Dimebag Darrell http://www.guitarworld.com/taxonomy/term/194/all en Rex Brown Recalls the Making of Pantera's 'Cowboys from Hell,' 'Vulgar Display of Power' and More http://www.guitarworld.com/rex-brown-recalls-making-cowboys-hell-vulgar-display-power-and-other-legendary-pantera-albums <!--paging_filter--><p><em>From the May 2013 issue of </em>Guitar World.</p> <p>While Pantera vocalist Philip Anselmo and the Abbott Brothers—guitarist Dimebag Darrell and drummer Vinnie Paul—were flinging insults at each other in the press throughout 2003, bassist Rex Brown remained largely silent. </p> <p>His ex-bandmates viciously blamed each other for the demise of Pantera, the band that held the torch aloft for metal throughout the Nineties and paved the way for metalcore. </p> <p>But Brown refused to choose sides. By then, he and Anselmo were performing together in Down, and fans might have expected he would take the singer’s side. But Brown continued to say nothing. Instead, he let the resounding notes of his bass express the pain and frustration he felt for what had become of his band. </p> <p>“Vinnie drew this imaginary line in the sand,” explains Brown, who is currently wrapping up the second album by his new band, Kill Devil Hill. </p> <p>“He said, ‘You’re either on our side or not.’ I didn’t want to take sides. Every fucking day before Dime was killed [in December 2004], Vinnie would email me when Phil would say something stupid in the press and go, ‘See what your boy said?’ I was like, ‘Dude, why is he my boy? Because I wanted to get out of your bus because you were throwing fucking tacos at everybody because you’d lost your mind on booze?’ The whole thing was ridiculous, but I never talked about it.”</p> <p>Until now. In his revealing memoir, <em>Official Truth 101 Proof: The Inside Story of Pantera</em>, Brown stops short of blaming anyone for Pantera’s breakup and the subsequent murder of Dimebag Darrell. Instead, he and co-writer Mark Eglinton spend the majority of the book addressing the formation and development of Pantera through five legendary albums. In the process, Brown analyzes how four musicians that were once closer than most families grew apart because of their differences in personality, musical tastes and choice of extracurricular activities. </p> <p>Brown has particularly strong recollections of the six major-label albums he recorded with Pantera. In this <em>Guitar World</em> interview, he gives us an unvarnished, no-holds-barred look at the making of those records and of his life with the original Cowboys from Hell. </p> <p><strong>Cowboys from Hell (1990)</strong></p> <p>While we were writing the songs for <em>Cowboys from Hell</em>, we were listening to a lot of different kinds of music—a lot of Metallica, Slayer, Mercyful Fate and Minor Threat—and that changed our sound. We had grown such a huge following in Texas by then that we could play one set a night and draw 2,000 people. Since we didn’t have to play six shows a night anymore, we had more time to spend in the Abbotts’ studio [Pantego Sound], and we became total perfectionists. </p> <p>Vinnie would lay down all the drums, then Dime would play guitar. We’d put the bass on last. We turned all the drum channels off, and I just played along with Dime’s track. That became known as “the microscope.” If something was off, we’d get a razorblade and cut and splice the tape. We didn’t have Pro Tools back then. And that’s what created our trademark sound, where the guitar and bass are just spot-on. </p> <p>By that point, Dime had already surpassed all of his influences as a player, and we were making a lot of money playing Friday and Saturday nights within a radius of Dallas, Houston, Austin, San Antonio, Shreveport and New Orleans. Then, after getting turned down 29 times, we finally got signed to Atco. The thing is, that actually made our financial situation worse at first. We weren’t playing shows, so we didn’t have any money coming in. So I had to get a job. Me and our lighting guy, Sonny, got gigs putting up lights for fashion shows. It actually turned out real cool. We met all these fashion models, got laid all the time and made a month’s rent a night. </p> <p>But playing with Pantera back then was even better. We were such good friends, and our chemistry was undeniable. Dime would make these riff tapes on his four-track and bring them in, and we’d turn them into songs. One day, Dime came in with this tape loop of a lick he played over and over in a high register. It drove us crazy, because he wouldn’t stop playing it. That’s what became “Cowboys from Hell,” and it was the start of the power groove every band follows today. </p> <p>As much as you still hear that song, when it came out no radio stations would play it. One of my favorite memories is when we did “Cemetery Gates.” Dime already had the riff in the song where it starts getting heavy, but we didn’t have an intro. One day, I picked up an acoustic guitar and messed around with a part, which we recorded. </p> <p>We recorded a piano in reverse so that it created this big swell of sound at the end of the section. When we put the acoustic intro together with the heavy part, there it was. That was huge for us, and that’s how all those sessions went. We were all working together with Terry Date, who we liked a lot, even though our first choice was [famed metal producer] Max Norman. But he canceled at the last minute and we got Terry, who we bonded with from the start. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/i97OkCXwotE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Vulgar Display of Power (1992)<strong></strong></strong></p> <p>When we got back from touring for Cowboys, the music scene had changed so drastically. You had Nirvana on one side and Metallica’s Black Album on the other. As good as that record is, it’s no <em>Master of Puppets</em>. We figured this was our chance to be the heaviest game in town. Dime had riffs pouring out of him. He’d bring them in, and it was hard to choose between them, because they were all so good. </p> <p>One time, Dime and Phil walked out and smoked a joint and came back with the idea for “A New Level.” A couple hits of weed and we were all flying. It was so easy to play, but it was the chemistry we had that made it sound so good. That’s how it was with us. I mean, anybody can write something like “Walk,” but to play it like we did, with that groove—that’s pure chemistry. Even “Fucking Hostile” is totally brutal but hooky as hell. </p> <p>This was the second record we did with Terry Date. He and Vinnie worked hand in hand to get the perfect sound, and Dime was writing riffs that were better than any band out there and taking his solos to an entirely new place. That record just came easy. All the riffs on <em>Cowboys</em> had been written by me and Dime. </p> <p>Philip came in with his own ideas on Vulgar, and that made us even heavier. After it was mastered, we had a tape of the record and we put it in a cassette player and played it for everyone at the label, and their jaws hit the fucking ground. If you play an album for someone and they say, “Yeah, man, I fucking love it,” that’s cool. But when nobody says anything after it’s done and they all have blank stares on their faces, and then someone finally says, “Holy shit!” then you know you’ve done something great. </p> <p>As blown away as everyone was by <em>Vulgar Display of Power</em>, it was the tour opening for Skid Row that changed everything for us. Vinnie had met up with them on tour and drank so much that he threw up all over their dressing room. But they had a good time, so they asked us to go on tour with them. </p> <p>Philip was really resistant at first, and I told him, “Look, there’s two ways we can look at this. We can view it the hard way and say, ‘Fuck you all! We’re gonna tear you apart!’ Or we can take the crowd with us every fucking night,” which is what we did. We turned all these hair farmers into Pantera believers. Vulgar was our second real record, so no one could say <em>Cowboys</em> was a fluke. The songs came out at the right time, and we tore it up every night.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/a3JSbOt7CLo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Far Beyond Driven (1994)</strong></p> <p>It would have been easy for us to write another <em>Vulgar Display of Power</em>, but fuck that. We wanted to try something completely different that was even heavier. We moved everything up to Jerry Abbott’s new place in Nashville, and that’s the first time we started taking breaks between recording. We’d do three or four songs, put them on tape, let them sink in and then go back in and do more. </p> <p>That was about the time that Dime started messing around with the Whammy Pedal and Vinnie was getting completely crazy about getting this clicky sound on his drums, and that required a lot of takes and a lot of tweaking our sound. We drove Terry crazy. But we had been playing through the same gear for 500 dates between 1989 and 1994, so we felt it was time for experimentation, and we did tons of takes of everything, which is why it was our most expensive album to do.</p> <p> “I’m Broken” was the first single. That was a classic southern groove, and we remixed that thing 16 times. But we were raging. Take a song like “Good Friends and a Bottle of Pills.” Where the fuck does that come from? Out of the blue! We just bashed it out. Dime came up with a lot of those riffs at soundchecks, and he wrote other ones on the shitter. He always had an acoustic guitar in the bathroom. He’d go in there to take a dump and come out with an amazing song. We also covered Black Sabbath’s “Planet Caravan.” I played keyboards on it and fretless bass. Vinnie played congas. And Dime’s solo…to this day, I can’t listen to it. Just talking about it chokes me up. And Dime did it first take.</p> <p>Everything was happening. We renegotiated our contract with Warner Bros., and they gave us a huge amount of money each. When stuff like that happens, it can either ruin you and wipe the band out or you can bond together, which we did. Part way through the recording, we left Nashville and went back to Dallas Sound Lab, in Texas, and from then on it became one big fuckin’ party. We were boozin’. </p> <p>Vinnie was doing a lot of Ecstasy. Me and Dime were just taking little dabbles here and there, but Vinnie was out of his mind, and he was co-producing this thing, so he’d sometimes get real crazy. It took a long time to finish the overdubs, because the brothers were partying so heavy, but we were still “all for one, one for all,” even though Philip had moved back home to New Orleans when he was done with his vocals. That removed him from the equation, which was probably a good thing. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/2-V8kYT1pvE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>The Great Southern Trendkill (1996)</strong></p> <p>Metal is a full-blown contact sport, especially the way we did it. So it was only a matter of time before Phil was gonna need something for the damage he caused himself. We used to jump 15 feet in the fucking air, and I’d usually land on my feet and feel the shock on my knees, which are shot now. But Philip would make these giant jumps and land on his fuckin’ ass. I used to always think, Fuck, man, that’s gonna hurt later.</p> <p>Back then, we would wake and bake. That was just a given. So that made us a little foggy. But at one point, I noticed Phil was fuzzier than usual. One day when we stared doing <em>The Great Southern Trendkill</em>, he looked at me and slapped his armpit [a technique to inflate a vein prior to shooting heroin]. </p> <p>I went, “What!?” I’ve never stuck a needle in my arm. I used to watch some of my friends shoot up, but I would never do it. No way. I hadn’t seen that reference in 10 years, and Philip doing that at me made me go, Oh shit! I hope he’s not doing what I think he’s doing. </p> <p>Sure enough, he was doing smack. And he was a wreck through the writing sessions of <em>Trendkill.</em> We were all so burned out by that point. A lot of the discipline and structure we used to have went out the window. I’m not crazy about two or three songs on the album, but there’s a lot of good stuff on it. It was all created very spontaneously. We didn’t go back and re-record anything.</p> <p>That record was even more experimental than Far Beyond Driven. Far Beyond still had a coherent structure, and on Trendkill there was hardly any. Dime wasn’t even bringing riff tapes in anymore. So we winged it, and Terry just rolled tape, and a lot of the random stuff we captured is pioneering. And of course, the more we worked on them, the more cohesive the songs became. </p> <p>It was the first time Philip didn’t track vocals with us, which left Dime leery, because he didn’t know what to do with the leads. But he got it done anyway, and it was killer. Just listen to “Floods.” That’s the three of us locked in, and it’s got all these different shades to it and all these dynamics, and Dime’s solo couldn’t be better. In the end, we were psyched about the record, and we toured it to fucking death.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/4hx8TW6sYys" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Reinventing the Steel (2000)</strong></p> <p>Doing that album was closest we’d been in 10 years—since <em>Vulgar</em> or <em>Far Beyond</em>—to capturing what we wanted to do. </p> <p>We went, “Okay, let’s listen back and take the best elements of what we’ve done. Everyone pick your five favorite songs from each album, and let’s roll.” There were four different opinions of what we should do, but we tried to work within those confines, and we did a great record. But what we should have done instead was check into rehab and then, when we were all clean, get a real producer, instead of Vinnie Paul. At this point, Vinnie was trying to take control of everything.</p> <p>His ego went through the roof. He didn’t want Terry Date involved. Where we used to drink for fun, we were drinking out of frustration, and during the sessions we were yelling at each other, throwing shit at each other, breaking stuff. </p> <p>Many times Dime was so fucking drunk, Philip would jump on him, and I’d have to jump on Phil. Somehow we made it through the record, and if you put it next to <em>Far Beyond</em> and <em>Vulgar</em>, you come out with something very close. Take a song like “Revolution Is My Name.” That could have been on <em>Far Beyond Driven</em>. And even though he wasn’t necessarily in a good place, Dime really came out of his hole and delivered. </p> <p>During the recording, Dime had these cases of fucking ginseng. He would drink two or three of these bottles and stay up for days. Dime never did speed, cocaine or heroin. He smoked a lot of weed and did some acid. But he loved ginseng, and it made him fucking crazy. Rehearsal for the tour was surreal. Philip was so wasted, he’d be singing a different song than we were playing. He was always on for the shows, but touring was a nightmare. </p> <p>Dime tried to get his own bus, because he couldn’t stand his own fucking brother anymore. Vinnie just kept booking shows, and we were touring with all the problems that went along with drug and alcohol abuse. Dime would blast the speakers out until 10 in the morning every day. You can’t sleep in a bus like that. So I went to Phil’s bus and stayed in the back lounge. He stayed in the front lounge, and we kept people out. Phil calmed down to a certain extent, even though he was drinking and smoking weed like it was going out of style.</p> <p>We really all should have stopped, but there was so much money on the table, and that made everything worse. We’d drink so fucking hard trying to relieve the tensions of drinking so hard, and that sent everybody into a fucking spiral. After a show, I’d go smoke a joint and drink a glass of wine and go to bed instead of staying up and trying to get laid, which Vinnie was all about but couldn’t make happen. We didn’t know if we were coming or going. We just know we had another gig to do, so goddamn, you get up and you do it. None of us ever missed a show. Ever.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/_XI1DD_vJuY" frameborder="0" allowfullscreen></iframe></p> <p><em>Photo: James Bland</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="/pantera">Pantera</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/rex-brown-recalls-making-cowboys-hell-vulgar-display-power-and-other-legendary-pantera-albums#comments Dimebag Darrell GW Archive May 2013 Pantera Rex Brown Interviews Features Magazine Fri, 24 Jul 2015 12:22:13 +0000 Jon Wiederhorn 18075 at http://www.guitarworld.com Quick Lick: Pantera — "Cowboys from Hell" — Video http://www.guitarworld.com/quick-lick-pantera-cowboys-hell <!--paging_filter--><p><em>In Quick Licks, we bringing you short, bite-sized video lessons that show you how to play classic riffs from your favorite songs.</em></p> <p>In this Quick Lick, Matt Scharfglass shows you how to play the intro to Pantera's "Cowboys from Hell." </p> <p>The song begins with a lick that's based on an E-minor blues scale played in the 12th position before sliding down to play a slightly altered version an octave lower.</p> <p>Since you're in a "Cowboys from Hell" mood, <a href="http://www.revolvermag.com/news/viral-video-panteras-cowboys-from-hell-ukulele-cover.html">check out Rob Scallon's new ukulele cover of the tune.</a> </p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience963446465001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="963446465001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><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> </div> </fieldset> http://www.guitarworld.com/quick-lick-pantera-cowboys-hell#comments Dimebag Darrell Pantera Quick Licks Videos Lessons Tue, 30 Jun 2015 17:06:15 +0000 Matt Scharfglass 11032 at http://www.guitarworld.com Thirty Guitar Legends — Including Eddie Van Halen, Dimebag Darrell and Jeff Beck — Pick the Song They'd Most Want to Be Remembered By, Part 1 http://www.guitarworld.com/guitar-legends-eddie-van-halen-dimebag-darrell-jeff-beck-choose-song-want-be-remembered-part-1 <!--paging_filter--><p><em>From the GW Archive: This feature originally appeared in the May 2002 issue of </em>Guitar World<em>. The story has a "time capsule" theme: We asked several veteran guitarists to choose the one song they'd most want to be remembered by after many years. Here we are, 13 years later (Does that qualify as "many"?), opening the time capsule to examine its contents! Enjoy!</em> </p> <p>A few decades ago, NASA sent a probe called <em>Voyager</em> straight out of the solar system. Its mission: to make contact with alien intelligence. </p> <p>The capsule was crammed with artifacts—including greetings in more than 50 languages—intended to convey information about Earth's cultures. But just in case those items failed to communicate across language barriers, NASA also included a recording of Chuck Berry performing his rock and roll masterpiece "Johnny B. Goode." </p> <p>For a while after <em>Voyager's</em> launch, the joke around the agency was that a reply had been received from an alien civilization: "Forget the scientific shit," went the message. "Send more rock and roll!" But what songs should be sent? We at <em>Guitar World</em> decided the logical place to start would be the musicians themselves. </p> <p>In a project that started almost five years ago (hence the inclusion of George Harrison), we began asking many of the most influential guitarists in rock, blues and metal one deceptively simple question: "If you had to put one of your songs in a time capsule to be opened sometime in the future, which would you choose, and why?" </p> <p><strong>Check out Part 1 of the story below.</strong><br /> <em>Look for Part 2 later this week.</em><br /> <br /><br /> <strong>Eddie Van Halen (Van Halen), "Jump"</strong><br /> <em>1984 (1984)</em></p> <p>"I'll probably be playing "Eruption" at every show for the rest of my life, but I guess my time capsule choice would have to be 'Jump.' At the time I really wanted to do something challenging. </p> <p><em>Diver Down</em>, the album just before <em>1984</em>, was half cover tunes, and I <em>hated</em> it. Our producer had told me his theory that if you redo a hit, you're halfway there. But I'd rather bomb with my own shit than make it with someone else's. </p> <p>So that's when I built my own studio, 5150, which was a major step for me—not to prove any point but just so I could be myself and experiment musically. People were telling me, 'You can't use keyboards, you're a guitar player!" So that's when I wrote 'Jump.' Musically, it was a real departure. We had the challenge of integrating the keyboards and synths with the guitar for the first time. </p> <p>"The word 'pop' comes from 'popular,' meaning a lot of people like it. Ninety-nine percent of the reason I make music is to, hopefully, touch people with it. And this one touched the most people—so far."</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/iKSyYGJHOGA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Dimebag Darrell (Pantera), "Fucking Hostile"</strong><br /> <em>Vulgar Display of Power (1992)</em></p> <p>"I think the kind of music we play will stand the test of time for however long. But if I had to pick just one, I'd go with the powerful, off-the-cuff statement that is 'Fucking Hostile.' </p> <p>"When it came out it definitely set the tone and pace for what we were about. I also think our boy Philip [<em>Anselmo, vocals</em>] got it perfectly right lyrically and we got it perfectly right musically. </p> <p>"So I believe that if somebody heard this song 500 million years from now, they'd go, 'Goddamn, these motherfuckers knew what they were talking about and sure had their jamming skills down'. Plus, I think people will always be hostile, which is another reason I went with this one."</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/E929gqIcwwI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>John Paul Jones (Led Zeppelin) </strong> </p> <p><strong>"D'yer Mak'er,"</strong> <em>Houses of the Holy (1973)</em><br /> <strong>"Stairway To Heaven,"</strong> <em>Led Zeppelin IV (1971)</em></p> <p>"I'd put 'D'yer Mak'er' in a time capsule so I would never have to hear it again or have to explain how to pronounce the title. There were only two types of rhythms that Bonzo [<em>John Bonham, drums</em>] hated playing—shuffles and reggae. </p> <p>"We were jamming in the latter style at Stargroves, the house we rented from Mick Jagger, and John was going along with it out of politeness, I think. Unfortunately, the jam turning in to a proper song. He did play some marvelous fills, but for me, the whole thing was buttock-clenchingly embarrassing. </p> <p>"I would also include 'Stairway To Heaven,' but for more positive reasons. It contains all the classic Zep elements, from folk/Celtic through jazz and r&amp;b to hard rock. It also encapsulates the soft-to-heavy dynamics that the band was famous for. </p> <p>"As for my own performance, it made me smile when a journalist once told me that he considered the bass line at the end of the song one of the finest ever recorded. Unfortunately, it happens to be underneath one of the finest <em>guitar</em> solos ever recorded!"</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Qgucqyr-H7M" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/w9TGj2jrJk8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Kirk Hammett (Metallica), "Motorbreath"</strong><br /> <em>Kill 'Em All (1983)</em></p> <p>"I chose it because it has the breakneck tempo we were so fond of in our early days—plus the lyrics set the tone for our lives over the next 10 years. </p> <p>"And unlike the songs we wrote later, 'Motorbreath' is under four minutes long!"</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/pqjHsV1fkhg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Robby Krieger (The Doors), "Light My Fire"</strong><br /> <em>The Doors (1967)</em></p> <p>“I feel that ‘Light My Fire’ encapsulates the feel of the 1967 Summer of Love. Being in San Francisco or anywhere in California that summer seemed to be the beginning of a whole new way of life. One day at rehearsal, Jim [Morrison, vocals] suggested we all try and write some songs. I went home that night and wrote ‘Light My Fire’—it was the first song I’d ever written. </p> <p>"The long solo section was based on the modal playing of jazz great John Coltrane. Up until Miles Davis did <em>Kind of Blue</em> and Coltrane recorded ‘My Favorite Things,’ jazz had been mainly bebop, which involved a lot of fast, tricky chord changes. </p> <p>"So these guys thought, It’s easy to play over a bunch of chords and sound cool—but what can you do over just one or two chords? Can you play something that’s not just pentatonic—that’s based on a mode, a scale—over one chord, and take it farther out than anybody else has gone? </p> <p>"That was the start of modal playing, which influenced many rock musicians. My long, modal solo in this song was done over the same two chords John Coltrane soloed over on his version of ‘My Favorite Things’—A minor and B minor. So ‘Light My Fire’ helped light a fire for a new generation and opened people’s minds to a new vision. Almost four decades later, the song seems to remain timeless.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/cq8k-ZbsXDI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Warren Haynes (Gov't Mule), "Mule"</strong><br /> <em>Gov't Mule (1995)</em></p> <p>"'Mule' is a uniquely Gov't Mule song. I've never hear another song that sounds similar to it. </p> <p>"There are riffs that could be traced back to some of our early influences—which stretch from Cream to Hendrix to Miles Davis and James Brown—but the way the thing is structured doesn't really remind me of another song. And that was always important to us—that most of our songs can't be traced directly back to other songs. </p> <p>"'Mule' was written at the last minute in rehearsal, right before recording, and it's a first take, so that solos were on the fly—totally spontaneous. It has an awesome bass like from Allen Woody and [Blues Traveler vocalist] John Popper guests on harmonica. </p> <p>"And it has a political message; the title refers to the fact that when the America slaves were free they were promised '40 acres and mule' by the U.S. government, which most never received. Here we used it as a broader metaphor about social oppression in so many aspects of modern society."</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/dBAubJJt2mU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Joe Satriani, "Time"</strong><br /> <em>Live In San Fransisco (2001)</em></p> <p>“If we can assume that they have DVD players in the future, then I would pick ‘Time’ from the <em>Live in San Francisco</em> DVD, because, for better or worse, it captures what we actually do night after night around the world. </p> <p>"Although it’s near impossible for me to look at myself on a television screen, I’ve learned to accept that that’s what everyone’s been seeing and hearing for all these years, and I have not yet been thrown in prison for doing it.</p> <p>“The song is interesting to me, compositionally, because the verse is almost like a child’s melody played over the simplest riff. Then the second part of the song jumps into all of this complex harmony and a whole bunch of key changes. The solo section recreates the same scheme, and eventually the song changes meter. The song provides a wild journey of how to construct an interesting instrumental.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/hAzyLwjKiN0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Ace Frehley (Kiss), "Shock Me"</strong><br /> <em>Love Gun (1977)</em></p> <p>“I picked this song not only because it’s a well-known Kiss anthem but because it has deep personal significance for me. The song is based on an actual life-threatening experience I had onstage with Kiss in the Seventies in Lakeland, Florida. </p> <p>"At the beginning of the concert I was coming down the staircase and when my hand touched the railing I was electrocuted, thrown back and knocked out for about 10 seconds. </p> <p>"The roadies carried me down the rear staircase, behind the wall of Marshalls. I woke up with electrical burns on my hands and totally shaken. Paul [Stanley] announced what had happened, and the concert was delayed for approximately 10 minutes. The whole audience starting chanting ‘We want Ace, we want Ace!’</p> <p>“I was so disoriented from the incident that I really didn’t think I was going to be able to do the show. But when I heard 15,000 people chanting my name, my adrenaline started pumping and all I could think was, The show must go on! I continued, even though I had almost no feeling in my hand for the remainder of the concert. All I can say is thank God my guardian angel was hovering above me that evening.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/3slccS4nslI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Jeff Beck, "Where Were You"</strong><br /> <em>Jeff Beck's Guitar Shop (1989)</em></p> <p>“This is probably the best thing I ever wrote, and it’s a milestone in my playing. It’s where I began to forge a unique new style. The key thing was discovering how I could use bent harmonics. </p> <p>"That’s basically taking false harmonics and, by bending the whammy bar, constructing melodies and tunes with it—which is something I took even farther on my last album, <em>You Had It Coming</em>. The inspiration for ‘Where Were You’ was the Bulgarian female choir record <em>Mystere des Voix Bulgares</em>. It’s so astonishing when you hear it—it’s like a religious experience. </p> <p>"When these women all hit a note together, it’s the most amazing sound you’ve ever heard. They sing these kind of broken scales with quarter-tone intervals. It’s extremely emotional music. I realized this was another tonal palette I could experiment with, because the guitar is capable of doing that, particularly with bent harmonics and the whammy bar.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/NomkmxUgzps" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Michael Schenker (M56) "Lipstick Traces"</strong><br /> <em>UFO-Phenomenon (1974)</em></p> <p>“This is one of the first songs I did with UFO, when I was just 18 years old. I’m sure I could pick it apart and find places where a bend is out of tune or something, but the song itself has always been magical for me. </p> <p>"I have always had very good technique and that has been important to me, but it is not an end in itself—it is a means of expressing just what you want to say, and I feel I did that with this beautiful melody. </p> <p>"I express every emotion I have through my music—from the darkest and angriest to the most passionate and joyful—but ultimately I have to pick the song that gives me the biggest sense of calm and pace. Because when it comes down to it, I am a romantic guy.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/az6SKfnf3QA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Tom Morello (Rage Against The Machine), "Killing in the Name"</strong><br /> <em>Rage Against The Machine (1992)</em></p> <p>“ ‘Killing in the Name’ contains some of my favorite elements of guitar playing: it’s got the huge riff, the propulsive chorus and the ‘angry insect’ guitar solo. </p> <p>"The song also features a dissonant breakdown, followed by the ‘cavalry charge’ outro, which makes for a fine rocking time all around. These are all things that I enjoy, and that was the very first time they all came together in one song. ‘Killing in the Name’ was RATM’s first single, and it launched our sound as a band as well as my sound as a guitarist in a defining way. </p> <p>"I have two parallel voices in my guitar playing—the quirky-noises-as-musical-passages concept and the anthemic riffage—and they are well-represented in this song.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/8de2W3rtZsA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Joe Strummer (The Clash), "If Music Could Talk"</strong><br /> <em>Sandinista! (1980)</em></p> <p>“On my recent album, <em>Global a Go-Go</em>, I had this breakthrough where I was able to do the album from my intuition rather than from my intellect. </p> <p>"Me and the band just turned up every day, and it was like the music was telling us what to play. Music, lyrics, solos—it was all of one piece, done in the moment. </p> <p>"When I think back, the only similar experience happened when the Clash hit New York after touring, and we went right into the Sandinista! sessions. It was very similar in that we had nothing prepared, and a lot of the album just took off by itself. On ‘If Music Could Talk’ I recorded two vocals: one on the left side of the stereo mix, and the other on the right side. And the two vocals were done one right after the other. </p> <p>"I just love hearing those vocals, even though it doesn’t fuckin’ work that well, because I can hear myself extemporizing, straight off the bat, on my feet, in the moment. And as I was reminded on my last album, music really can talk—to us and through us.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/VA6PrJeDfSo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>George Harrison (The Beatles), "While My Guitar Gently Weeps"</strong><br /> <em>The Beatles (1968)</em></p> <p>“When we actually started recording this song it was just me playing the acoustic guitar and singing it [this version appears on the Beatles’ <em>Anthology 3</em>—GW Ed.], and nobody in the group was interested. Well, Ringo [Starr, drums] probably was, but John [Lennon, guitar/vocals] and Paul [McCartney, bass/vocals] weren’t. </p> <p>"When I went home that night I was really disappointed. I thought, Well, this is really quite a good song—it’s not as if it’s shitty! The next day I happened to drive back into London with Eric Clapton, and while we were in the car I suddenly said, ‘Why don’t you come and play on this track?’ </p> <p>And he answered, ‘Oh, I couldn’t do that—the others wouldn’t like it.’ Eric was reluctant because there hadn’t ever been any prominent musicians on our records. Finally, I said, ‘Well, sod them! It’s my song and I’d like you to come down to the studio.’ </p> <p>"So Eric showed up, and suddenly everybody started behaving and not fooling around so much. And the song came together nicely. Eric didn’t think his playing sounded ‘Beatles-ish’ enough. So we put the ‘wobbler’ on it, which is what we called ADT [Artificial Double Tracking, the basis of flanging—GW Ed.] </p> <p>"When I played it in concert with Eric over the years he would play it differently every night. Gary Moore did some shows with me and he also played exceptionally well on this one. I think guitar players like this song because it was structured in a way that gives them the greatest excuse to just wail away.” </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/oDs2Bkq6UU4" frameborder="0" allowfullscreen></iframe></p> <p><em>Stay tuned for PART TWO of "One for the Ages"!</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="/jeff-beck">Jeff Beck</a> </div> <div class="field-item even"> <a href="/eddie-van-halen">Eddie Van Halen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guitar-legends-eddie-van-halen-dimebag-darrell-jeff-beck-choose-song-want-be-remembered-part-1#comments Articles Dimebag Darrell Eddie Van Halen GW Archive Jeff Beck John Paul Jones May 2002 Interviews News Features Magazine Wed, 24 Jun 2015 15:35:31 +0000 Guitar World Staff 19473 at http://www.guitarworld.com The 31 Most Significant Guitar Events of the Past 35 Years http://www.guitarworld.com/photo-gallery-30-most-significant-guitar-events-past-three-decades <!--paging_filter--><p><em>Guitar World</em> recently celebrated its first 30 years of publication with a look back at the most significant events to rock the guitar community since the magazine was founded in 1980. </p> <p>Some of these events are landmark record releases, some are wild technological advances and others are tragic moments of loss. But they all reshaped, revitalized and renewed interest in our favorite instrument.</p> <p>The photo gallery below highlights 31 watershed moments, but it also shows the ephemeral nature of music; how quickly things can change. One day something is state-of-the-art, and the next day it's bargain-bin junk. </p> <p>One moment your guitar hero is dazzling you with skills beyond your comprehension, and in another moment all that remains is his legacy. One thing that never changes, though, is evolution. The only thing more interesting than what's happened in the last 35 years is what will happen in the next.</p> <p>The events below are listed chronologically. Enjoy!</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="/dimebag-darrell">Dimebag Darrell</a> </div> <div class="field-item even"> <a href="/john-lennon">John Lennon</a> </div> <div class="field-item odd"> <a href="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/photo-gallery-30-most-significant-guitar-events-past-three-decades#comments Anniversary 2010 Dimebag Darrell GW Archive Polls Stevie Ray Vaughan The Rolling Stones Guitar World Lists Galleries News Features Tue, 23 Jun 2015 15:45:37 +0000 Guitar World Staff 13235 at http://www.guitarworld.com Riffer Madness: Dimebag Darrell on Harmonics, Part 1 http://www.guitarworld.com/riffer-madness-dimebag-darrell-harmonics-part-1 <!--paging_filter--><p><em>This entry comes from Dimebag Darrell's classic </em>Guitar World<em> column, "Riffer Madness."</em></p> <p>This month we're gonna talk about harmonics—how to get 'em, where you can find 'em and what you can do with 'em. There are a number of different ways you can make harmonics happen. </p> <p>You can induce 'em with your pick (pinch harmonics), you can tap 'em like Eddie Van Halen does sometimes (tap or touch harmonics) or you can get 'em by lightly resting one of your left-hand fingers on a string and then picking it. </p> <p>The last type are called natural harmonics, and they're the suckers we're gonna be dicking with.</p> <p><strong>How</strong></p> <p>The easiest place to get a natural harmonic on any string is at the 12th fret. All you do is lightly rest one of your left-hand fingers on a string directly above that fret and then pick it. </p> <p>Don't let the string touch the fret, though, or it won't work, dad! When you do this right you'll hear a bell-like note that's exactly one octave higher than the open-string note. To help make harmonics easier to get, use your lead (bridge) pickup and a lot of gain. </p> <p>When I first started experimenting with harmonics, I'd sometimes hook up two distortion boxes just to get my strings "frying," which helped bring out the harmonics. Also, once you've chimed the harmonic, it's not necessary to leave your finger on the string—in fact, if you let go of the string immediately after you pick it the harmonic will ring twice as well.</p> <p><strong>Where</strong></p> <p>You can also get harmonics happening above other frets like the 7th, 5th and 4th. Some dudes seem to think that these are the only points where harmonics happen but, as far as I'm concerned, there is literally a harmonic to be found at any place on any string. Check this out and you'll hear what I'm saying: rest your left-hand bird (middle) finger lightly over the highest fret of your fat E string. </p> <p>Then start chugging out a groove on that string with your pick. While you're doing that, keep your left-hand finger resting lightly on the string and start moving it slowly toward the nut. You should hear a shit-load of different harmonics all over the string!</p> <p>Some of my favorite harmonics are located between frets. There are two really cool ones between the 2nd and 3rd frets that I use a lot. One is at about a quarter of the way between the 2nd and 3rd frets and the other is at about three quarters of the way. They're pretty hard to get, so once you find 'em make a mental note of exactly where they are.</p> <p>I use some pretty radical harmonics at the beginning of "Heresy" [<em>Cowboys From Hell</em>.] <strong>FIGURE 1</strong> shows a riff similar to the one I'm talking about and, as you can see, it uses harmonics on the low E string.</p> <p><img src="/files/imce-images/dimebag_riff1.jpg" width="620" height="218" /></p> <p>The best way to make sure you're playing this right is to listen to the record real carefully and then find the exact spots where all the harmonics are. Use your ears and your eyes, man--look and listen!</p> <p><strong>To Bar or Not To Bar</strong></p> <p>A lot of guitarists tend to only use harmonics when they want to make weird noises with their whammy bars. That's cool but, as <strong>FIGURE 1</strong> shows, you don't need a tremolo arm to make harmonics wail. Two of my favorite players, Edward Van Halen and Randy Rhoads, did some real happening things with harmonics without reaching for their bars! <strong>FIGURE 2</strong> is similar to the verse riff of "Mouth For War" [<em>Vulgar Display of Power</em>].</p> <p><img src="/files/imce-images/dimebag_riff2.jpg" width="620" height="391" /></p> <p>In bar 4 I play a simple little fill using harmonics a quarter of the way between the 2nd and 3rd frets on the G and B strings to create a high-pitched percussive sound that gives the riff an extra dimension. And, once again, no whammy shit is going on.</p> <p>Harmonics are cool to screw around with, so don't be afraid to experiment with 'em. As long as you remember to look and listen you'll do just fine. Next month I'll tell ya all about how I get my trademark harmonic screams, like the ones at the end of "Cemetery Gates" [<em>Cowboys From Hell</em>.]</p> <p>Until then...try, fail, live, learn--and die happy trying!</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="/dimebag-darrell">Dimebag Darrell</a> </div> <div class="field-item even"> <a href="/pantera">Pantera</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/riffer-madness-dimebag-darrell-harmonics-part-1#comments Dimebag Darrell Pantera Riffer Madness Blogs Features Lessons Magazine Wed, 10 Jun 2015 20:36:22 +0000 Dimebag Darrell 12081 at http://www.guitarworld.com The Top 10 Pick Squealers of All Time http://www.guitarworld.com/top-10-pick-squealers-all-time <!--paging_filter--><p>There has always been a good deal of mystery surrounding the pinch harmonic, or, as hip players like to call it, “pick squeal.” </p> <p>A pick squeal is simply an artificial harmonic, or high-pitched sound, produced by choking up on the pick and allowing the thumb or thumbnail to catch the string in just as it is picked. </p> <p>The result, of course, resembles a squeal. Or a squawk. Or a scream. (It could take several tries before you get the desired s word.)</p> <p>Anyhow, what was once the domain of blues-rock string benders is now a staple for most metal guitarists. </p> <p>Here be the dudes who made it so.<br /> <br /><br /> <strong>10. Greg Howe</strong> </p> <p>Sure, he’s moved on to smoother and faster fusion pastures, but early on in his rock career, velocity merchant Greg Howe used the pinch harmonic like it was going out of style. Listen to <em>Howe II</em> to hear him bend notes into frequencies perceptible only by canines. Sure, it went out of style. But it came back.<br /> <br /><br /> <strong>09. John Sykes</strong> </p> <p>A speed freak of the scalar variety, Sykes really showed his know-how for the squeal upon joining Thin Lizzy for their 1983 swan song <em>Thunder and Lightning</em>. </p> <p>The repeated, howling fills in “Cold Sweat” were the precursor of the exaggerated squeals that became rampant in metal guitar playing during the decade. Later, Sykes would Top 40-fy the technique on Whitesnake’s “Still of the Night.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/jIvBpe7q1Cg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. Shadows Fall</strong> </p> <p>Jonathan Donais and Matthew Bachand haven’t merely led the return of melodic thrash to the America. No. </p> <p>They’ve punctuated their intricate leads with pinch harmonics, helping to bring the technique back into prominence in extremely heavy music. It’s like havin’ Zakk Wylde and John Sykes in one band!<br /> <br /><br /> <strong>07. Skid Row</strong> </p> <p>A Skid Row song without a scream or 300 from the guitar just wasn’t complete. In fact, the band’s self-titled debut may have more pick squeals than Van Halen had David Lee Roth squeals. And speaking of frontmen, the pinch harmonics of guitarists Scotti Hill and Snake Sabo were the antidote Sebastian Bach Eighties-metal wailing.<br /> <br /><br /> <strong>06. Eddie Van Halen</strong> </p> <p>Look no further than Van Halen’s landmark debut. With his aggressive pick attack, Ed sounds almost as if he’s using some weird wah-wah effect when he pinches the strings in the hyperboogie riffs of “I’m the One” and “Jamie’s Crying.” </p> <p>And how about the opening riff of “Ain’t Talkin’ Bout Love”? Rock guitar changed at this point.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/mPP7fshTtv4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>05. Dimebag Darrell</strong> </p> <p>By the time Pantera made the transformation to Metallica-inspired power metal, the Dime had moved from inserting EVH squeals in his solos to writing riffs around pinch harmonics, as in “Cemetary Gates.” </p> <p>When that song came out, death-metal bands immediately started taking their cues from Mr. Abbott.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/0hzX88bzlnQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. Steve Vai</strong></p> <p>The Big V has been making weird guitar noises since his infancy—when Frank Zappa’s wolf pack adopted and raised him. </p> <p>But it all came together, pinchwise, on <em>Flexable</em>’s chromatic <em>tour de force</em> “Attitude Song.” </p> <p>Later, Vai merged commercial success, whammy bar, and pick squeals on David Lee Roth’s version of “Tobacco Road,” and the technique all but dominated the boogie tune “Juice,” from <em>Alien Love Secrets.</em></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/f0-OvL2pHsM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. Roy Buchanan</strong></p> <p>The late and lamented Buchanan gets credit for inventing the technique, back in the Sixties. The way he laid into his strings made it so that virtually every bend had a harmonic overtone of some sort. </p> <p>Yep, he was chicken pickin’, and the notes they were squawkin’. Some of his most over-the-top pinch harmonics—produced without the aid of ridiculous distortion—can be found on the album <em>Live Stock</em>.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Ka7yHdNzpVA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. Zakk Wylde</strong> </p> <p>A 19-year-old feller rejuvenates Ozzy’s band by twisting steroid-enhanced riffs into “Miracle Man” and interspersing pick squeals in just about any gap that opens up. </p> <p>Wylde realized he was onto something; the technique is now integral to his rowdy playing style. Indeed, when he touches off his A squeal, it sounds as though the string is screaming for help.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/gkeFtDVCZMo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. Billy Gibbons</strong> </p> <p>The fact that The Beard sustained a large portion of his “La Grange” solo with harmonic squeals puts him in the books as a master of the technique. The fact that song is a tribute to a house of ill repute makes the sound effects—the squeals—ever more appropriate.</p> <p>According to lore, Gibbons attains his signature squeals by picking with an old coin. The thicker the pick, the louder the squeal louder, or so they say.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/SE1xO44FlME" 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="/dimebag-darrell">Dimebag Darrell</a> </div> <div class="field-item even"> <a href="/zz-top">ZZ Top</a> </div> <div class="field-item odd"> <a href="/eddie-van-halen">Eddie Van Halen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/top-10-pick-squealers-all-time#comments Billy Gibbons Dimebag Darrell Eddie Van Halen Greg Howe John Sykes Roy Buchanan Steve Vai Guitar World Lists News Features Mon, 01 Jun 2015 12:04:37 +0000 Guitar World Staff 2008 at http://www.guitarworld.com The 25 Greatest Pantera Songs of All Time http://www.guitarworld.com/25-greatest-pantera-songs <!--paging_filter--><p><em>Guitar World</em> celebrates the heaviest of the heavy—from "Revolution Is My Name" to "This Love" ... from "Cemetery Gates" to "Cowboys from Hell" ... </p> <p>Check out our guide to the 25 greatest Pantera songs of all time!</p> <p>Note: This list is from GW's recent Dimebag Darrell tribute issue. To check out a video of our exclusive tour of Dime's guitar vault, home and recording studio, <a href="http://www.guitarworld.com/tour-dimebag-darrells-guitar-vault-home-and-recording-studio-video">step right this way.</a></p> <p><strong>25. “10’s”</strong><br /> <em>The Great Southern Trendkill</em> (1996)</p> <p>One of Pantera’s most haunting compositions, “10’s” comes into focus slowly, floating in on an ethereal, if crusty-sounding, bent-note Dimebag riff. The warped guitars and slow pacing provide an appropriately uneasy environment for a weary vocal from Phil Anselmo, who documents a man “disgusted with [his] cheapness” and destroying himself from the inside out through addiction. </p> <p>An acoustic guitar interlude and a liquid Dime solo that, for a few bars at least, unexpectedly wanders into major-key territory, allow a few seconds of sunshine to poke through the black clouds. But overall, “10’s” is positively chilling and all-consuming in its atmosphere of impending doom.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/XV_D1Y_YHlA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>24. “Goddamn Electric”</strong><br /> <em>Reinventing the Steel</em> (2000)</p> <p>Pantera’s final studio album didn’t actually reinvent the steel, but thanks to tracks like “Goddamn Electric” they certainly reclaimed their title as the masters of metal heading into the new millennium. This song’s main riff stomps along like Godzilla slowly moshing to “Walk,” and the entire tune wouldn’t have sounded out of place on <em>Vulgar Display of Power</em>. </p> <p>Dimebag’s solo is killer, but the thriller is a guest spot by Slayer’s Kerry King, who delivers a wicked whammy-bar blast to close out the song’s final 45 seconds. Pantera rarely featured guests on their albums, so this appearance by Dime’s blood brother is an unexpected surprise.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/LRiZ_Gy2mxg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>23. “It Makes Them Disappear”</strong><br /> <em>Reinventing the Steel</em></p> <p>“It Makes Them Disappear” kicks off with a psychedelic, cleanly voiced guitar lick, but from there the song quickly descends into a molasses-thick pit of sludge. The downtuned, wobbly guitars and bloated bass, not to mention Anselmo’s raw-throated delivery, suggest a song that could have been tackled just as appropriately by the singer’s doomy southern metal side project, Down. </p> <p>And yet, the final two minutes of the tune are largely a Dimebag showcase, with the guitarist ripping out an incredibly bluesy and melodic solo, albeit one that sounds like it’s being delivered from the depths of a tar pit.</p> <p>“The majority of <em>Reinventing the Steel</em> was recorded with the guitar tuned down a whole step [low to high: D G C F A D],” Dime told <em>Guitar World</em> in early 2000. “The cool thing about this tuning, besides sounding heavy, is that your guitar feels totally different—the strings are real loose and spongy, which means you can get some big-assed bends and killer wide vibrato happening.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/IwHPBTm_Wao" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>22. “P*S*T*88”</strong><br /> <em>Power Metal</em> (1988)</p> <p>Pantera’s pre-<em>Cowboys</em> albums aren’t particularly highly regarded—even by the band members themselves—but out of all of those efforts <em>Power Metal</em> had more than a few worthy moments. “P*S*T*88” (“Pussy Tight”) is particularly noteworthy as it features one of Dimebag’s rare performances as lead vocalist. </p> <p>The overall recording resembles a mash-up of Judas Priest and <em>Kill Em All</em>–era Metallica, and Dimebag even sounds like the mutant offspring of James Hetfield and Rob Halford, proving that he could have been a frontman if he so desired. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/3hGkn03bGXo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>21. “Planet Caravan”/“Hole in the Sky”</strong><br /> <em>Far Beyond Driven &amp; The Best of Pantera (2003)</em></p> <p>The list of Pantera influences is long and includes bands like Judas Priest, Slayer and even King’s X, Kiss and Van Halen, but Black Sabbath were their biggest influence. </p> <p>They name-checked them in the lyrics to “Goddamn Electric,” and of the six cover songs they recorded in the studio during their career, three of them were Black Sabbath tunes. “Planet Caravan” was originally intended for the <em>Nativity in Black</em> tribute album, but when it was cut due to a record company dispute, they added it to the end of <em>Far Beyond Driven</em>. </p> <p>Pantera’s faithful rendition of “Hole in the Sky” debuted on the Japanese 2001 “Revolution Is My Name” EP along with the non-LP track “Immortally Insane.” </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/025mnKFUFw4" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>20. “Floods”</strong><br /> <em>The Great Southern Trendkill</em> <p>Despite the fact that Pantera called the album that “Floods” appeared on <em>The Great Southern Trendkill</em>, this song sounds an awful lot like grunge (particularly Soundgarden), one of the many musical genres at which the cocky album title takes aim. </p> <p>Regardless, it’s still a very good song, which was made great by what many consider to be the finest guitar solo Dimebag ever laid down in the studio. </p> <p>The sweetly melodic main guitar figure in the intro and ending often gets overlooked, but it’s a fine example of Dimebag’s emotional range, proving that there was much more to his playing than his usual blunt-force trauma.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/td-v6vG2Xhs" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>19. “Shedding Skin”</strong><br /> <em>Far Beyond Driven</em> (1994)</p> <p>“Shedding Skin” continues the theme of emotional cleansing that Phil Anselmo began on <em>Far Beyond Driven</em>’s previous track, “25 Years.” </p> <p>Only here the singer’s object of ire is not his father but rather a former girlfriend. The song comes crashing in right out of the gate with a choppy, staircase-like unison riff from Dime and Rex. But then it abruptly shifts gears into a mellow verse punctuated by Dimebag’s gently plucked guitar harmonics, over which Anselmo paints a vivid and disturbing picture of a relationship as a scabrous membrane needing to be excised from his body. </p> <p>By the song’s climactic finale, Anselmo finds the only escape is to shed his own skin “to peel you off of me.” Dimebag then punctuates the singer’s cathartic metamorphosis with an appropriately anguished and squealing solo.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/l3kA04yXVeY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>18. “25 Years”</strong><br /> <em>Far Beyond Driven</em></p> <p>Both this song and the same album’s “Becoming” are said to deal with Phil Anselmo’s difficult relationship with his father. But whereas the latter wraps the singer’s paternal purging in a catchy riff and an almost inspirational lyric, “25 Years” is a dark and twisted descent into the deepest recesses of his pain. </p> <p>Anselmo delivers his lyrics to a “weakling” and a “liar” in a monotone bark, and each syllable he utters is backed by a similarly minimal one-note chord hit. It’s a brilliantly corrosive, almost claustrophobic arrangement that finally breaks four-and-a-half minutes in—Dime, Rex and Vinnie open up the song with a quicker groove and Anselmo turns the tables, announcing himself the bastard father to Pantera’s unwashed and unwanted masses of fans. </p> <p>“We’re fucking you back!” he screams repeatedly, exorcising his demons and finding a little bit of redemption in the almighty power of the riff. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/RmB6OFplI2k" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>17. “Strength Beyond Strength”</strong><br /> <em>Far Beyond Driven</em></p> <p>Hardcore punk and thrash were always closely related, but rarely did the twain meet more effectively than on “Strength Beyond Strength.” Fans who popped new copies of <em>Far Beyond Driven</em> into their CD players in 1994 and were greeted by the initial sonic assault of “Strength Beyond Strength” can be forgiven for thinking that the Exploited’s latest album was mistakenly inserted in the case. </p> <p>When the breakneck pace slows to a grind a little more than a minute into the song, the mood and attitude becomes unmistakably Pantera, especially after Dimebag unleashes an eerie harmonized guitar interlude about another minute later. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ss-SUz3163U" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>16. “War Nerve”</strong><br /> <em>The Great Southern Trendkill</em></p> <p>By the time of <em>The Great Southern Trendkill</em>, Pantera were bona fide rock stars. As such, their music and, in particular, Anselmo’s lyrics and actions as a frontman, had started to be put under a mainstream microscope. </p> <p>Among other things, the band and singer had been hit with charges in the media of racism and homophobia, and “War Nerve” was in a way Anselmo’s response to these and other accusations: “For every fucking second the pathetic media pisses on me,” he rants in the chorus, “Fuck you all.” The band backs him up with one of the leanest and most direct arrangements to be found in their post Vulgar-output. </p> <p>In fact, “War Nerve” is a rare instance in which there’s no Dime solo to be found. That said, his brother Vinnie picks up the slack with a vicious and unusually busy drum performance.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/BWaHfVtnen4" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>15. “Mouth for War”</strong><br /> <em>Vulgar Display of Power</em> (1992) <p>“Mouth for War” is a prime example of Pantera at the height of their early Nineties powers: Vinnie Paul bashes out a machine-gun beat, Dimebag and Rex pair up on a wickedly intricate yet incredibly catchy riff built on sheets of sliding power chords, and Phil Anselmo barks out a self-empowerment lyric with searing rage and intensity. </p> <p>And the music video, which presented the band mostly in stark black-and-white and with plenty of chaotic strobe lighting for effect, only further cemented their status as the new kings of metal. When people think of Pantera, it is most likely this iteration of the band, led by a shaven-headed, bare-chested Anselmo, that comes to mind. By the time they break into a ferocious double-time groove and Anselmo signs off with the line, “No one can piss on this determination,” only a fool would dare to disagree with the sentiment. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/a3JSbOt7CLo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>14. “5 Minutes Alone”</strong><br /> <em>Far Beyond Driven</em></p> <p>When the pissed-off father of a Pantera heckler who was beaten up at a show said that he wanted five minutes alone with Phil Anselmo, the band turned that threat into this song. </p> <p>Of course anyone who knows Anselmo also knows that five minutes alone with him is the last thing anyone would want. The slow, ground-and-pound groove behind this song suggests that Phil would probably take his sweet time delivering the beat down, but while the instigator who influenced this song would probably be screaming for mercy by the song’s end, listeners are begging for more as the riff fades into oblivion.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/7m7njvwB-Ks" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>13. “Domination”</strong><br /> <em>Cowboys from Hell</em> (1990)</p> <p>Pantera are often seen as the progenitors of groove metal, and you’d be hard pressed to find a more defining example of the style than the first 30 seconds of this classic. </p> <p>In fact, from the raging intro/chorus riff, to the stop-start verse, to the brutal breakdown that ends the song, “Domination” is basically one ridiculously savage power-groove after another. Given this fact, the song was also used as the band’s live set opener during shows in 1990 and 1991, as it was guaranteed to immediately whip a crowd into a batshit-crazy frenzy. As for what is screamed at the very beginning of the song? </p> <p>General consensus points to “Fart stinks like a motherfucker!” Which might help to explain the ferocity with which the band then tears into the opening riff.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/lYPFrXvc2rE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>12. “I’m Broken”</strong><br /> <em>Far Beyond Driven</em></p> <p>Pantera wisely placed <em>Far Beyond Driven</em>’s three best songs (“Becoming,” “5 Minutes Alone,” “I’m Broken”) near the album’s beginning. “I’m Broken” was the last of this triple threat, neatly completing the band’s most devastating studio recording hat trick. </p> <p>“I think that ‘I’m Broken’ is the riff of all riffs,” Rex Brown says, and for most Pantera fans it would be hard to disagree. Anselmo compares the song to the blues, but has there ever been a blues song with lyrics as cryptic and critical as “Too young for one’s delusion the lifestyle cost/Venereal mother embrace the loss”?</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/2-V8kYT1pvE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>11. “Becoming”</strong><br /> <em>Far Beyond Driven</em></p> <p>Anyone who went to a Pantera concert between 1994 and 2001 knows why “Becoming” is revered by the band’s fans. The combination of Vinnie Paul’s military drum corps–inspired double-kick rumble and Dimebag’s gut-pummeling riff instantly instigated the most violent mosh pits known to mankind, and the energy that filled the room was so electric that no one would have been surprised if thunder clouds suddenly formed. </p> <p>Dimebag’s solo is the ultimate anti-solo, saying more in an obnoxious burst of noise than most players say in entire careers. The way he uses a Whammy Pedal to make his guitar sound like a howler monkey in a Vitamix is simply brilliant. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/2ht3XGhlfYs" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>10. “The Art of Shredding”</strong><br /> <em>Cowboys from Hell</em> <p>A classic Eighties-style thrasher, “The Art of Shredding” combines the heavily scooped guitar tone and speed-metal attack of bands like Testament and Overkill with the type of meta subject matter and gang-shouted background vocals that have always been Exodus’ stock in trade. </p> <p>In that respect, it’s hardly the most progressive moment on <em>Cowboys from Hell</em>. But with its rollercoaster ride of whiplash riffs and rhythms, it is one of the most enjoyable. Furthermore, Dimebag tops off the proceedings with a gonzo, whammy-filled solo that ably demonstrates that shredding is, in fact, very much an art. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/e97cQYWt314" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>9. “Revolution Is My Name”</strong><br /> <em>Reinventing the Steel</em> <p>While Dimebag’s atonal guitar howls on this song’s intro may be the weirdest sounds ever to grace a Grammy-nominated song, the remainder of this tune wouldn’t have been out of place on an early Black Sabbath album. </p> <p>Anselmo even sounds a bit like Ozzy in a few parts—perhaps after Ozzy woke up hung over and gargled with benzene and razor blades. Beyond the classic metal melodiousness, what makes this song so damn good is the way it seamlessly darts between dramatic tempo and rhythmic shifts and somehow sounds cohesive. </p> <p>After delivering a note-perfect metal solo, complete with harmonies, Dimebag returns to the groove with sounds that defy transcription, proving revolution was <em>his</em> name.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/NKiR4_QgWB8" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>8. “Drag the Waters”</strong><br /> <em>The Great Southern Trendkill</em> <p>As one of the most straightforward and definitively Pantera songs on <em>The Great Southern Trendkill</em>, “Drag the Waters” was the obvious choice to be the album’s first single. </p> <p>While it mostly treads familiar ground, it also finds the band growing in new directions. Dimebag’s guitar tone in particular is more massive than ever, and you don’t need to be Bruce Dickinson to love the cowbell that Vinnie Paul lays down with his drum track. </p> <p>Anyone needing a track to explain what Pantera’s “power groove” means would be wise to choose “Drag the Waters,” as it’s heavy as hell, but you can still shake your ass to it.</p> <p>The solo is particularly tasty, as Dimebag goes for more of a slow burn than his usual balls-to-the-wall explosions of speed. “That lead is kinda like an old Van Halen thing, where the band breaks to feature the solo,” Dimebag said in 1996. “Actually, on this one I ended up keeping a lot of the original guide-track stuff I laid down while we were cutting the drums. Sometimes you record something that you plan on redoing later, but then when you listen back to it you decide to keep it because you realize that it’s gonna be real tough to beat!”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/4hx8TW6sYys" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>7. “Message in Blood”</strong><br /> <em>Cowboys from Hell</em> <p>This deep <em>Cowboys</em> cut comes on like a demented sonic funhouse, replete with eerie atmospherics, detached voices laughing behind Anselmo’s vocal (with lyrics ostensibly about the Charles Manson murders) and constantly changing tempos and attacks. </p> <p>The first half is an all-out creepfest highlighted by Anselmo’s blood-curdling screams. Then the tone abruptly shifts as Dimebag steps up with an intensely layered and textured solo, which only leads into more instrumental twists and turns. </p> <p>A disorienting and disturbing prog-metal death trip.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/XMWLS-D97I0" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>6. “Walk”</strong><br /> <em>Vulgar Display of Power</em> <p>Pantera wasn’t the kind of band that radio warmed up to during the Nineties, but in the rare instances when Pantera did get airplay it was usually this song. </p> <p>Dimebag often described Pantera’s music as “power goove,” and “Walk” may be the best example of what he meant, even though it swaggered along to an unorthodox 12/8 time signature. The chromatic open low E string and first-fret riff seems simpler than it actually is, thanks to Dimebag’s expert string bends, salacious swing and impeccable feel. </p> <p>To match the menace of Phil Anselmo’s Travis Bickle–inspired taunts, he tuned his guitar down a little more than a whole step, until the strings growled through his solid-state Randall amps.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/AkFqg5wAuFk" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>5. “This Love”</strong><br /> <em>Vulgar Display of Power</em> <p>Back in 1992, “This Love” was a staple video on MTV and even climbed to Number 6 on the Billboard Hot 100 singles chart. </p> <p>With a verse consisting of watery guitar arpeggios and Phil Anselmo’s crooned vocals offset by a mammoth, aggro chorus, the song signified Pantera’s big mainstream power-ballad moment—except other power ballads didn’t feature lyrics like, “I’d kill myself for you/I’d kill you for myself,” or a video in which a prostitute murders an overly frisky john in the back of a taxicab. </p> <p>The song also wraps with a breakdown so crushingly slow and heavy that it could make a thousand metalcore bands wet their pants. But these moments still didn’t save the band from ridicule at the hands of the ultimate metalheads of the day, Beavis and Butt-head: “Is that a tear, Pantera?” taunted Beavis while watching the “This Love” video in an episode of the MTV cartoon. “Is daddy’s little girl upset?”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/tymWpEU8wpM" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>4. “Shattered”</strong><br /> <em>Cowboys from Hell</em> (1990) <p>One listen to Phil Anselmo shrieking his way through the verses on “Shattered” might lead you to wonder whether somebody slipped a Judas Priest disc into your Pantera jewel case. </p> <p>But the singer’s histrionics are just one of many ways in which this <em>Cowboys</em> track deviates from the Pantera norm. From Anselmo’s vocals to Dimebag’s nimble, racing riff to his uncharacteristically traditional-sounding shred solo, “Shattered” is three-minutes-and-twenty-one seconds of steroid-injected, Eighties-style Technicolor metal, and one of the few post-major-label nods to Pantera’s “glam era” output. </p> <p>And yet, while the song is miles away in tone and temperament from, say, “Suicide Note Pt. II,” it’s hardly a puff piece. The jackhammer pace and explosive guitar pyrotechnics (both Abbott brothers shine here)—not to mention its sheer “otherness” in relation to the rest of the post–Power Metal Pantera catalog—make “Shattered” something of a hidden and enormously entertaining gem. </p> <p>As an added bonus, the song is spackled with a nice helping of Eighties-metal cheese: Anselmo’s castrato screams on the song’s title (harmonized for our pleasure); Dime’s whiz-bang outro solo; and a finale that climaxes with the sound of—you guessed it—a piece of glass being shattered.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ZqU5wWuv-Po" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>3. “A New Level”</strong><br /> <em>Vulgar Display of Power</em> (1992) <p>Though it was never issued as a single, “A New Level” is arguably as well known as any of the <em>Vulgar Display of Power</em> cuts that were. Its intro riff, built on a slowly ascending barrage of crushing chromatics, is as iconic as the opening of “Walk” or “Mouth for War.” </p> <p>The song also features some subtle shifts in dynamics, such as the chromatic half-step modulation that occurs as Anselmo’s vocal enters at the verse, and the way Dimebag varies his attack on the intro, sometimes playing the chords wide open, at other times with slight palm muting and yet at others with an extremely tight chunk. Of course, subtle is hardly the word to describe “A New Level.” Rather, it’s a classic Pantera rager that finds the band in full-on anthem mode, with Anselmo issuing a call to arms for the shit-, pissed- and spit-on metal masses. But it was Dime’s riffing that also helped the tune reach beyond those metal masses. </p> <p>On the 2008–2009 Sticky &amp; Sweet tour, Madonna ended performances of her retro-disco hit “Hung Up” by leading her band through a few bars of the song’s intro. What’s more, the Material Girl herself even riffed along on a black Les Paul. A new level, indeed.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/jnRP77QN59w" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>2. “Cemetery Gates”</strong><br /> <em>Cowboys from Hell</em> (1990) <p>As far as heavy metal epics go, “Cemetery Gates” belongs in the company of celebrated classics like Black Sabbath’s “War Pigs” and Metallica’s “One.” </p> <p>Clocking in at 7:03, it’s the longest studio song Pantera recorded. It’s also by far the pinnacle songwriting achievement of Dimebag Darrell, Phil Anselmo, Rex Brown and Vinnie Paul when they worked together in Pantera, with a masterfully structured arrangement that seamlessly ebbs and flows to support the eerie mood before it builds to its dramatic conclusion. </p> <p>Dimebag’s virtuoso performance, from his melodic solos to the harmonic whammy-bar screams at the song’s climax, features some of his finest work. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/1OYw7FPB7CE" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>1. “Cowboys from Hell”</strong><br /> <em>Cowboys from Hell</em> (1990) <p>With its razor-sharp riff, pummeling groove and ominous “we’re taking over this town” refrain, “Cowboys from Hell” started life as a rallying cry for the reborn version of Pantera circa 1989. </p> <p>As the first track on Pantera’s major-label debut of the same name, it quickly became the band’s anthem for the rest of its existence. The song proclaimed in no uncertain terms that Pantera meant serious business as the next contenders to metal’s throne, while Dimebag Darrell’s delicious solo boldly announced that a new guitar hero was in town and loaded for bear.</p> <p>Although “Cowboys from Hell” was allegedly the first song that Pantera wrote for the album, by the time Pantera finished recording <em>Cowboys from Hell</em> they contemplated cutting it from the final version. The band felt that the song seemed too tame and commercial compared to the album’s other material, particularly the newer songs they wrote in the studio while recording. </p> <p>Pantera’s manager, Walter O’Brien, convinced them otherwise. “I knew that Pantera were going to be called the Cowboys from Hell from then on,” he says. </p> <p>“Every great band has a nickname. Bruce Springsteen is the Boss. ZZ Top is that Little Ol’ Band from Texas. Cowboys from Hell was perfect for them. I rarely insist on anything creative from a band, but I just knew it was a massive song. Dimebag put the CFH logo on everything, and he lived that persona.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/_7EQlfprV9E" 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="/pantera">Pantera</a> </div> <div class="field-item even"> <a href="/dimebag-darrell">Dimebag Darrell</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/25-greatest-pantera-songs#comments Dimebag Darrell February 2015 Pantera Guitar World Lists News Features Magazine Thu, 28 May 2015 16:10:27 +0000 Richard Bienstock, Chris Gill 24535 at http://www.guitarworld.com Guitar Strength: 10 Commandments of Playing Guitar in the Style of Dimebag Darrell, Part 1 http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-1 <!--paging_filter--><p>This is a two-part column; part 1 is below, <a href="http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-2">and part 2 is right here.</a></p> <p><strong>Commandment 1: Honor Thy Van Halen</strong></p> <p>... and ZZ Top, Kiss, Judas Priest, Black Sabbath, Ted Nugent, Pat Travers, early Metallica (<em>Kill ‘em All</em>, <em>Ride the Lightning, Master of Puppets</em>) and Randy Rhoads.</p> <p>Van Halen’s impact on Dimebag’s playing is unmistakable. The “vibe” of early Van Halen is by far the most recognizable influence in Dimebag’s playing. From the grooving rhythms played like leads of their own, to the tone, to the phrasing in his lead playing, Dimebag took the inspiration of Edward Van Halen and forged his own identity.</p> <p>Pieces such as “Eruption” and “Spanish Fly” were favorites of Dimebag, who would play them in his unaccompanied guitar solos back in Pantera’s early club days.</p> <p>Dime has been noted as being Texas’ “Van Halen clone,” the local hotshot who could play all of the most impressive licks of his hero. Further, the brotherly bond of the Van Halen brothers (Eddie on guitar and Alex on drums) was mirrored in Pantera (Vinnie on drums and Dime on guitar).</p> <p>Van Halen’s impact is further felt as the words “Van Halen” were actually Dimebag’s last words spoken before he was tragically murdered. “Van Halen” was something Dime would say to his brother Vinnie before a live performance to inspire them both to play a fun, lively, rocking show. Also, Dime was actually buried with the guitar that inspired him most -- Eddie Van Halen’s yellow and black striped guitar featured on the back cover of <em>Van Halen II</em>.</p> <p>To truly understand Dimebag’s playing, it is crucial to absorb the “Van Halen” feel, as well as the techniques and attention to tone that were such a part of the early Van Halen experience.</p> <p><strong>Commandment 2: Thou Shalt Use the Major 3rd</strong></p> <p>Always wearing his Van Halen influence on his sleeve, Dimebag was never one to shy away from using the interval of a major 3rd in his heavy playing. Shunned by most “metal” players, the major 3rd was an essential tool in Dime’s bag of tricks.</p> <p>When playing in E (minor), the major third is G#, which adds a unique feel to riffs and licks that also utilize the minor 3rd (G). Theoretically, this major 3rd lends lines a Mixolydian quality, though it essentially gives a bluesy type of sound and adds tension/dissonance to minor key tonalities (For more information, check out <a href="http://www.guitarstrength.com/">Guitar Strength Volume 1: Mastering the Modes</a>.)</p> <p>Example 1 is a Dimebag-inspired riff using this major 3rd in a minor key.</p> <p><img src="/files/imce-images/Example1_0.jpg" width="620" height="156" alt="Example1_0.jpg" /></p> <p>Notice also how Dime gets extra mileage out of the interval by using it in a pattern that also makes use of the flat 9 (F in E minor). Example 2 is another Dimebag-inspired riff using the same intervals. (For another riff using the major 3rd, which was clearly an influence on Dimebag, check out the end of “Sabbath Bloody Sabbath” by Black Sabbath.)</p> <p><img src="/files/imce-images/Example2.jpg" width="620" height="140" alt="Example2.jpg" /></p> <p>The major 3rd was not just essential to Dimebag’s riffs, it was also extensively used in his lead playing. Example 3 is an E minor fingering of the “Dimebag Scale,” a minor pentatonic scale with the addition of a flat 5, major 6th (omitted on the A string and used only on the B string, 14th fret for ease of fingering), and major 3rd. </p> <p><img src="/files/imce-images/Example3.jpg" width="620" height="141" alt="Example3.jpg" /> </p> <p>Example 4 is a Dimebag-inspired lick using this scale.</p> <p><img src="/files/imce-images/Example4.jpg" width="620" height="161" alt="Example4.jpg" /></p> <p>When attempting to conjure the influence of Dimebag in your own playing, experimentation with the integration of this major 3rd into more “standard” minor phrases is highly encouraged. Don’t be afraid of sounding “happy”; play the note like you mean it and you’ll be amazed at its versatility and its ability to make your playing substantially more interesting.</p> <p><strong>Commandment #3: Embrace Symmetry</strong></p> <p>Another Van Halen-inspired technique employed by Dimebag was the use of symmetrical fingerings. This technique is extremely easy to learn but requires taste and skill for successful implementation. To perform this technique, simply devise a fingering shape on one string and apply it across all six. </p> <p>Example 5 is a Van Halen-esque lick, based on a root, major 3rd, 5th shape in E, continuing down to the A string and resolving on a B string bend from D to E (and back down to D for some minor 7th tension).</p> <p><img src="/files/imce-images/Example5.jpg" width="620" height="300" alt="Example5.jpg" /></p> <p>Clearly inspirational to Dime, example 6 is a variation in the same (12th) position, this time using the minor 3rd (G), 5th (B), and a slide to and from the flat 6th (C). This expanded symmetrical shape still uses a simple 1-2-4 fret hand fingering across all six strings, yet the pinky slide gives it some extra range and movement.</p> <p><img src="/files/imce-images/Example6.jpg" width="620" height="170" alt="Example6.jpg" /></p> <p>Further examples of simple, yet effective symmetrical patterns used by Dimebag can be seen in examples 7 and 8. Example 7 is another shape, this time using the major 7 (Eb in E), the root (E), and the minor 3rd (G) as its basis. In this case, the pattern is an ascending climb combining both picking and legato phrasing, again using the 1-2-4 fingering. </p> <p><img src="/files/imce-images/Example7.jpg" width="620" height="212" alt="Example7.jpg" /></p> <p>In example 8, based on one of Dimebag’s favorite patterns, the shape uses a 4-3-1 fingering in a descending sequence on the top three strings. This shape in this position is a throwback to the playing of Pat Travers, and can be quite effective when playing over rhythms in A minor and E minor. </p> <p><img src="/files/imce-images/Example8.jpg" width="620" height="145" alt="Example8.jpg" /></p> <p>Feel free to transpose it into other keys and use it often, just as Dime did.</p> <p>It is important to notice that though Dimebag possessed astounding picking technique, he tended to favor executing most of his lines in a legato fashion (another homage to Mr. Edward Van Halen). Dimebag’s love of legato gave his lines a fluid, lively quality, and his powerful left hand technique was extremely important when effectively implementing these symmetrical patterns into his lead licks.</p> <p><strong>Commandment 4: Give Chords New Found Power</strong></p> <p>Never content with “standard” guitar techniques, Dimebag was an avid user of the “other” power chords. Instead of relying on normal root-5th and root-4th (inverted 5th) power chords (though he was an obvious master when it came to using them), Dimebag would often come up with and use alternative dyads (two-note chords) in place of standard power chords. These chords were usually major or minor thirds stacked on top of the root. Example 9 is the two basic versions of these chords with 6th and 5th string roots. The first is the “major 3rd” variation and the second is the “minor 3rd” version.</p> <p><img src="/files/imce-images/Example9.jpg" width="620" height="195" alt="Example9.jpg" /></p> <p>Example 10 is a figure using the minor 3rd power chord. Notice how the chords act to add texture and movement to the riff, as they work well when used in the same riff as the more pedestrian root-5th power chords. The chords also add a nice tension, as they are not as “homogenous” and “neutered” sounding as the standard root-5th chords. Also, when used with a rocking distorted tone, these chords have an extremely powerful sonic fingerprint with their unique overtones. </p> <p><img src="/files/imce-images/Example10.jpg" width="620" height="132" alt="Example10.jpg" /></p> <p>These overtones are, in fact, what makes these chords so special and useful. With usual major or minor chords and triads, playing them with distortion often results in a cluttered, un-musical noise. There is just too much information present to allow sonorous, musical sounds when using the standard major or minor chord shapes. However, by just playing the root and 3rd, a vibrant, tense, rich sound is created, really putting the “power” in power chord.</p> <p>Experiment often with substituting these root-3rd power chords for standard root-5th chords in your riffs. Also, try varying your usage of major and minor 3rds, as often times the “wrong” (out of key) 3rd will sound most interesting in a riff. Example 11 is a Dimebag inspired riff using these harmonically “wrong” power chords. </p> <p><img src="/files/imce-images/Example11.jpg" width="620" height="278" alt="Example11.jpg" /></p> <p><strong>Commandment 5: Know your Nodes</strong></p> <p>No discussion of Dimebag would be complete without mentioning his penchant for playing with harmonics. Dimebag’s playing was peppered with any and every type of harmonics: natural, artificial, tapped, etc.</p> <p>Playing with an overtone-rich, distorted sound, harmonics (whether naturally or artificially produced) are an integral component in the beast of electric guitar. Harmonics can occur almost anywhere and can be produced by a myriad of means, and can occur many times as an accidental consequence of playing with a loud, distorted sound.</p> <p>Dimebag, however, excelled at controlling the beast, and was able to skillfully use harmonics as one of the most expressive elements in his playing. To understand how Dime would use harmonics, we’ll first look at the naturally occurring harmonic nodes that occur across the fretboard. Example 12 is a basic depiction of the most common, “easy” harmonics that occur when a fret hand finger is used to lightly touch a plucked string (without actually pushing it down and fretting it) and produce a harmonic. </p> <p><img src="/files/imce-images/Example12.jpg" width="620" height="154" alt="Example12.jpg" /></p> <p>Example 13 shows some more difficult to produce harmonics along the same string, many of which were used extensively by Dime.</p> <p><img src="/files/imce-images/Example13.jpg" width="620" height="159" alt="Example13.jpg" /></p> <p>Dime was never content to just play the harmonics, though, as he would often use a variety of techniques to produce and manipulate them. The most famous of these techniques was Dime’s signature “harmonic scream” technique. The basic maneuver is depicted in example 14. </p> <p><img src="/files/imce-images/Example14.jpg" width="620" height="388" alt="Example14.jpg" /></p> <p>To perform this technique as Dimebag would, a floating tremolo bridge (able to bend a note below and above) is necessary (preferably a locking Floyd Rose or its equivalent). First, get the string moving by “plucking” it with a silent fret hand pull-off while simultaneously dumping / depressing the bar and bending the tremolo down. As the open string is lowered in pitch and its tension is reduced, lightly tap the selected harmonic node with the fret hand “bird”/middle finger. Next, after the harmonic has been sounded, slowly return the bar to pitch, pull it up higher, and apply vibrato with the whammy bar. Note that the actual time the open/dumped string rings is only a fraction of a second, it is only sounded so as to allow the string movement enough to produce the fret hand “tapped” harmonic. </p> <p>Also note the importance of fret hand muting, being sure to use the fret hand thumb (wrapped over the top of the neck) and fret hand fingers to mute any unwanted noise from the unused strings. Experiment with different harmonic nodes, as some will be easier to execute and some will sound more interesting than others. </p> <p>While Dimebag was also quite adept at using Zakk Wylde/John Sykes/George Lynch/Billy F. Gibbons style “pings” (artificial harmonics, A.K.A. pick harmonics) he was especially adept at using multiple, combined harmonics as a way to spice up his rhythm playing. </p> <p>Example 15 shows this technique at play. </p> <p><img src="/files/imce-images/Example15.jpg" width="620" height="164" alt="Example15.jpg" /></p> <p>Notice first that Dime loved using “in-between” harmonics, those that had a particularly shrieking/squealing sound. Also notice that in combining two or more harmonics, an extremely cool set of screaming, dissonant overtones is created. Try any and all combinations of harmonics on various string sets and at various node points, and also experiment with manipulating the combinations with your whammy bar and/or effects pedals. Example 16 is several available combinations.</p> <p><img src="/files/imce-images/Example16.jpg" width="620" height="365" alt="Example16.jpg" /></p> <p>The possibilities are endless. <a href="http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-2">Check out Part 2!</a></p> <p><em>Scott Marano has dedicated his life to the study of the guitar, honing his chops at the Berklee College of Music under the tutelage of Jon Finn and Joe Stump and working as an accomplished guitarist, performer, songwriter and in-demand instructor. In 2007, Scott developed the Guitar Strength program to inspire and provide accelerated education to guitarists of all ages and in all styles through state-of-the-art private guitar lessons in his home state of Rhode Island and globally via Skype. <a href="http://www.guitarstrength.com/">Visit Scott and learn more at www.GuitarStrength.com.</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="/dimebag-darrell">Dimebag Darrell</a> </div> <div class="field-item even"> <a href="/pantera">Pantera</a> </div> <div class="field-item odd"> <a href="/damageplan">Damageplan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guitar-strength-10-commandments-playing-guitar-style-dimebag-darrell-part-1#comments Damageplan Dimebag Darrell Guitar Strength Pantera Scott Marano Blogs Features Lessons Thu, 14 May 2015 14:33:28 +0000 Scott Marano 13074 at http://www.guitarworld.com Tribute to Pantera's Dimebag Darrell: Michael Angelo Batio's Shred Medley — Video http://www.guitarworld.com/tribute-panteras-dimebag-darrell-michael-angelo-batios-shred-medley-video <!--paging_filter--><p>During the long, cold, eternal winter of 2015, guitar virtuoso Michael Angelo Batio dropped by the <em>Guitar World</em> studio—and the YouTube studios—in New York City to film a few lesson videos.</p> <p>He also laid down this new shred tribute to the late Dimebag Darrell of Pantera.</p> <p>Below, watch a medley of "Cemetery Gates," "This Love" and "Cowboys from Hell" as performed by Batio and Elliott Rubinson, CEO of Dean Guitars.</p> <p>Enjoy!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/tuAw7Xa228c" 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="/pantera">Pantera</a> </div> <div class="field-item even"> <a href="/dimebag-darrell">Dimebag Darrell</a> </div> <div class="field-item odd"> <a href="/michael-angelo-batio-0">Michael Angelo Batio</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/tribute-panteras-dimebag-darrell-michael-angelo-batios-shred-medley-video#comments Dimebag Darrell Michael Angelo Batio Pantera Videos News Wed, 22 Apr 2015 16:23:00 +0000 Guitar World Staff 24356 at http://www.guitarworld.com 18-Year-Old Dimebag Darrell of Pantera Shreds in 1984 — Video http://www.guitarworld.com/panteras-dimebag-darrell-18-plays-seven-minute-guitar-solo-1984-video <!--paging_filter--><p>The shadowy figure in the video below is none other than an 18-year-old Dimebag Darrell, who can be seen working his way through a nearly seven-minute-long guitar solo with his trusty Dean ML.</p> <p>In the clip, the young Dime makes noticeable references to several key six-string influences, especially Randy Rhoads and Eddie Van Halen, with a touch of Yngwie Malmsteen thrown in (and perhaps the showmanship and sartorial style of Jake E. Lee).</p> <p>But beyond all that, Dime looks and sounds like a guitar prodigy through and through. His playing is full of confidence—not to mention some nice, wide interval stretches and blazing speed.</p> <p>At this point—sometime in 1984 (we can't be sure exactly when it was filmed)—Pantera had only one or two independently released albums under their belt or in the works: 1983's <em>Metal Magic</em> and 1984's <em>Projects in the Jungle</em>.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/NB_GGdXCVB0" 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="/dimebag-darrell">Dimebag Darrell</a> </div> <div class="field-item even"> <a href="/pantera">Pantera</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/panteras-dimebag-darrell-18-plays-seven-minute-guitar-solo-1984-video#comments Dimebag Darrell Pantera shred Videos News Thu, 02 Apr 2015 16:16:22 +0000 Damian Fanelli 22490 at http://www.guitarworld.com Tour Dimebag Darrell's Guitar Vault, Home and Recording Studio — Video http://www.guitarworld.com/tour-dimebag-darrells-guitar-vault-home-and-recording-studio-video <!--paging_filter--><p><em>Guitar World</em>'s February 2015 issue, which is available at the <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-february-15-the-ultimate-dime-tribute-issue?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=DimeHouseTour">Guitar World Online Store,</a> is the ultimate tribute to the late, great Dimebag Darrell.</p> <p>As part of our coverage, which was timed for the 10th anniversary of the guitarist's tragic death, <em>Guitar World</em> was invited into Dime's home and recording studio—and we got to bring our cameras!</p> <p>Below, enjoy our exclusive video tour, which offers a private look at Dime's impressive guitar collection, not to mention his home, memorabilia, kitchen, bathrooms (Note: Dime's bathrooms are more interesting than they sound!) and a lot more.</p> <p><strong>Check out the video below! <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-february-15-the-ultimate-dime-tribute-issue?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=DimeHouseTour">And remember to pick up the February 2015 issue of GW, which features the ultimate Dimebag Darrell guitar gallery, more details about his home and studio, our guide to the 25 Greatest Pantera Songs and much more!</a> </strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/PGFT4nHwlBc" 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="/dimebag-darrell">Dimebag Darrell</a> </div> <div class="field-item even"> <a href="/pantera">Pantera</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/tour-dimebag-darrells-guitar-vault-home-and-recording-studio-video#comments Damageplan Dean Guitars Dimebag Darrell February 2015 Pantera Videos News Features Magazine Thu, 12 Feb 2015 16:22:54 +0000 Guitar World Staff 23492 at http://www.guitarworld.com February 2015 Guitar World: The Ultimate Dimebag Darrell Tribute Issue http://www.guitarworld.com/february-2015-guitar-world-ultimate-dimebag-darrell-tribute-issue <!--paging_filter--><p><strong><a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-february-15-the-ultimate-dime-tribute-issue/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWFEB15">The all-new February 2015 issue of Guitar World is available now!</a></strong></p> <p>The new issue is the ultimate tribute to <strong>Dimebag Darrell,</strong> 10 years after his death. We take a look at his incredible guitar collection, fan art and ink.</p> <p>This comes with an exclusive, previously unreleased Dimebag demo called "Whiskey Road" on a 7-inch Flexi-Disc. This 2001 recording features Dimebag playing all instruments. This is a <em>Guitar World</em> exclusive item!</p> <p>Purchase this single issue with the "Whiskey Road" Flexi-disc now for $9.99. Or <a href="https://subscribe.pcspublink.com/sub/subscribeform_gtwd.aspx?t=JE5AP1&amp;p=GTWD">click here</a> to subscribe to <em>Guitar World</em> and get this Flexi-Disc with your February 2015 Issue.</p> <p>Next, we celebrate the heaviest of the heavy with <strong>Pantera's</strong> 25 greatest songs from "Revolution Is My Name" to "This Love." </p> <p>Pantera producer Terry Date recalls on Dimebag Darrell's laser-like perfectionism, side-splitting hijinx and how he set the bar higher than most.</p> <p>Finally, in his new autobiography, <strong>Anthrax</strong> guitarist <strong>Scott Ian</strong> recalls how he nearly drank himself to death with the help from the master of excess himself.</p> <p><strong>Six Songs with Tabs for Guitar and Bass:</strong></p> <p> • Dimebag Darrell - "Whiskey Road"<br /> • Black Label Society - "In This River"<br /> • Metallica - "Motorbreath"<br /> • Deep Purple - "Smoke on the Water"<br /> • Judas Priest - "Rapid Fire"</p> <p><strong><a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-february-15-the-ultimate-dime-tribute-issue/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWFEB15">Head to the Guitar World Online Store now!</a></strong></p> <p><img src="/files/imce-images/DimeDisc.jpg" width="620" height="465" alt="DimeDisc.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="/pantera">Pantera</a> </div> <div class="field-item even"> <a href="/dimebag-darrell">Dimebag Darrell</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/february-2015-guitar-world-ultimate-dimebag-darrell-tribute-issue#comments Dimebag Darrell February 2015 Pantera News Features Tue, 27 Jan 2015 13:31:31 +0000 Guitar World Staff 23218 at http://www.guitarworld.com NAMM 2015: Dimebag Darrell's Original Dean from Hell — Video http://www.guitarworld.com/namm-2015-dimebag-darrells-original-dean-hell-video <!--paging_filter--><p>Members of the <em>Guitar World</em> crew paid a visit to the Dean Guitars booth at the 2015 Winter NAMM Show in Anaheim, California.</p> <p>As you can see in the new video below, we got the run down on Dimebag Darrell's Original Dean from Hell. </p> <p>For more about Dean Guitars, visit <a href="http://www.deanguitars.com/">deanguitars.com.</a></p> <p><strong>For more NAMM 2015 coverage, visit <a href="http://www.guitarworld.com/tags/namm-2015">GuitarWorld.com's official NAMM 2015 Zone,</a> get updates on <a href="https://www.facebook.com/GuitarWorld">Facebook</a> and photos and more on <a href="https://twitter.com/GuitarWorld">Twitter</a> and <a href="http://instagram.com/guitarworldmagazine">Instagram.</a> It's like you're at the show!</strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/CgmTI6Oj6Zk" 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="/dimebag-darrell">Dimebag Darrell</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/namm-2015-dimebag-darrells-original-dean-hell-video#comments Dean Guitars Dimebag Darrell NAMM 2015 NAMM 2015 video Videos Electric Guitars News Gear Fri, 23 Jan 2015 15:22:59 +0000 Guitar World Staff 23348 at http://www.guitarworld.com Pantera’s Dimebag Darrell, Rex Brown and Vinnie Paul Perform Together for the Final Time — Video http://www.guitarworld.com/pantera-s-dimebag-darrell-rex-brown-and-vinnie-paul-perform-together-final-time-video <!--paging_filter--><p>Sure, there was Pantera and Damageplan. But how many of you remember Dimebag Darrell's <em>other</em> band, Gasoline?</p> <p>No biggie if you don't; it was more of a side project for Dimebag and Vinnie Paul.</p> <p>Regardless, as recently reported by <a href="http://loudwire.com/dimebag-darrell-vinnie-paul-rex-brown-gasoline-performance/">Loudwire,</a> on New Year’s Eve 2001, Gasoline took the stage and asked Pantera bassist Rex Brown to join the fun. It was reportedly the last time Paul, Brown and Dimebag performed live together.</p> <p>A <em>Loudwire</em> reader known as "Mr. Chris" was at the fateful show and filmed footage of the performance. You can check it out below.</p> <p>Here is Mr. Chris' description (the info he posted directly to YouTube with the video below):</p> <p>"This is my PERSONAL UNSEEN RARE FOOTAGE of Dimebag’s RARE AND UNRELEASED BAND GASOLINE. This was a party band for fun only. These were just jack around tunes made to be funny and have a good time. These weren’t meant to be serious by any means. The NEW AND UNRELEASED ANYWHERE ELSE songs…’GASOLINE’ and ‘GOING WITH THE GUT.’ This is the LAST TIME REX VINNIE AND DIME played live together. The last song they got up and jammed Led Zeppelin‘s ‘Moby Dick.’</p> <p>"I hated sitting on this for so long but it’s time the world gets to see it and enjoy it like I do. I’ve been lucky enough to have this since 2001 and I’ve never given a copy away and never let it out. Please respect that it’s mine and I will not tolerate anyone stealing it. This is OWNED BY ME. If the family wanted it…that’s another story. This show was a very special night…New Year’s was always a big deal for the brothers and usually they did a new years gig for fun with Pantera but after Phil became harder to deal with they had to do their own thing on New Year’s. Pantera never played again and I’m thankful I saw the last moments these three stepped on stage together."</p> <p><strong><a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-february-15-the-ultimate-dime-tribute-issue?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=GasolineVideo">If you love Dimebag Darrell, check out the current issue of GW—our Ultimate Dimebag Tribute!</a></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/luOswaDhwO8" 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="/pantera">Pantera</a> </div> <div class="field-item even"> <a href="/dimebag-darrell">Dimebag Darrell</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/pantera-s-dimebag-darrell-rex-brown-and-vinnie-paul-perform-together-final-time-video#comments Dimebag Darrell Gasoline Pantera Rex Brown Videos News Tue, 20 Jan 2015 18:59:59 +0000 Guitar World Staff 23330 at http://www.guitarworld.com Dimebag Darrell, "Whiskey Road" — Exclusive Song Premiere and Transcription http://www.guitarworld.com/dimebag-darrell-whiskey-road-exclusive-song-premiere-and-transcription <!--paging_filter--><p><strong>The <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-february-15-the-ultimate-dime-tribute-issue?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=DimeSongPremiere">February 2015 issue of Guitar World,</a> which hits subscribers' mailboxes this week, is our Ultimate Dimebag Darrell Tribute Issue!</strong></p> <p>Among its exclusive Dime-themed offerings are: </p> <p>• A private tour of the late guitarist's estate in Arlington, Texas, featuring his most cherished guitars and memorabilia</p> <p>• The <em>Guitar World</em> guide to the 25 Greatest Pantera Songs of All Time</p> <p>• An interview with metal producer Terry Date, who reflects on his days in the studio with Pantera</p> <p>• An interview with Anthrax guitarist Scott Ian, who recalls how he nearly drank himself to death on the road with Pantera</p> <p>• Plus a gallery of Dimebag Darrell art and tattoos from <em>Guitar World</em> readers, who continue to express their devotion to the late guitarist.</p> <p><strong><a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-february-15-the-ultimate-dime-tribute-issue?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=DimeSongPremiere">As part of our Dime tribute,</a> we're also premiering "Whiskey Road," a never-before-heard song that features Dimebag Darrell on vocals and all the instruments!</strong> </p> <p>Listen to the song below—and play along with the complete transcription, which can be found at the very bottom of this story (Remember you can see the tabs full size by clicking on the full-page icon at the bottom right of the transcription preview window). The bulk of the "Whiskey Road" transcription also can be found starting on <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-february-15-the-ultimate-dime-tribute-issue?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=DimeSongPremiere">Page 126 of the February 2015 issue of Guitar World.</a></p> <p>"Whiskey Road" was tracked in 2001, during the last outing of Pantera's <em>Reinventing the Steel</em> tour in the U.S. For more information about the song, <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-february-15-the-ultimate-dime-tribute-issue?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=DimeSongPremiere">check out the February 2015 issue of Guitar World.</a></p> <p><strong>Take note of Guitar World's new <a href="https://subscribe.pcspublink.com/sub/subscribeform_gtwd.aspx?t=JE5AP1&amp;p=GTWD">"Dimebag Demo Subscription Offer"!</a> This subscription (for one or two years) includes an exclusive Flexi-Disc of "Whiskey Road"! <a href="https://subscribe.pcspublink.com/sub/subscribeform_gtwd.aspx?t=JE5AP1&amp;p=GTWD">For more information, head here.</a> NOTE: If you're already a GW subscriber but still want to buy the exclusive "Whiskey Road" Flexi-Disc, <a href="http://guitarworld.myshopify.com/products/guitar-world-february-15-the-ultimate-dime-tribute-issue/?&amp;utm_source=guitarworld.com&amp;utm_medium=website&amp;utm_campaign=GWFEB15">visit the Guitar World Online Store</a> now.</strong></p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/183610988%3Fsecret_token%3Ds-pCAxb&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe></p> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View Dimebag Darrell — Whiskey Road on Scribd" href="https://www.scribd.com/doc/251250822/Dimebag-Darrell-Whiskey-Road" style="text-decoration: underline;" >Dimebag Darrell — Whiskey Road</a></p> <p><iframe class="scribd_iframe_embed" src="https://www.scribd.com/embeds/251250822/content?start_page=1&amp;view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_92610" width="100%" height="775" frameborder="0"></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="/dimebag-darrell">Dimebag Darrell</a> </div> <div class="field-item even"> <a href="/pantera">Pantera</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/dimebag-darrell-whiskey-road-exclusive-song-premiere-and-transcription#comments Dimebag Darrell exclusive February 2015 Pantera tab transcription Whiskey Road News Wed, 07 Jan 2015 16:06:30 +0000 Damian Fanelli 23186 at http://www.guitarworld.com