world is a wonderful place to be and tinkling around with this acoustic 12-string when those ‘Hotel California’ chords just oozed out. I had a TEAC four-track set up in a back bedroom, and I ran back there to put this idea down before I forgot it.</p> <p>“I set this old rhythm ace to play a cha-cha beat, set the right tempo and played the 12-string on top of it. A few days later, I went back and listened to it and it sounded pretty unique, so I came up with a bass line. A few days after that, I added some electric guitars. Everything was mixed down to mono, ping-ponging back and forth on this little four-track. Finally, I wound up with a cassette that had virtually the entire arrangement that appeared on the record, verbatim, with the exception of a few Joe Walsh licks on the end. All the harmony guitar stuff was there, as was my solo.</p> <p>“Then I gave it to Don Henley on a tape with eight or 10 ideas, and he came back and said, ‘I really love the one that sounds like a Matador…like you’re in Mexico.’ We worked it all up and went into the studio and recorded it as I wrote it—in E minor, just regular, open chords in standard tuning—and made this killer track. All the electric guitars were big and fat and the 12-string was nice and full. Then Henley came back and said, ‘It’s in the wrong key.’ So I said, ‘What do you need? D? F sharp?’…hoping that we could varispeed the tape. But he said no, that wouldn’t work, and we sat down and started trying to figure out the key—and it turned out to be B minor! So out comes the capo, way up on the seventh fret. We re-recorded the song in B minor and all of a sudden the guitar sounds really small and the whole track just shrinks! It was horrible, so we went back and tried it again. Luckily, we came up with a better version in B minor.</p> <p>“I kept the capo on and recorded the acoustic guitar through a Leslie. They took a D.I. out of the console and a stereo Leslie, and they got this swirly effect. Then I went back and did most of the guitars, except for the stuff where Joe and I set up on two stools and ran the harmony parts down. I play the first solo, then it’s Joe. Then we trade lines and then we go into the lead harmonies.</p> <p>“Now that I’ve heard it for 20 years, the 12-string part sounds right to me, but it’s still not as nice as the E minor version we did. And even when we’d finished the song and made it the title track, I wasn’t convinced that it should be our single. I thought it was way too long—twice the normal radio length—and sort of weird because it started out quiet and had this quiet breakdown section in the middle. I was very skeptical, but I yielded to the wisdom of Henley.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/uF8-tk9qGrc" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong><a href="http://www.guitarworld.com/100-greatest-guitar-solos-no-40-reelin-years-elliott-randall">40. "Reelin' in the Years"</a></strong><br /> <strong>Soloist</strong>: Elliott Randall<br /> <strong>Album</strong>: Steely Dan—<em>Can’t Buy a Thrill</em> (MCA, 1972)</p> <p>While recording Steely Dan’s 1972 debut, Walter Becker and Donald Fagen knew they had a great track for “Reelin’ in the Years”—if they could only come up with the appropriate guitar solo to jumpstart the tune. So they put in a call to Elliott Randall, with whom they had worked in the backing band for Jay and the Americans, and who’d had played on many of the duo’s early, pre-Steely Dan demos.</p> <p>“They were having trouble finding the right ‘flavor’ solo for ‘Reelin,’ and asked me to give it a go,” recalls Randall. “Most of the song was already complete, so I had the good fortune of having a very clear picture of what the solo was laying on top of. They played it for me without much dialogue about what I should play. </p> <p>It just wasn’t necessary because we did it in one take and nothing was written. Jeff Baxter played the harmony parts, but my entire lead—intro/answers/solo/end solo—was one continuous take played through a very simple setup: my old Strat, the same one I’ve been using since 1965, plugged directly into an Ampeg SVT amp, and miked with a single AKG 414. The whole solo just came to me, and I feel very fortunate to have been given the opportunity to play it.”</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/rBllejn5fVA" frameborder="0" allowfullscreen></iframe></p> <p><strong><a href="http://store.guitarworld.com/collections/tab-books/products/guitar-worlds-100-greatest-guitar-solos-of-all-time/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=ReadersPollRound2">[[ When you're done voting, start learning every guitar solo in this poll — and more! Check out a new TAB book from Guitar World and Hal Leonard: 'The 100 Greatest Guitar Solos of All Time: A Treasure Trove of Guitar Leads Transcribed Note-for-Note, Plus Song Notes for More Than 40 of the Best Solos.' It's available now at the Guitar World Online Store for $29.99. ]]</a></strong></p> <h1>Voting Closed!</h1> <p><strong>Winner:</strong> "Hotel California" (78.34 percent)<br /> <strong>Loser:</strong> "Reelin' in the Years" (21.66 percent)</p> <p><strong><a href="http://www.guitarworld.com/tags/greatest-guitar-solos-all-time">Head HERE to see today's matchup and all the matchups that have taken place so far!</a></strong></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="/joe-walsh">Joe Walsh</a> </div> <div class="field-item even"> <a href="/eagles">Eagles</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/greatest-guitar-solos-all-time-readers-poll-round-2-hotel-california-don-felder-joe-walsh-vs-reelin-years-elliott-randall#comments Don Felder Elliott Randall Greatest Guitar Solos of All Time Joe Walsh Poll Polls Steely Dan The Eagles News Features Thu, 18 Jul 2013 14:25:44 +0000 Guitar World Staff 18840 at http://www.guitarworld.com Greatest Guitar Solos of All Time Readers Poll: Round 1 — "Hotel California" (Don Felder, Joe Walsh) Vs. "Walk" (Dimebag Darrell) http://www.guitarworld.com/greatest-guitar-solos-all-time-readers-poll-round-1-hotel-california-don-felder-joe-walsh-vs-walk-dimebag-darrell <!--paging_filter--><p>A few years ago, the editors of <em>Guitar World</em> magazine compiled what we feel is the ultimate guide to the 100 Greatest Guitar Solos of All Time.</p> <p>The list, which has been quoted by countless artists, websites and publications around the world, starts with Richie Sambora's work on Bon Jovi's “Wanted Dead or Alive” (Number 100) and builds to a truly epic finish with Jimmy Page's solo on "Stairway to Heaven" (Number 1). </p> <p>To quote our <a href="http://www.guitarworld.com/100-greatest-guitar-solos-no-1-stairway-heaven-jimmy-page">"Stairway to Heaven" story that ran with the list</a>, "If Jimmy Page is the Steven Spielberg of guitarists, then 'Stairway' is his <em>Close Encounters</em>." </p> <p>We've kicked off a summer blockbuster of our own — a no-holds-barred six-string shootout. We're pitting <em>Guitar World</em>'s top 64 guitar solos against each other in an NCAA-style, 64-team single-elimination tournament. Every day, we will ask you to cast your vote in a different guitar-solo matchup as dictated by the 64-team-style bracket. </p> <p>You can vote only once per matchup. The voting for each matchup ends as soon as the next matchup is posted (Basically, that's one poll per day during the first round of elimination, including weekends and holidays). </p> <p>In some cases, genre will clash against genre; a thrash solo might compete against a Southern rock solo, for instance. But let's get real: They're all guitar solos, played on guitars, by guitarists, most of them in some subset of the umbrella genre of rock. When choosing, it might have to come down to, "Which solo is more original and creative? Which is more iconic? or Which one kicks a larger, more impressive assemblage of asses?"</p> <p><span style="font-size:18px;font-weight:bold;">Yesterday's Results</span></p> <p><strong>Winner:</strong> "Eruption" (77.93 percent)<br /> <strong>Loser:</strong> "Scar Tissue" (22.07 percent)<br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">Today's Round 1 Matchup (Day 28):</span><br /> <span style="font-size:18px;font-weight:bold;"><em>"Hotel California" Vs. "Walk"</em></span></p> <p>Today, as we draw closer to wrapping up Round 1 of our Greatest Guitar Solos of All Time readers poll, we see an unusual matchup as Dimebag Darrell squares off against Don Felder and Joe Walsh. It's the Eagles' "Hotel California" (08) Vs. Pantera's "Walk" (57). Get busy! You'll find the poll at the bottom of the story.</p> <p><strong><a href="http://www.guitarworld.com/100-greatest-guitar-solos-no-8-hotel-california-don-felder-joe-walsh">08. “Hotel California”</a></strong><br /> <strong>Soloist</strong>: Don Felder, Joe Walsh<br /> <strong>Album</strong>: The Eagles—<em>Hotel California</em> (Asylum, 1976)</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/Ua9DN8ZXmOw" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong><a href="http://www.guitarworld.com/100_greatest_guitar_solos_51100?page=0%252C1">57. "Walk"</a></strong><br /> <strong>Soloist</strong>: Dimebag Darrell<br /> <strong>Album</strong>: Pantera—<em>Vulgar Display of Power</em> (Elektra, 1992)</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/AkFqg5wAuFk" frameborder="0" allowfullscreen></iframe></p> <h1>Voting Closed!</h1> <p><strong>Winner:</strong> "Hotel California" (64.98 percent)<br /> <strong>Loser:</strong> "Walk" (35.02 percent)</p> <p><strong><a href="http://www.guitarworld.com/tags/greatest-guitar-solos-all-time">Head HERE to see today's matchup and all the matchups that have taken place so far!</a></strong></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="/pantera">Pantera</a> </div> <div class="field-item even"> <a href="/dimebag-darrell">Dimebag Darrell</a> </div> <div class="field-item odd"> <a href="/joe-walsh">Joe Walsh</a> </div> <div class="field-item even"> <a href="/eagles">Eagles</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/greatest-guitar-solos-all-time-readers-poll-round-1-hotel-california-don-felder-joe-walsh-vs-walk-dimebag-darrell#comments Dimebag Darrell Don Felder Eagles Greatest Guitar Solos of All Time Joe Walsh Pantera Poll Polls News Features Sun, 07 Jul 2013 12:23:47 +0000 Guitar World Staff 18735 at http://www.guitarworld.com Eagles Donate Autographed Takamine EF360GF Guitar to Benefit Environmental Group http://www.guitarworld.com/eagles-donate-autographed-takamine-ef360gf-guitar-benefit-environmental-group <!--paging_filter--><p>While they were at the Sundance Film Festival in Park City, Utah, the Eagles premiered a new film, <em>History of the Eagles: Part One</em>. It's an authorized, feature-length documentary that provides an intimate look into the history of the group and the legacy of their music. </p> <p>Festival sponsor Acura launched an online Eagles Guitar Auction featuring a Takamine EF360GF Glenn Frey model guitar that was signed by Glenn, Don Henley, Joe Walsh and Timothy B. Schmit, to benefit the Swaner Preserve and EcoCenter, an environmental organization based in Park City.</p> <p>“Takamine is proud of our long association with this iconic band,” said David Vincent, artist relations manager for Takamine. “We look forward to the general release of history of the Eagles.”</p> <p><em>History of the Eagles</em> will make its broadcast debut on Showtime. Part One airs 8 p.m. Friday, February 15; Part Two will air 8 p.m. Saturday, February 16. </p> <p>The Swaner Preserve and EcoCenter is a non-profit organization in Park City. Swaner’s mission is to preserve the land and the human connection to the natural landscape, to educate the local and broader communities about the value of nature, and to nurture the ecosystem and the people connected with it. For more information, visit <a href="http://www.swanerecocenter.org/">swanerecocenter.org</a>.</p> <p>For more about Takamine, visit <a href="http://www.takamine.com/">takamine.com</a>.</p> <p><img src="/files/imce-images/eagles_with_charity_guitar%5B1%5D.jpg" width="620" height="448" alt="eagles_with_charity_guitar[1].jpg" /></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="/eagles">Eagles</a> </div> <div class="field-item even"> <a href="/joe-walsh">Joe Walsh</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/eagles-donate-autographed-takamine-ef360gf-guitar-benefit-environmental-group#comments Eagles Glenn Frey Joe Walsh Takamine The Eagles News Wed, 13 Feb 2013 18:14:33 +0000 Guitar World Staff 17787 at http://www.guitarworld.com Exclusive Video: Joe Walsh Performs "Funk #49" for 'Guitar Center Sessions' http://www.guitarworld.com/exclusive-video-joe-walsh-performs-funk-49-guitar-center-sessions <!--paging_filter--><p>Here's an exclusive clip of Joe Walsh performing the classic James Gang track "Funk #49" from his recent <em><a href="http://gc.guitarcenter.com/sessions/">Guitar Center Sessions</a></em> episode.</p> <p><em>Guitar Center Sessions</em>, which appears exclusively on DIRECTV, showcases exclusive live performances, all of which are filmed in hi-def at <a href="http://www.guitarcenter.com/?source=4WWRWXGT&amp;ktid=45-1611331">Guitar Center</a>’s Hollywood, California, location. Each episode features interviews conducted by Nic Harcourt.</p> <p>“In the upcoming episodes of <em>Guitar Center Sessions</em>, we really get down to the root of how these artists have overcome their struggles on the road to success,” Harcourt says. “These are musicians who have found a way to turn their passion into a profession and by sharing their stories we aim to inspire more artists to follow suit.”</p> <p><strong><a href="http://www.guitarworld.com/guitar-worlds-top-50-albums-2012">[[ Joe Walsh's new album, 'Analog Man,' was featured in Guitar World's list of the 50 best albums of 2012. See the full list here! ]]</a></strong></p> <p>Walsh's episode kicked off the new season; the next installment, featuring Ben Folds Five, will air Friday, December 14. Check out the full schedule below the video.</p> <p>For more about <em>Guitar Center Sessions</em>, visit <a href="http://gc.guitarcenter.com/sessions/">gc.guitarcenter.com/sessions.</a> For more about Walsh, visit his <a href="http://www.joewalsh.com/">official website</a>.</p> <p><iframe width="620" height="349" src="http://www.youtube.com/embed/JbmtW31oAj8" frameborder="0" allowfullscreen></iframe></p> <p><strong><em>Guitar Center Sessions</em> 2012 Episode Schedule:</strong></p> <p>Dec. 14: Ben Folds Five<br /> Dec. 21: Meiko<br /> Dec. 28: Papa Roach<br /> Jan. 11: Hoobastank<br /> Jan. 25: Jimmy Cliff<br /> Feb. 8: Kinky<br /> Feb. 22: Andy Allo<br /> March 8: Skylar Grey</p> <p><strong><a href="http://store.guitarworld.com/products/guitar-world-may-12-joe-walsh">Joe Walsh is featured on the cover of the May 2012 issue of GW. Check it now at the Guitar World Online Store!</a></strong></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="/joe-walsh">Joe Walsh</a> </div> <div class="field-item even"> <a href="/eagles">Eagles</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/exclusive-video-joe-walsh-performs-funk-49-guitar-center-sessions#comments Guitar Center James Gang Joe Walsh The Eagles Videos News Features Fri, 14 Dec 2012 15:55:06 +0000 Damian Fanelli 17393 at http://www.guitarworld.com Photo Gallery: Joe Walsh (and Jimmy Page) at NYC's Iridium Jazz Club http://www.guitarworld.com/photo-gallery-joe-walsh-and-jimmy-page-nycs-iridium-jazz-club <!--paging_filter--><p>Joe Walsh performed with the Les Paul Trio last night, October 8, at the Iridium Jazz Club in New York City. </p> <p>Les Paul Mondays are a big event at the club, which is on Broadway at 51st Street, and it's not uncommon for some big names to drop by unexpectedly. Such was the case last night when Jimmy Page stopped in to check out the show.</p> <p>These photos, which are courtesy of Ron Sturm at the Iridium, were shot by Nelson Onofre, Frank White and James Belmont. Each photo is individually credited in the photo gallery below. </p> <p>The Les Paul Trio includes Lou Pallo (guitar), Gary Mazzaroppi (bass, sitting in for Nicki Parrott) and John Colianni (piano). Drummer Anton Fig also sat in last night.</p> <p>Keep up with the Iridium's events at the venue's <a href="http://www.facebook.com/IridiumJazzClub?fref=ts">Facebook page</a> and <a href="http://theiridium.com/">official website.</a></p> <p><strong><a href="http://secure.nps1.net/guitarworld/index.php?main_page=product_info&amp;cPath=9&amp;products_id=304&amp;utm_source=gw_homepage&amp;utm_medium=scroller&amp;utm_campaign=GWMAY12">Joe Walsh appeared on the cover of the May 2012 issue of GW. To read the full interview and see the exclusive photos, check out the issue at the Guitar World Online Store.</a></strong></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="/joe-walsh">Joe Walsh</a> </div> <div class="field-item even"> <a href="/jimmy-page">Jimmy Page</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/photo-gallery-joe-walsh-and-jimmy-page-nycs-iridium-jazz-club#comments Iridium Jimmy Page Joe Walsh Galleries News Features Wed, 10 Oct 2012 14:18:26 +0000 Damian Fanelli 16918 at http://www.guitarworld.com Joe Walsh Releases New Video for "One Day at a Time" http://www.guitarworld.com/joe-walsh-releases-new-video-one-day-time <!--paging_filter--><p>Joe Walsh has just shared the official video for the song "One Day at a Time" off his new album, <em>Analalog Man</em>. Watch it below.</p> <p>"This song is about my path out of the darkness of drug addiction and alcoholism," says Walsh. "The message is that there is a way out and a new life waiting in recovery that is good. The first step is to ask for help. The included links are a good place to start. I'm doing this because if it helps 1 person - it was worth it. It's by giving back that we receive and I am eternally grateful for my sobriety and my life today."</p> <p>Walsh is also giving away a free download of "One Day at a Time" at <a href="http://bit.ly/Qx62oa">this location</a>.</p> <p><iframe width="620" height="349" src="http://www.youtube-nocookie.com/embed/xlfCyHbLdpI" frameborder="0" allowfullscreen></iframe></p> <p><strong>You can read our complete interview with the legendary Joe Walsh online at <a href="">this location</a>. You can purchase the May 2012 issue of <em>Guitar World</em> in our online store <a href="http://store.guitarworld.com/collections/guitar-world/products/guitar-world-may-12-joe-walsh">here</a>.</strong></p> http://www.guitarworld.com/joe-walsh-releases-new-video-one-day-time#comments Joe Walsh News Fri, 05 Oct 2012 18:23:53 +0000 Josh Hart 16900 at http://www.guitarworld.com Billy Gibbons, Brad Paisley Honor Joe Walsh on June 23 Episode of 'CMT Crossroads' http://www.guitarworld.com/billy-gibbons-brad-paisley-honor-joe-walsh-june-23-episode-cmt-crossroads <!--paging_filter--><p>Billy Gibbons of ZZ Top, plus Brad Paisley, Kenny Chesney and other country music stars will pay homage to recent <em>Guitar World</em> cover star Joe Walsh on the next episode of <em>CMT Crossroads</em> on CMT.</p> <p>The special, titled <em>CMT Crossroads: Joe Walsh &amp; Friends</em>, also features Sara Evans,<br /> Luke Bryan and Hunter Hayes and will air 11 p.m. EST Saturday, June 23.</p> <p>The episode includes Walsh and the other artists performing Walsh's solo hits and Eagles classics, including “Life’s Been Good,” “Life in the Fast Lane,” "Rocky Mountain Way" and more. </p> <p>You can check out a video of Walsh and Paisley performing “Rocky Mountain Way” below. </p> <p><a href="http://secure.nps1.net/guitarworld/index.php?main_page=product_info&amp;cPath=9&amp;products_id=304&amp;utm_source=gw_homepage&amp;utm_medium=scroller&amp;utm_campaign=CMTNewsItem">Check out the May 2012 issue of GW, which features Walsh on the cover.</a> It's available now at the Guitar World Online Store.</p> <div style="background-color:#000000;width:620px;"> <div style="padding:4px;"><iframe src="http://media.mtvnservices.com/mgid:uma:video:cmt.com:792511/cp~vid%3D792511%26uri%3Dmgid%3Auma%3Avideo%3Acmt.com%3A792511" width="620" height="335" frameborder="0"></iframe></div> </div> <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="/joe-walsh">Joe Walsh</a> </div> <div class="field-item even"> <a href="/billy-gibbons">Billy Gibbons</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/billy-gibbons-brad-paisley-honor-joe-walsh-june-23-episode-cmt-crossroads#comments Billy Gibbons Brad Paisley Joe Walsh The Eagles News Tue, 19 Jun 2012 18:10:46 +0000 Damian Fanelli 16055 at http://www.guitarworld.com Interview: Joe Walsh Discusses His Career, Gear and New Album, 'Analog Man' http://www.guitarworld.com/interview-joe-walsh-discusses-his-career-gear-and-new-album-analog-man <!--paging_filter--><p><strong>He’s a full-fledged member of the Eagles, he just played at the Grammys with Paul McCartney, and he owns an enviable collection of vintage guitars. As Joe Walsh drops his new solo album, <em>Analog Man</em>, and hits the road for the Eagles’ 40th anniversary tour, he’s the first to say he can’t complain.</strong></p> <p>“Hmmm, let’s see now ... the ’57 Gretsch or the ’58 Goldtop?” Joe Walsh contemplates a bevy of highly collectible vintage guitars strewn in open cases across the floor of a Hollywood photo studio. Broad shouldered and looking fit, he towers over the instruments, meditatively stroking his chin. </p> <p>A <em>Guitar World</em> cover shoot is serious business, and Walsh brings to it consummate professionalism that has guided him through over four and a half decades as a classic-rock guitar legend.</p> <p>After some deliberation, Walsh selects the “Goldtop” Les Paul for the next round of shots. His wife, Marjorie, a trim blond possessed of mature beauty and a warm, welcoming manner, suggests a garment to go with the instrument, a form-fitting blazer outfitted with rock-star silver lamé trim at the cuffs. Mr. Walsh is ready for his close-up.</p> <p>In many ways, Walsh seems the living embodiment of his 1978 hit, “Life’s Been Good.” He’s been a central and influential figure in rock music ever since the late Sixties, first as leader of the James Gang, then as a solo artist and as a member of the Eagles. In the latter capacity, Walsh was the man who put rock foremost in the Eagles’ highly successful country-rock sound. His incisive lead guitar work turbocharged hits like “Life in the Fast Lane” and “Hotel California,” the latter being a track that regularly ranks high on lists of the greatest guitar solos ever.</p> <p>All of Walsh’s many musical virtues are beautifully encapsulated on his new album, <em>Analog Man</em>. It’s rife with the concise, catchy songcraft, understated humor and “regularguy” honesty we’ve come to expect from Walsh, not to mention reams of his sterling guitar work. </p> <p>Walsh is a quintessential rock guitarist as well as one of the genre’s most distinctive stylists. The choppy, syncopated eloquence of his rhythm playing is as unique as a fingerprint.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/iC3r6U-rEzo" frameborder="0" allowfullscreen></iframe></p> <p>As a lead player, he knows how to make a guitar solo ignite instantly and burn hot all the way through. His slide playing is as gracefully idiosyncratic and instantly recognizable as his plaintive, high-pitched vocal style. Hear just a few notes and you immediately know it’s him. </p> <p>Given the register of his singing voice, it’s somewhat surprising that Walsh speaks in a low, gravely growl. The words come out slowly. He chooses them carefully, pausing between phrases to let their impact sink in.</p> <p>“It’s been 20 years since my last solo album, so I feel like the time is right,” he says of <em>Analog Man</em>. “I’m really happy with it, really proud of it. Jeff Lynne [ELO, Traveling Wilburys, Tom Petty] produced it, which took it in a direction I never would have gone in. And I believe the music is much better for it. It’s an honor and privilege to work with Jeff.”</p> <p><strong>[[ Joe Walsh appeared on the cover of the May 2012 issue of <em>Guitar World</em>, which contains more new photos by Ross Halfin, plus photos from throughout Walsh's career. <a href="http://store.guitarworld.com/collections/guitar-world/products/guitar-world-may-12-joe-walsh">It's available now at the Guitar World Online Store</a> ]]</strong>.</p> <p>While life has generally been good to Joe Walsh, his road hasn’t always been an easy one. Now 64, he’s suffered the early death of his first-born child, alcohol and drug addiction, and serial divorces. These trials have etched deep lines on a face framed by chin-length hair. </p> <p>But Walsh seems to have come out on the other end of all his difficulties reasonably intact. He’s been sober since the Nineties, a Tibetan Buddhist practitioner of some years’ standing, and very happily married since 2008 to Marjorie Bach, sister of actress Barbara Bach, who is Ringo Starr’s wife. Ringo is one of several celebrity guest musicians on <em>Analog Man</em>. </p> <p>The Beatles connection also led to Walsh accompanying Paul McCartney on lead guitar at the 2012 Grammy show.</p> <p>“When I married Marjorie, along with her I got this very large family and a bunch of family friends,” Walsh says, laughing. “It’s a dynamic I’ve never been around. I’ve always been kind of a loner, and my attempts at domestic life failed miserably. So the family dynamic is a great thing.”</p> <p>These sentiments are expressed by Walsh in one of <em>Analog Man</em>’s most heartfelt and direct compositions, a ballad simply entitled “Family.”</p> <p>Vocal harmonies by David Crosby and Graham Nash enhance the mood of easy domesticity. “That’s a favor I called in,” Walsh says of the duo’s participation. “A long time ago, I played on a record they made, and we always talked about how we would some day work on a song together. So I kinda said, ‘I got this song, and remember when I played on your album?’ They made the song really special.”</p> <p>Walsh’s affable, easygoing manner has won him many friends among rock’s royalty. He’s famous for having bestowed on Jimmy Page the “Number One” 1959 Les Paul Standard that has been integral to Page’s work from <em>Led Zeppelin II</em> onward. It was also Walsh who laid on Pete Townshend the 1959 Gretsch 6120 and 1959 Fender Bandmaster amp that Pete used to create the unforgettable guitar sound on <em>Who’s Next</em>. </p> <p>“I like to give people equipment and stuff,” Walsh says. “For me, it’s a kind of payback. Anyone who is an influence or hero for me, I’m always concerned with how I can balance the karma.”</p> <hr /> “Joe is extremely generous,” his wife confirms. “Sometimes maybe a little too generous. So I’ve been trying to get some of the great vintage guitars that he’s given away over the years back in his collection. Not the actual guitars, of course, but some of the same models and years.” <p>“I don’t know how she knows what to get, or how to find it, but she does!” Walsh marvels. “She bought me a ’58 Goldtop, and she found me a ’53 Broadcaster, from before Fender named it Telecaster. And a ’57 Gretsch 6120 like the one I gave Pete! So I’m getting some vintage guitars on the wall.”</p> <p>Marjorie obviously takes very good care of Joe. <em>Analog Man</em> is dedicated to her, and she played a key role in its creation. It was she who brought Jeff Lynne in the picture and who encouraged Walsh to complete the recording and put it out.</p> <p>“These songs were kind of a Sunday project that I worked on when I was home during Eagles’ time off,” he explains. “But I never got any momentum going for the past 10 years because the Eagles has been a full-time job. We worked a lot last year. But Marjorie said, ‘You know, you ought to get your shit together and finish this.’”</p> <p>The title track for <em>Analog Man</em> expresses Walsh’s misgivings about the putative digital wonderland we all supposedly inhabit these days. “It’s an observation, not a judgment,” he says of the song. “I’ve always written observations on the world, and now there’s two of them. The virtual world is a new thing, and it doesn’t really exist, but people are in it a lot. People try to function in the real world — the analog world — while they’re texting in the digital world, and they run into the car in front of them. It doesn’t work to be in both.”</p> <p>But Walsh is no Luddite. Its title notwithstanding, <em>Analog Man</em> was recorded digitally. “I learned Pro Tools, and the album is digital,” he says. “Those of us who used to record analog have had to make some adjustments.” </p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/il1Byvn_vMA" frameborder="0" allowfullscreen></iframe></p> <p>True to his self-conferred title of “Analog Man,” however, Walsh was able to wrest a cornucopia of warm, analog-flavored guitar tones from his digital recording rig. “I found this little Fender amp called an FM15,” he says. “It’s a digital amp with sampled amp tones. I’d come out of the headphone jack of that amp into a tube recording preamp and into a hard drive. Do that, and the Pro Tools sees tubes.”</p> <p>Walsh’s guitars for the album were all analog, of course, notably the aforementioned 1957 Gretsch 6120 plus a selection of Les Pauls, Stratocasters and Telecasters. Walsh has so many guitars he tends not to be overly fussy about vintage years. He just grabs whichever one is closest to hand. His tastes in amps are varied. </p> <p>For instance the remarkably crisp and present slide guitar sound on the song “Wrecking Ball” was achieved via a 30-watt Peavey amp with a 10-inch speaker.</p> <p>“That’s what you’re hearing on there,” Walsh elaborates. “I like small amps, not big ones. Another one I’m really fond of is Dr. Z amps. He’s a guy in Cleveland who makes these really great amps. Brad Paisley and I are both really in love with those. And I love Fender Champs, too. An old blackface Champ is actually what I did ‘Funk #49’ on. A blackface Champ and a Tele, straight in.”</p> <p>“Funk #49” by Walsh’s group the James Gang is one of his signature tracks and, to this day, a garage-band and jam-night staple. With its syncopated rhythms and unison guitar-and-bass riffs, the song earned the James Gang a prominent place among the American power trios that sprang up in the wake of Cream and the Jimi Hendrix Experience as the late Sixties gave way to the early Seventies.</p> <hr /> “The James Gang started out doing cover songs,” Walsh says. “And then the next thing for us was to do the beginning of a cover song and then do a five-minute jam in the middle that was different every night. And ‘Funk #49’ was actually a groove that we’d come up with — one of our tools that we would throw into the middle of cover songs. And finally we just wrote some words for it.” <p>Right from the James Gang’s emergence in 1968, Walsh seemed ahead of the game as a guitarist. He was hot-rodding amps and pickups in an era when that kind of in-depth manipulation of guitar tone was far from commonplace. How did he glom onto all that stuff in the era before the internet or even guitar magazines?</p> <p>“I discovered amateur radio — ham radio — when I was about 12,” he says. “My parents moved from Ohio to New York City when I was about 11, and I went from vacant lots, BB gun wars, snowball fights and kick-the-can to being in a third-story, two-bedroom apartment in New York City. We moved in the summer. </p> <p>“I had no friends, school wasn’t in yet, and there was a guy in the apartment building that had an antenna on the roof. I followed the wires to his window and knocked on that apartment’s front door. He let me in, and he was a ham radio operator. So that’s what I did the rest of the summer until school started. And I’ve been a ham-radio operator since 1961.</p> <p>“Anyway, part of that was learning about electronics. So by the time I really got into guitars and stuff, I already had a basic knowledge of what was going on in terms of the signal — amps and how to fix them and how to tweak them. I’ve kind of always been like that. And I strongly feel that if you’re gonna be a guitar player, you should open yourself up and know about it. I firmly believe that makes you a better musician and a better guitar player.”</p> <p>Walsh also got in early on what we now call the vintage guitar market. Touring around with the James Gang in the late Sixties and early Seventies, he had access to all kinds of bargains in out-of-the way places. It was a time when guitars from the Fifties and early Sixties commanded very modest prices, often less than the cost of a comparable new guitar.</p> <p><iframe width="620" height="349" src="http://www.youtube.com/embed/uCy8Xtp2P20" frameborder="0" allowfullscreen></iframe></p> <p>“The fun for me,” Walsh says, “was being on the road and going to a little pawn shop or music store — not a big chain like Guitar Center but an actual little music store — and seeing what they had, and collecting guitars that way. And then opening them up to see why they sounded the way they did.”</p> <p>But for all that, Walsh has never been much of a vintage snob. He has a much more utilitarian view of the instrument. “It doesn’t make sense to me to have an old Martin that’s valuable because it’s an old Martin, but the neck is so warped you can’t really play it,” he says. “Or you have a Fifties or early Sixties Stratocaster that you can’t take on the road anymore because it’s too valuable. I’ve never really gotten into collecting that way.”</p> <p>This lack of preciousness about the instrument is one factor in Walsh’s easygoing ability to give valuable guitars away. Out on the road, friends like Jimmy Page and Pete Townshend came to him as readily as guitars. So why not lay a few axes on his pals?</p> <p>“The James Gang opened for Led Zeppelin a couple times right at the end of the Yardbirds when Led Zeppelin was together,” Walsh recounts. “Before their first album really hit, they came over and played shows. It was Jimmy Page’s new band. So I started a friendship with him at that time. </p> <p>“A little bit after that, when the first album really took off, Jimmy was still playing the Telecasters that he played in the Yardbirds. He was looking for a Les Paul and asked if I knew of any, ’cause he couldn’t find one that he liked. And I had two. So I kept the one I liked the most, and I flew to New York with the other one. I laid it on him and said, ‘Try this out.’ He really liked it. So I gave him a really good deal, about 1,200 bucks. I had to hand-carry it; I flew there and everything. </p> <p>“So whatever my expenses were, that’s what I charged him. That guitar ended up being a significant part of Led Zeppelin’s body of work. But again, I just thought he should have a Les Paul, for godsakes!”</p> <p>That 1959 Les Paul Standard, Page’s beloved Number One guitar, would go on to forge a considerable chunk of rock history. One thing about the instrument that especially attracted Page was its relatively slim neck contour. Walsh had had the neck shaved by Virgil Lay of Lay’s Guitars in Akron, Ohio.</p> <hr /> “Virgil’s a legend among people who knew him,” Walsh says. “Lay’s Guitars would become known for Stay In Tune strings — S.I.T. And he was best friends with Mike Battle, who invented the Echoplex. Virgil was the guy that, if you had a crack in your neck, you’d go there and he’d repair it. Or he would fix violins and stuff. <p>"He’s kind of a master luthier, with a wood shop and all. So I had Virgil shave the neck of that Les Paul a little. It was a big, fat neck originally, and I didn’t like that. And I think the shaved neck is what Jimmy liked about the guitar. It was kind of a custom neck on a Les Paul.”</p> <p>It was during the same period that Walsh gave Pete Townshend the 1959 Gretsch 6120 and Fender Bandmaster amp that became the cornerstones of the powerhouse sound he forged on the Who’s landmark album, <em>Who’s Next</em>. To the best of Walsh’s recollection, the Gretsch came from an acoustic guitar shop in Columbus, Ohio, across the street from the World Theater, where the James Gang would often perform. But it was during his time in Europe that Walsh first got friendly with Townshend.</p> <p>“The James Gang opened for the Who when they performed Tommy in England and in Europe for the first time,” he remembers. “So Pete and I started hanging out. After <em>Tommy</em>, he was playing a Gibson SG and Hiwatt amps. That was his vehicle to present and perform <em>Tommy</em>. </p> <p>“But he was kind of stuck in that, and I think he wanted to move on. So I figured, Well, a Bigsby should fuck him up pretty good! And that Gretsch was a great guitar. I always found that with an old Gretsch with a Bigsby, when you sit down with it, there are songs in there that will come out that you wouldn’t write without that guitar. And I’m kind of superstitious that way. So I gave him my 6120 and a 3x10 Bandmaster, an old Fender amp that I had. And said, ‘Here.’ And <em>Who’s Next</em> is that.”</p> <p>Despite the moderate level of success that the James Gang achieved with tracks like “Funk #49,” and “Walk Away,” Walsh decided to leave the band in 1971 and strike off in more of a solo direction. Moving to Colorado, he formed the group Barnstorm, although the band’s recording would be credited to Walsh as a solo artist.</p> <p>“When I left the James Gang, I wanted a fresh start,” he says. “I didn’t want to stay in Cleveland, where I’d been. Bill Szymczyk, who produced the James Gang and a bunch of other stuff, was in Colorado. So I went there and started the Barnstorm days. Nobody really understood why I quit the James Gang, because we were doing really well, but I didn’t want to be in a three-piece rock and roll band anymore. I thought I was painting myself in a corner, in terms of being a musician. And I wasn’t really crazy about being a grandparent of heavy metal!”</p> <p>The first release under this new arrangement, 1972’s <em>Barnstorm</em>, didn’t exactly set the world on fire. But the follow-up, 1973’s <em>The Smoker You Drink, the Player You Get</em>, became ubiquitous on Seventies FM “Album Rock” radio, buoyed by the signature track “Rocky Mountain Way.”</p> <p>“That song was just about, ‘Okay, it’s gonna work that I left the James Gang to pursue a solo career,’” Walsh says. “That line, ‘The Rocky Mountain way is better than the way we had’ — it was like, ‘This will be all right after all. It’s not the end of Joe Walsh.’ I didn’t know if it would be or not, but I had to take a shot.”</p> <p>The track was also a showcase for Walsh’s distinctive slide guitar style, something that would become a key element of his work from that point forward. “Duane Allman had showed me open E tuning and given me a Corcidin bottle, the glass bottle slide that he used,” Walsh says. “So I had been practicing slide guitar for a long time. And ‘Rocky Mountain Way’ was really my coming out song on slide, having learned all that Duane taught me and practiced for a year. That was my ‘Hey, I play slide too!’ song.”</p> <p>While Walsh started his slide journey with a Corcidin bottle — a receptacle for Corcidin cough syrup, infamous for its potential misuse as a narcotic — he had moved on to a chrome slide to record “Rocky Mountain Way,” applying it to an open-tuned Les Paul through a tweed Fender Champ amp. A consummate slide stylist, his choice of slide materials varies according to the tone he’s after.</p> <p>“The glass slides are my favorite for George Harrison-y stuff,” he says. “You get the best tone with a glass slide. It’s very sweet. But for harder edged stuff, when you gotta cut above another Les Paul, a big metal slide is the way to go.”</p> <p>“Rocky Mountain Way” also popularized another key piece of guitar gear: the talk box. Later mass-produced by Bob Heil as the Heil Talk Box, this device would become prevalent in Seventies guitar rock, adopted by everyone from Jeff Beck to Peter Frampton. But on “Rocky Mountain Way,” Walsh played what is arguably the first talk box ever.</p> <p>“I was friends with Dottie West, the country singer, and her family,” he explains. “And any time the James Gang played Nashville, we’d go over to Dottie’s. A bunch of songwriters and people like Chet Atkins would come over and we’d pass the guitar around and everybody would have a play. It was a traditional Nashville kind of a thing. And Dottie’s husband was Bill West, a great pedal-steel player but also an inventor. </p> <hr /> “He had invented the talk box by placing a speaker driver, the back part of a speaker, in a cardboard box and connecting a piece of surgical tubing to it. So the sound came up the surgical tubing. <p>"Then he wrapped the cardboard box in electrical tape. A guy named Pete Drake used it once in the Fifties for a song called ‘Forever,’ and then it went back in Bill West’s garage for 20 years. So we were at Dottie’s with her family and all, passing guitars around. </p> <p>“Bill came out of the garage and gave this thing to me. I said, ‘What is it?’ He said, ‘Well, just take it home and plug it in, put the tubing in your mouth and plug it into your speaker jack. I don’t know exactly what it is.’ </p> <p>“Of course, I had to see how it was built, so I took it apart. And I was hanging out with Bob Heil at the time, ’cause he’s a ham operator. He had a sound company back then. He did all the Who shows in the U.S. And so we had a look at this thing, and Bob decided he had a good way to make ’em, so he put out his version of it. But the real one I still have — except the tube smells so horrible that nobody can use it. </p> <p>“And then Peter Frampton came to me and said, ‘How the hell did you get that sound?’ I explained it to him, and he used it on his song “Show Me the Way,” and big things happened for him. He trademarked that sound.”</p> <p>By 1975, however, Walsh had tired of being a solo artist. He was ready for another momentous and risky career shift. As when he left the James Gang, he found himself in a time of change, uncertainty and trepidation. </p> <p>But once again, everything would work out fine: he joined the Eagles. “When you gain an amount of success,” he says, “a lot of nonmusical things come along that you don’t really think about before the success. You’re too busy trying to survive. It’s<br /> nice when you get some money, get famous a little bit and get recognized. But as a solo artist, that comes with a lot of nonmusical things. </p> <p>“There’s the business side of it — the hiring and firing, payroll and all of that. Not to mention the pressure of writing something that’s gonna make the next album as big as the one that got you there. And I found myself feeling alone and creatively a little stagnant. I’d had a good run as a solo artist, and I was thinking, God, it would be really good to be in a band again.”</p> <p><iframe width="620" height="465" src="http://www.youtube.com/embed/osAA8q86COY" frameborder="0" allowfullscreen></iframe></p> <p>Walsh had become friendly with the Eagles on the road, having shared bills with the hugely popular country-rock group on numerous occasions. They also shared the same manager, Irving Azoff.</p> <p>Around that time, Eagles guitarist Bernie Leadon, a country purist, had become uncomfortable with the more rock direction that the band’s principal songwriters, Don Henley and Glenn Frey, wanted to take.</p> <p>“So when Bernie decided that he just wasn’t interested very much in continuing,” Walsh says, “Don and Glenn thought I would plug in really well with where the Eagles were eventually going to go. And at the time I was going, ‘Aw fuck, it’s time to do another solo album. Oh shit. Anybody got any ideas?’ You know? So it all just kind of came together, I joined the Eagles and the result, of course, was <em>Hotel California</em>.”</p> <p>A landmark album, and arguably the Eagles’ greatest ever, <em>Hotel California</em> offered an eloquent depiction of the decadence and ennui of L.A. culture in the late Seventies. Walsh’s hard-edged rock sensibility was integral to the album’s aesthetic and appeal. Among his songwriting contributions was the signature guitar riff for the hit “Life in the Fast Lane.”</p> <p>“That was actually a coordination drill that I’d come up with on guitar to warm up to play live,” he says. “I was just playing it one time and Don Henley goes, ‘What the hell is that!’ Well, it was just an idea floating around. With the Eagles, we would all bring in bits and pieces of music, throw them in a big pile and sort through them. </p> <p>“Don and Glenn got a hold of that ‘Life in the Fast Lane’ riff. Glenn kinda arranged it, and we did a demo of it. Then Don had the idea of ‘life in the fast lane.’ He put the words together, and we recorded it for real. And then Don Felder and I figured out the guitar work. Once we knew it was an Eagles song, they turned me loose a little bit.”</p> <p>Walsh and Eagles co-guitarist Don Felder coalesced into a formidable team. “We worked really well together,” Walsh says. “It was competitive. We brought out the best in each other. He would play something, and I’d get an attitude like, ‘Oh yeah? Listen to this.’ And he’d go, ‘Wow, listen to this!’ We would work that way. You can kind of hear that.”</p> <p>The apotheosis of Walsh and Felder’s guitar magic with the Eagles is unquestionably “Hotel California.” Central to the symbol-laden epic track’s mood of desperation and la dolce vita gone slightly sour is the artful tapestry of intertwined guitar leads that Walsh and Felder weave throughout the track, bursting into Technicolor brilliance in the extended outro solo section. They trade licks for a while, then merge in glorious harmony. “Hotel California” had begun as a 12-string acoustic demo that Felder had put together. </p> <p>The Eagles began to craft an arrangement, using the working title “Mexican Reggae.” After Henley came up with the song’s masterful lyric, Felder and Walsh were once again let loose.</p> <p>“Don had his distinct part and I had my distinct part in the body of the song,” Walsh recounts. “And we thought, What if we merged those together? And that was the dual guitar work that develops during the course of the song. Felder had a lot of ways to go with it, and I tried to focus on that.”</p> <p>The track’s unforgettable dual-guitar harmonies were played live in the studio by Walsh and Felder. “We took a couple of hours to work all those harmonies out and put them on,” Walsh says. “But over that we did individual solos. Like I said, Felder and I were competitive, but in a good way.”</p> <p>To the best of Walsh’s recollection, he played a Telecaster on “Hotel California,” while Felder played a Les Paul, and of course the 12-string acoustic part. “We always tried to have a single-coil and a humbucker as the personalities of the guitars,” Walsh explains. </p> <p>“We found that with two Les Pauls, you couldn’t really hear either of them, and two single-coils was too thin. So I ended up being the single-coil guy on ‘Hotel California.’”</p> <p>From the late Seventies up to the present, Walsh has alternated between work with the Eagles and solo projects. In 1978, he was back in the limelight with another signature solo track, “Life’s Been Good,” a comedically understated account of stardom that went a long way toward establishing his persona as an ordinary guy who finds himself in extraordinary circumstances.</p> <p>The song’s verses also bear witness to an abiding interest in reggae on Walsh’s part. But Walsh might never have recorded or released this classic had it not been for the intervention of some friends.</p> <p>“Sometimes musicians write songs just for themselves,” he says, “and they don’t really intend to record or release a song like that, or necessarily have anybody even hear it. That’s how it was with ‘Life’s Been Good.’ I wrote these words. They were lying around for a while and I just happened to show them to Bill Szymczyk and my friend Joe Vitale, who was the drummer for Barnstorm and now plays with Crosby, Stills and Nash. Joe and Bill both said, ‘You gotta make a song out of this!’”</p> <p>Walsh’s new album, <em>Analog Man</em>, contains what is essentially a sequel to “Life’s Been Good,” a song entitled “Lucky That Way.” It is one of several songs on the new disc that the guitarist co-wrote with tunesmith Tommy Lee James, who has penned numerous country hits for artists like Reba McEntire, Tim McGraw, Trisha Yearwood and Taylor Swift. Walsh and James were brought together by Barbara Orbison, widow of rock and roll legend Roy Orbison.</p> <p>“Tommy and I got along really well right from the start,” Walsh says. “And he actually brought in a verse for ‘Lucky That Way.’ He said, ‘I don’t know if you’re gonna like this, but I kinda wrote it with you in mind.’ From there, I just filled in the verses with situational stuff that was relevant to my life. But that really was a gift from Tommy Lee James. And, you know, the last verse is really true. In my experience in the music business, if you kind of pretend that you know what you’re doing, everybody thinks you know what you’re doing. So I have been kind of lucky that way. I haven’t been busted yet.”</p> <p>With close friends like John Entwistle, Keith Moon and others long since dead of alcohol- and drug-related causes, Walsh is indeed lucky simply to still be around. He got sober in the Nineties, and two songs on <em>Analog Man</em> — “Wrecking Ball” and “One Day at a Time” — deal with the themes of addiction and recovery.</p> <p>“I used to do all that stuff,” Walsh says. “Those of us from the Seventies who are still here just outgrew all of that. But in the music business, and in Hollywood in general, the party never stopped. A lot of these young celebrities are on parole. So ‘Wrecking Ball’ is addressed to the people who are partying in the 21st century.</p> <p>“And in ‘One Day at a Time,’ I just wrote about my experience of getting sober. The one thing that made a difference in my life is Alcoholics Anonymous. It’s a tradition of AA that you don’t flaunt the program in media, records, television and stuff. But I had to make an exception in writing about getting sober and what happened to me. I kinda thought somebody should.”</p> <p>Of course, many of Walsh’s rock and roll peers are still around and doing quite well, including Paul McCartney. At their Grammy appearance, they played “My Valentine” from Sir Paul’s new album, <em>Kisses on the Bottom</em>, as well as the three-guitar rave-up “The End,” from the Beatles’ <em>Abbey Road</em>, for which they were joined by Bruce Springsteen, Dave Grohl and, from McCartney’s own band, Rusty Anderson and Brian Ray. </p> <p>“For ‘The End,’ it was just two-bar phrases,” Walsh points out. “So there wasn’t time to think. Just be ready. ’Cause as soon as you say something, you’re done.” </p> <p>Given the roster of legendary musical artists with whom Walsh has worked, is there any one left on his wish list? He ponders the question a while before answering. </p> <p>“Gosh darn, I really would have loved to play at a Ray Charles session,” he says. “Opportunities still come up for me to play with musicians and singers I really admire. But I don’t have anyone specific in mind at the moment. About what’s left for me now is to work at my craft. I’m blessed to be able to play my music, instead of somebody else’s music, in front of people. And I always try to tell young musicians that there’s life after addiction and it’s good. It’s been a great journey for me so far. I’m just this analog guy gettin’ used to this digital world. And I’m not done yet!”</p> <p><em>Photo: Ross Halfin</em></p> <p><strong>Joe Walsh appears on the cover of the May 2012 issue of <em>Guitar World</em>, <a href="http://secure.nps1.net/guitarworld/index.php?main_page=product_info&amp;cPath=9&amp;products_id=304&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign+interviewexcerpt">which is available now at the Guitar World Online Store</a></strong>.</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="/joe-walsh">Joe Walsh</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/interview-joe-walsh-discusses-his-career-gear-and-new-album-analog-man#comments James Gang Joe Walsh Ringo Starr The Eagles 2012 Interviews Features Tue, 05 Jun 2012 10:50:15 +0000 Alan Di Perna 15281 at http://www.guitarworld.com Video: Joe Walsh Performs "Lucky That Way" Live at the Troubadour http://www.guitarworld.com/video-joe-walsh-performs-lucky-way-live-troubadour <!--paging_filter--><p>The legendary Joe Walsh has just posted a live clip featuring a performance of his new song, "Lucky That Way," from a recent show at the Troubador in West Hollywood, California. Watch below.</p> <p>The track is taken from Joe's upcoming new solo album — and first in twenty years — <em>Analog Man</em>, which is due out June 5.</p> <p>For the full scoop behind both <em>Analog Man</em> and the illustrious life and career of a true guitar legend, be sure to pick up the May issue of <em>Guitar World</em> in our <a href="http://secure.nps1.net/guitarworld/index.php?main_page=product_info&amp;cPath=9&amp;products_id=304&amp;utm_source=gw_homepage&amp;utm_medium=scroller&amp;utm_campaign=JoeWalshLive">online store</a>.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/iC3r6U-rEzo" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/video-joe-walsh-performs-lucky-way-live-troubadour#comments Joe Walsh News Tue, 15 May 2012 17:39:29 +0000 Josh Hart 15731 at http://www.guitarworld.com Joe Walsh Streaming New Song, "Lucky That Way" http://www.guitarworld.com/joe-walsh-streaming-new-song-lucky-way <!--paging_filter--><p>Legendary guitarist Joe Walsh has just debuted another new track from his upcoming solo album, <em>Analog Man</em>. You can stream "Lucky That Way" at <a href="http://soundcloud.com/concordmusicgroup/joe-walsh-lucky-that-way/s-FbGrB?utm_source=soundcloud&amp;utm_campaign=widgetshare&amp;utm_medium=facebook&amp;utm_content=http%3A%2F%2Fsoundcloud.com%2Fconcordmusicgroup%2Fjoe-walsh-lucky-that-way%2Fs-FbGrB">this location</a>, and you can hear a live version in the YouTube clip below.</p> <p>"Lucky That Way" is a sequel of sorts to "Life's Been Good," another ode by Walsh to his charmed life.</p> <p><em>Analog Man</em>, Walsh's first solo album in 20 years, is due out on June 5.</p> <p>On why it took him two decades to release another solo album, Walsh recently told the U.K.'s <em>Daily Mail</em>, "In 1994 two things happened, the Eagles decided to go back to work and <em>Hell Freezes Over</em> came out and we toured extensively, went around the world a couple of times and I never really got any momentum going in terms of a solo project."</p> <p>He continued, "The other thing that happened in 1994 was that it was time for me to get sober so I had to reinvent myself and start from the ground up. I had to learn how to deal with life sober because I had trouble dealing with life so I just drank, but that was no longer an option."</p> <p>You can read more <a href="http://www.dailymail.co.uk/tvshowbiz/article-2140688/Joe-Walsh-reveals-latest-solo-album-Analog-Man-taken-20-years-develop.html?ito=feeds-newsxml">here</a>.</p> <p><iframe width="620" height="480" src="http://www.youtube.com/embed/-ItDPq98iMw" 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="/eagles">Eagles</a> </div> <div class="field-item even"> <a href="/joe-walsh">Joe Walsh</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/joe-walsh-streaming-new-song-lucky-way#comments Joe Walsh The Eagles News Tue, 08 May 2012 23:02:55 +0000 Josh Hart 15656 at http://www.guitarworld.com