James Hetfield http://www.guitarworld.com/taxonomy/term/298/all en Watch Metallica's James Hetfield "Audition" for ‘Call of Duty’ — Video http://www.guitarworld.com/watch-metallicas-james-hetfield-audition-call-duty-video/25373 <!--paging_filter--><p>As part of the <em>Call of Duty: Black Ops III</em> charity campaign to help military veterans find employment after their service, the charity group Omaze has released a new video showing celebrities “auditioning’ to play the role of a zombie in the video game. </p> <p>Among the people giving it their best is Metallica's James Hetfield. Check out the video below for the full audition reel.</p> <p>To find out more about the <em>Call of Duty</em> charity, visit <a href="http://www.omaze.com/">Omaze.</a> Everyone who donates also will be entered into a drawing to become a virtual zombie in ‘Black Ops III.’ </p> <p>Hopefully the winner will do as good a job as Hetfield and M. Shadows.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/pFhie4746FY" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/watch-metallicas-james-hetfield-audition-call-duty-video/25373#comments Call of Duty James Hetfield Videos News Fri, 28 Aug 2015 14:37:54 +0000 Guitar World Staff 25373 at http://www.guitarworld.com Top 10 James Hetfield Guest Appearances http://www.guitarworld.com/10-james-hetfield-guest-appearances <!--paging_filter--><p>One of the factors that led to Jason Newsted's departure from Metallica in January 2001 was frontman James Hetfield's reluctance to allow his bass player to indulge in side projects during the band's downtime.</p> <p>While it's true that the Metallica frontman has never officially joined any other band (Spastik Children notwithstanding), Papa Het has done his share of guest appearances over the years, usually either helping out a friend or paying tribute to a fallen hero. </p> <p>Though rare they may be, we managed to pull together 10 of them, including live and studio cuts, in this convenient playlist.</p> <p>As for Hetfield's main band, head <a href="http://www.guitarworld.com/100-greatest-songs-by-metallica">here</a> for our ranking of the 100 greatest Metallica songs of all time.<br /> <br /><br /> <strong>"Stone Cold Crazy" — Queen with James Hetfield, Tony Iommi</strong></p> <p>In 1992, an all-star cast of musicians gathered at London's Wembley Arena for the Freddie Mercury Tribute Concert for AIDS Awareness. Two years earlier, Metallica had covered the Queen classic "Stone Cold Crazy" for the <em>Rubáiyát: Elektra's 40th Anniversary</em> compilation, so James Hetfield seemed the perfect fit to join the surviving members of Queen—not to mention Black Sabbath guitarist Tony Iommi—for the <em>Sheer Heart Attack</em> cut.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/qtNXPRuqFAY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Man or Ash" — Corrosion of Conformity</strong></p> <p>James Hetfield may not be credited for his backing-vocal performance on Corrosion of Conformity's 1996 album <em>Wiseblood</em>, but there's no mistaking his signature growl on the album cut "Man or Ash." CoC frontman Pepper Keenan would later repay the favor, singing a verse on Metallica's cover of Lynyrd Skynyrd's "Tuesday's Gone" on their 1998 covers compilation, <em>Garage, Inc.</em> Thanks, Pep!</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/5D0ZRedeBDs" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Would?" — Alice In Chains featuring James Hetfield</strong></p> <p>There's an infamous incident (that can be found on YouTube) featuring the members of Metallica mocking Layne Staley's heroin addiction after Alice In Chains was forced to pull out of a planned tour with the band. By the time 2006 rolled around, all that seemed to be water under the bridge, and Hetfield joined the remaining members of AIC at Rock Am Ring for a rendition of the <em>Dirt</em> classic, "Would?"</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/n_cZ60v9YdM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Eclectic Electric" — Primus</strong></p> <p>There was no shortage of guest musicians and producers on Primus' highly regarded 2001 album, <em>Antipop</em>. Hetfield signed on to contribute guitars to a track called "Eclectic Electric," which also included Faith No More's Big Jim Martin. Eclectic indeed! Look for another Primus connection further down.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/DfWzrbn_kuc" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Hell Isn't Good" — <em>South Park: Bigger, Longer and Uncut</em></strong></p> <p>The <em>South Park</em> movie, <em>Bigger, Longer and Uncut</em>, came out in 1999, but it was more than a year after the film's release that James came clean about contributing vocals to an original "song" called "Hell Isn't Good." That said, as soon as the vocals kicked in as Kenny plummeted toward the underworld, no one was fooled for a second that it could be anyone else.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/sZMdgeZnG9M" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Drivin' Rain" — Gov't Mule</strong></p> <p>James Hetfield and Les Claypool guest on this Gov't Mule cut that was featured on the compilation album, <em>Crank It Up with NASCAR</em>. Fun fact: Les Claypool was among the many famous bassists who auditioned to take over bass duties in Metallica after the departure of Jason Newsted.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/3GZ2wrzRoaA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Don't You Think This Outlaw Bit's Done Got Out Of Hand?" — Waylon Jennings cover</strong></p> <p>If you've heard "Mama Said" or the aforementioned cover of Skynyrd's "Tuesday's Gone," you know Hetfield has an outlaw country side to him. At the Outlaws Concert in 2004, Hetfield performed alongside the likes of Hank Williams Jr., Cowboy Troy, Big &amp; Rich, Gretchen Wilson and Kid Rock, covering a tune by his recently deceased friend Waylon Jennings. Later in the evening, Hetfield would be joined by Jennings' widow Jesse Colter for a rendition of "Mama Said."</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/jGYfs-uX8fQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Twist of Cain," "Possession" — Danzig</strong></p> <p>Metallica have shown their love for the Misfits with covers of "Green Hell," "Last Caress" and "Die, Die My Darling" over the years, so it's no surprise that Hetfield appears on not one, but two tracks on Glenn Danzig's 1988 solo debut. Due to contractual issues, Hetfield (like the CoC appearance) was uncredited on the album. Fun fact: Both tracks were originally written as songs for Danzig's previous band, Samhain.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/rkFsZHe_NGY" frameborder="0" allowfullscreen></iframe><br /><br /> <iframe width="620" height="365" src="http://www.youtube.com/embed/ZU9R5L-dFV4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"You Really Got Me" — Ray Davies featuring Metallica</strong></p> <p>When it was announced that Kinks frontman Ray Davies was recruiting a whole slew of guest musicians for a compilation album a few years back, the name that immediately jumped out to almost everyone was Metallica. </p> <p>The metal heavyweights had previously joined Davies for live takes on "You Really Got Me" and "All Day and All of the Night" at the Rock and Roll Hall of Fame 25th Anniversary concert, as well inviting him to appear on stage with them in 2009 at Madison Square Garden. While it raised a few eyebrows, I think we can all safely say that Ray Davies wasn't Metallica's most questioned collaboration in 2011.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/5uv_5FpsECE" 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="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/10-james-hetfield-guest-appearances#comments James Hetfield Metallica Videos News Features Mon, 03 Aug 2015 16:30:10 +0000 Josh Hart 14774 at http://www.guitarworld.com Artist Captures James Hetfield, Joe Satriani, Slash and Others Shredding Without Guitars http://www.guitarworld.com/artist-captures-james-hetfield-joe-satriani-slash-others-shredding-without-their-guitars/25138 <!--paging_filter--><p>Brooklyn-based artist Fred Stesney has created a set of portraits of some of rock's most legendary six-string artists...without their guitars. </p> <p>You've probably seen the images Stesney modeled these drawings after, but you definitely haven't seen them like this. </p> <p>Says Stesney: </p> <p>"Guitar players can get away with making some funny faces and postures, but when you take away the six-stringed excuse, they look pretty silly."</p> <p><strong>Check out Stesney's drawings in the gallery below! And check out his other work at <a href="https://www.behance.net/fredstesney/">behance.net.</a></strong></p> <p><em>Remember to click on the "magnifying glass" symbol to take a closer look at each photo!</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/joe-satriani">Joe Satriani</a> </div> <div class="field-item even"> <a href="/slash">Slash</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/artist-captures-james-hetfield-joe-satriani-slash-others-shredding-without-their-guitars/25138#comments Angus Young Fred Stesney James Hetfield Joe Satriani Slash Galleries News Thu, 30 Jul 2015 20:34:49 +0000 Guitar World Staff 25138 at http://www.guitarworld.com Metalli-Yeah: Hear Every James Hetfield "Yeah!" Ever Recorded http://www.guitarworld.com/metalli-yeah-hear-every-james-hetfield-yeah-ever-recorded/25006 <!--paging_filter--><p>Last year, Kevin Conklin of Conklin Radio pieced together every “Yeah!” ever screamed by Metallica frontman James Hetfield. </p> <p>We can’t think of a better way to spend the next three minutes and 16 seconds. Can you? </p> <p>Yeah!</p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/82841736&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true"></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="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/metalli-yeah-hear-every-james-hetfield-yeah-ever-recorded/25006#comments James Hetfield Metallica Features Mon, 20 Jul 2015 15:27:51 +0000 Guitar World Staff 25006 at http://www.guitarworld.com Frontal Assault: The Top 10 Guitar-Playing Frontmen in Rock http://www.guitarworld.com/top-10-guitar-playing-frontmen <!--paging_filter--><p>Even though Metallica's James Hetfield makes it look all too easy, there are countless guitarists who find it challenging to sing while doing anything on the guitar—besides strumming.</p> <p>Some players (myself included) even get bent out of shape when they're asked to provide the simplest of vocal harmonies while playing solos or semi-challenging riffs.</p> <p>Which is why <em>Guitar World</em> has decided to honor the 10 worthy guitarists/singers named below. We feel they are—or were, since we're honoring some artists who have passed away—10 of the best (if not <em>undoubtedly</em> the best) guitar-playing frontmen in rock history.</p> <p>The criteria is simple: They must have outstanding voices—either technically impressive or pleasingly "warm," unique or offbeat—and a heapin' helpin' of distinctive six-string badassery. Of course, since we're talking about frontmen, they also need a touch of charisma, maybe a spot of quirkiness and/or what is commonly called "stage presence." </p> <p>Note that, while we don't like to exclude such players as Pink Floyd's David Gilmour, this is a list of guitarists who don't/didn't share the frontman spotlight with anyone in the band. This is also why you won't find the Beatles' John Lennon or Paul "guitarist before he was a bassist" McCartney on this list. </p> <p>With that in mind, here are our 10 choices. If you disagree with our picks or would like to suggest other players, let us know in the comments below. Note that these names are presented in no particular order. Once again, the names are presented in no particular order!</p> <p><strong>Frontman: Stevie Ray Vaughan </strong><br /> <strong>Band:</strong> <em>Stevie Ray Vaughan and Double Trouble</em></p> <p>With his electrifying prowess, the late Stevie Ray Vaughan refocused attention back to the essentials—guitar, bass and drums in a basic 12-bar format.</p> <p>He had no light show to speak of, no dry ice, no fog, no lasers. He didn't go in for leather-and-studs macho posturing. A longtime local hero in juke joints throughout Austin, Houston, Dallas and Fort Worth, Stevie Ray waved the Texas flag all over the country in one sold-out concert venue after another. </p> <p>His secret? A soft-spoken, laconic man, Vaughan summed it up in three little words: <a href="http://www.guitarworld.com/stevie-ray-vaughan-opens-his-first-guitar-world-interview-1984">"I just play."</a></p> <p>Of course, there's more to it than that. Along with his unquestionable prowess on the guitar, Vaughan, who died in August 1990, had one hell of a voice, a voice that still makes every "SRV bandwagon" blues-er sound, well, incomplete. Although you wouldn't have wanted to sit through a concert titled "SRV Sings Verdi" (or "SRV Sings Freddie Mercury"), there's no denying SRV had his own thing, a voice that oozed authenticity and confidence. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/1jG44pIupvw" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Frontman: James Hetfield</strong><br /> <strong>Band:</strong> <em>Metallica</em></p> <p>Well, we mentioned Hetfield in the intro to this story, so his inclusion can't be much of a surprise, can it? </p> <p>Besides supplying the instantly recognizable voice of one of the most accomplished heavy metal bands in history, the Metallica frontman has always been lauded for his hard, fast and precise rhythm playing, a style that has had a massive impact on several generations of guitar players.</p> <p>Hetfield, who often is said to have the best right hand in metal, once told <em>Guitar World</em>, “I’d much rather talk about guitar playing. I hate it when people ask me about my lyrics. <a href="http://www.guitarworld.com/interview-james-hetfield-discusses-metallicas-death-magnetic">I always feel like telling them to just go and read them.”</a> </p> <p>And who can resist a mid-song Hetfield grunt?</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/oxVGfvXdWOY" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Frontman: Jimi Hendrix</strong><br /> <strong>Bands:</strong> <em>The Jimi Hendrix Experience, Band of Gypsys</em></p> <p>When Jimi Hendrix first exploded onto the scene, attention was riveted on his radical reinvention of guitar-soloing vocabulary, technique and sound, which was inspired by a now-familiar roster of great blues soloists. </p> <p>But Hendrix had another musical asset that set him apart from similarly influenced British blues-rock contemporaries: undeniable charisma and a voice that clearly stood out from the pack. In that sense, he was the complete package.</p> <p>Although he wasn't the most powerful singer in the world, his voice had a pleasingly warm tone and plenty of soul, as can be heard on "Bold as Love" and "Castles Made of Sand" (and so many other songs). He also added plenty of what could best be described as fun ad-libs ("Dig this, baby...") that would be exploited by future generations of singers in every genre of popular music. Bootsy Collins, anyone?</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/a6meMBtTgKQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Frontman: Jack White</strong><br /> <strong>Bands:</strong> <em>The White Stripes, The Raconteurs, The Dead Weather, Jack White</em></p> <p>It's pure magic when Jack White ascends to the vocal register of vintage Robert Plant—while adding AC/DC-style riffs with his depth-charge guitar playing.</p> <p>“I always look at playing guitar as an attack," White told <em>Guitar Player</em>. "It has to be a fight. Every song, every guitar solo, every note that’s played or written has to be a struggle. It can’t be this wimpy thing where you’re pushed around by the idea, the characters, or the song itself. It’s every player’s job to fight against all of that.”</p> <p>White, who now tours and records under his own name, was (of course) once the more vocal half of the White Stripes. In the July 2002 issue of <em>Guitar World</em>, he explained how stage presentation plays a major part in a band’s success:</p> <p>“Anything involved in presenting yourself onstage is all a big trick. You’re doing your best to trick those people into experiencing something good, something they haven’t thought about before or haven’t thought about in a long time. I’m doing my best to be that vaudeville trickster, to help that happen.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/f5s0R30xCM4" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Frontman: Dave Mustaine </strong><br /> <strong>Band:</strong> <em>Megadeth</em></p> <p>Dave Mustaine's story is something a good portion of our readers can relate to: He became his band's singer by default after a series of unsuccessful auditions for vocalists. </p> <p>At that moment, the former Metallica and Fallen Angels lead guitarist became the frontman for Megadeth, one of the world's most important thrash metal bands. </p> <p>The rest, shall we say, is history.</p> <p>"I actually enjoy [singing] a lot of times, but it's not my strong point," Mustaine told Colorado classic rock station 103.5 the Fox in 2013. </p> <p>"I've been working really hard at it the last few years. I wish I would have given it as much attention in the beginning as I do now ... It's definitely a unique voice sound. You know, you hear people like Axl [Rose] or myself or [James] Hetfield or some of the other people that are really easily identifiable, it's scarce. Like Chris Cornell, you hear Chris, you know it's him."</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/pYiphqchtDA" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Frontman: Steve Marriott </strong><br /> <strong>Bands:</strong> <em>Small Faces, Humble Pie</em></p> <p>We've read your pro-Steve Marriott comments on GuitarWorld.com "list" stories for quite a while now: "How could you <em>possibly</em> leave out the great Steve Marriott? He was one of the most talented singers of all time!"</p> <p>First of all, we agree. We love Marriott, and there was pretty much no chance in hell he'd be left off this list. </p> <p>We'll get to his legendary voice in a minute. First we'll briefly mention his stripped-down but aggressive guitar playing, the steam engine that propelled a slew of Small Faces and Humble Pie tracks, including "All or Nothing," "Tin Soldier," "E Too D," "Get Yourself Together," "What'cha Gonna Do About It" and so many more. </p> <p>Marriott was the Small Faces' Roger Daltrey, but he also was the band's Pete Townshend, using a host of guitars, including an arguably too-big-for-his-body Gretsch White Falcon, to powerfully make his point in so many Sixties masterpieces.</p> <p>And then there's his voice, a voice that is still considered one of the greatest in classic rock. Can words do it justice? Why not just listen to "Afterglow" below? And below that, you'll find Marriott in action on "What'cha Gonna Do About It" with the Small Faces.</p> <p>Marriott, who would later front Humble Pie—where he joined guitar forces with Peter Frampton—died in a fire in 1991.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/4thiClBxhPY" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/mYvi-l2SRnA" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Frontman: Kurt Cobain </strong><br /> <strong>Band:</strong> <em>Nirvana</em></p> <p>“We’re just musically and rhythmically retarded,” Nirvana's guitarist, vocalist and chief songwriter, Kurt Cobain, told <em><a href="http://www.guitarworld.com/kurt-cobain-talks-gear-and-more-his-final-guitar-world-interview-1992">Guitar World</a></em> in 1991. "We play so hard that we can’t tune our guitars fast enough. People can relate to that.</p> <p>“We sound like the Bay City Rollers after an assault by Black Sabbath,” continued Cobain. “And we vomit onstage better than anyone!”</p> <p>So imagine how comical he'd find it to see the mark he's made on popular music. As Vernon Reid of Living Colour put it, "Cobain changed the course of where the music went … . There are certain people where you can see the axis of musical history twisting on them: Hendrix was pivotal, Prince was pivotal, Cobain was pivotal.”</p> <p>Cobain, with his raw emotion and mélange of untuned metal, drunk punk and Seventies pop, slayed the beast called stadium rock. And no, he wasn't a guitar virtuoso by any stretch, but his creativity, his crunch, his off-beat chugging and droning charm made him <em>unique</em>. It's yet another reminder to create your own thing, your own sound, people!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/OH9SyQY564U" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Frontman: Eric Clapton </strong><br /> <strong>Bands:</strong> <em>Derek and the Dominos, Eric Clapton</em></p> <p>What else can be said about the amazing six-string gifts of Eric Clapton, one of the most lauded guitarists in the universe, 1966's blues-breaking virtuoso who went on to blow minds in Cream, Blind Faith and Derek and the Dominos? </p> <p>Still, If you need to read more, be sure to pick up the March 2014 issue of <em><a href="http://guitarworld.myshopify.com/products/guitar-world-march-14-eric-clapton?utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWMAR14">Guitar World</a></em> magazine, which counts down his 50 greatest guitar moments — but doesn't mention a word about his voice. </p> <p>It's a voice first heard on the Bluesbreakers' 1966 version of Robert Johnson's "Ramblin' on My Mind," a song Clapton was actually reluctant to sing because he didn't think he was good enough. </p> <p>He eventually shared the vocal duties in Cream with bassist Jack Bruce and went on to sing an endless stream of hits and classic-rock staples, starting with 1970's "After Midnight," "Let It Rain" and "Layla," coasting through the Seventies with "Cocaine" and "Lay Down Sally," kicking it up a notch in the Eighties with "Forever Man" and toning things back down again in recent years. </p> <p>As he told <em>Rolling Stone</em>in 2010, these days Clapton is pretty fond of his voice. "It's taken me to be an older guy, an old man, to have an old man's voice. Because I only liked old men's voices. As a kid, I didn't like pip-squeaked singers. It was always someone with authority. And for a singer to have authority, they have to have some kind of social standing. Otherwise, it's fake."</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/9TOlZny7B0Q" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Frontman: Trey Anastasio </strong><br /> <strong>Bands:</strong> <em>Phish, Trey Anastasio Band</em></p> <p>It just stands to reason that a band with an undying cult following has one hell of a frontman. Such is the case for Phish, whose guitar-slinging (and singing) Trey Anastasio—like the rest of the band—has built a magnetic rapport with the band's fans.</p> <p>Anastasio's fluid lines are often wonderfully mind boggling—and can lead a 38-minute version of "Tweezer" to all kinds of new and exciting places.</p> <p>"Musical inspiration can come from just about anywhere," Anastasio told <em>Guitar World</em> in 2000. </p> <p>"For me, so much inspiration comes from the rhythms of the natural sounds in the air. Walking out in the country, you’ll hear certain sounds—a train, a boat, or maybe a horse walking on the road—and each of these sounds has a rhythm. If your mind is open, the simple rhythms of those sounds can inspire you and spark new musical ideas."</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/_uCSy67k16c" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/T_KyptMAcys" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Frontman: Matthew Bellamy </strong><br /> <strong>Band:</strong> <em>Muse</em></p> <p>As <em>Guitar Player</em> <a href="http://www.guitarplayer.com/miscellaneous/1139/breaking-the-mold-are-matthew-bellamys-custom-instruments-and-pianistic-approach-to-composition-forging-the-future-of-guitarcraft/12752">put it in 2010</a>, Muse frontman Matthew Bellamy is on a quest for futuristic guitar sounds—to the point of designing his own guitars with built-in effects, wireless MIDI and synth capabilities. </p> <p>Not surprisingly, he’s a huge fan of Tom Morello and Jimi Hendrix, and he tries to channel the spirit of their sonic explorations into technology-fueled approaches that work for him and his compositions.</p> <p>Head on over to YouTube (Or just watch the two impressive clips below) to see how everything seems to come together for Bellamy: technology, composition and serious guitar chops:</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/4Zc_ms4sRAM" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/tlGJdKxvLSU" frameborder="0" allowfullscreen></iframe></p> <p><em><a href="https://soundcloud.com/damian-fanelli/mister-neutron-super-1">Damian Fanelli</a> is the online managing editor at </em>Guitar World<em> and </em><a href="http://www.guitaraficionado.com/">Guitar Aficionado</a><em>. His New York-based band, <a href="https://soundcloud.com/damian-fanelli/the-blue-meanies-heart-full-of">the Blue Meanies,</a> has toured the world and elsewhere. Fanelli, a former member of Brooklyn jump-blues/rockabilly band <a href="http://www.thegashousegorillas.com/">the Gas House Gorillas</a> and New York City surf-rock band <a href="http://www.cdbaby.com/Artist/MisterNeutron">Mister Neutron,</a> writes GuitarWorld.com's <a href="http://www.guitarworld.com/next-bend-clarence-white-inspired-country-b-bender-lick-video">The Next Bend,</a> a column dedicated to <a href="http://www.guitarworld.com/next-bend-10-essential-b-bender-guitar-songs-damian-fanelli">B-benders.</a> His latest liner notes can be found in Legacy's </em><a href="http://www.amazon.com/The-Complete-Epic-Recordings-Collection/dp/B00MJFQ24W">Stevie Ray Vaughan: The Complete Epic Recordings Collection.</a><em> Follow him on <a href="https://www.facebook.com/damianfanelliguitar">Facebook,</a> <a href="https://twitter.com/damianfanelli">Twitter</a> and/or <a href="https://instagram.com/damian_fanelli/">Instagram.</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="/eric-clapton">Eric Clapton</a> </div> <div class="field-item even"> <a href="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/top-10-guitar-playing-frontmen#comments Damian Fanelli Eric Clapton Jack White James Hetfield Stevie Ray Vaughan TC-Helicon Guitar World Lists News Features Tue, 07 Jul 2015 14:21:24 +0000 Damian Fanelli 20723 at http://www.guitarworld.com Metallica’s James Hetfield and His Daughter Perform Adele’s "Crazy for You" — Video http://www.guitarworld.com/acoustic-nation-metallica-james-hetfield-and-daughter-perform-adele-crazy-you-video <!--paging_filter--><p>For the second year in a row, Metallica’s James Hetfield enjoyed a headlining slot at Acoustic-4-a-Cure, a pediatric cancer benefit concert. </p> <p>This year, Hetfield performed a tune with his oldest daughter, 16-year-old Cali.</p> <p>The duo performed a cover of Adele‘s “Crazy for You.” A surprising choice for the Metallica frontman? Perhaps. Either way, you can check out their performance in the video below. Remember, it's for a good cause!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/NWaZezdMMNU" 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="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/acoustic-nation-metallica-james-hetfield-and-daughter-perform-adele-crazy-you-video#comments Acoustic Nation Adele James Hetfield Metallica News Videos Blogs Videos News Mon, 18 May 2015 14:43:50 +0000 Damian Fanelli 24494 at http://www.guitarworld.com Metallica's James Hetfield Discusses How Music Saved His Life — Video http://www.guitarworld.com/metallicas-james-hetfield-discusses-how-music-saved-his-life-video <!--paging_filter--><p>In this new video from Road Recovery, Metallica's James Hetfield opens up about his rocky past. </p> <p>He's done things he isn't proud of, he admits, but music saved his life by giving him an outlet to write and express himself. </p> <p>“Shame's a big thing for me," Hetfield says. "Playing music has saved my life. Every day it saves my life. When I am able to write, write a riff, write some lyrics, stuff like that, it’s a way I connect with the world.” </p> <p>For more about Road Recovery, visit <a href="http://www.roadrecovery.org">roadrecovery.org.</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/4p8q9svQXBo" 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="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/metallicas-james-hetfield-discusses-how-music-saved-his-life-video#comments James Hetfield Metallica Videos News Thu, 19 Feb 2015 19:50:21 +0000 Damian Fanelli 23549 at http://www.guitarworld.com Metal Gone Soft: Five Acoustic Metal Love Songs – Video http://www.guitarworld.com/acoustic-nation-metal-gone-soft-five-acoustic-metal-love-songs-video <!--paging_filter--><p>As we’re sure you’re aware, Valentine’s Day is just around the corner. </p> <p>What better way of getting in the spirit then hearing your favorite hard rock crooners bare their affection?</p> <p>That’s why we’ve gathered five excellent clips of metal artists going acoustic in the name of love. </p> <p>Whether you love or hate V-Day, you’re sure to enjoy these videos!</p> <p><strong>Paul Gilbert “We All Dream of Love”</strong> </p> <p>Here’s Paul Gilbert with a gorgeous sounding (and looking) Taylor acoustic. </p> <p>He sings “We All Dream of Love,” the last track on his 2005 release, <em>Space Ship One</em>.</p> <p>We all know Gilbert possesses those lighting-fast chops, but it’s great to see him flex his songwriter abilities too. </p> <p>What do you think of this tune? </p> <p><iframe width="620" height="465" src="https://www.youtube.com/embed/E33_wBw-B40" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>James Hetfield “Nothing Else Matters”</strong></p> <p>What’s better for Valentine’s Day than a classic Metallica ballad?</p> <p>James Hetfield wrote “Nothing Else Matters” over two decades ago for his girlfriend at the time.</p> <p>The song was not meant to be released, and was only considered for a Metallica album after drummer Lars Ulrich heard it. </p> <p>The song was released in 1992 as the third single from the band’s self-titled album.</p> <p>The song peaked at number 11 on the Billboard Mainstream Rock Track, and remains a standard in the Metallica repertoire. </p> <p><iframe width="620" height="349" src="https://www.youtube.com/embed/FrSMm8tOp6U" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Kiss “Love Her All I Can”</strong> </p> <p>Another band perfect for V-Day – KISS!</p> <p>Here they tackle a killer acoustic version of “Love Her All I Can,” on what appears to be a cruise ship. Sounds fun, right?!</p> <p>The song is featured on <em>Dressed to Kill</em>, the band’s third studio album released in 1975.</p> <p>It was written by Paul Stanley, who also sings the lead vocal on the recording. </p> <p><iframe width="620" height="349" src="https://www.youtube.com/embed/XuBsTAwDOzY" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Judas Priest “Worth Fighting For”</strong> </p> <p>Up next we have Judas Priest with “Worth Fighting For.”</p> <p>Rob Halford and co. deliver a fantastic acoustic version of this track, which you can hear on the band’s 2005 LP <em>Angel of Retribution</em>.</p> <p>For those of you who might be anti-Valentine’s Day this year, then this song is for you. </p> <p>“The inspiration comes from the desert Southwest, from Arizona,” Halford explains. “A great place to experience the isolation and the loneliness of the desert. That’s the kind of message in this forlorn song about lost love.”</p> <p><iframe width="620" height="465" src="https://www.youtube.com/embed/gq4rfGMKoUw" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Mötley Crüe “Without You”</strong></p> <p>Ah, Mötley Crüe. The kings of debauchery, glam, excess, and of course – love!</p> <p>Here they deliver an acoustic rendition of their classic power ballad, “Without You.”</p> <p>The track is featured on their 1989 album, <em>Dr. Feelgood.</em></p> <p>Released as the album's third single in 1990, "Without You" reached #8 on the Billboard Hot 100 charts in the United States. </p> <p>Within the liner notes of <em>Dr. Feelgood</em>, the song is said to be about the relationship between Tommy Lee's and Heather Locklear.</p> <p><iframe width="620" height="349" src="https://www.youtube.com/embed/DWTISU1CUEE" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/acoustic-nation-metal-gone-soft-five-acoustic-metal-love-songs-video#comments Acoustic Nation James Hetfield Judas Priest Kiss Metallica Motley Crue Paul Gilbert Blogs Videos Fri, 13 Feb 2015 13:30:22 +0000 Acoustic Nation 23501 at http://www.guitarworld.com Your Signature, Please: Five Essential Pieces of Signature Gear http://www.guitarworld.com/your-signature-please-five-essential-pieces-signature-gear <!--paging_filter--><p>About 10 years ago, a home-furnishings company named a line of rugs after a gorgeous movie and TV actress. </p> <p>It turns out that, aside from walking, sidling and sashaying on them for a few decades, she really didn't know a lot about rugs — or furniture or pretty much anything her name still graces today. But the company put her moniker on the stuff and continues to reap the benefits that a big name (and a pretty face) can provide.</p> <p>Luckily, musicians in search of quality signature gear — from guitars to amps to effects to pickups — don't have to worry about that nonsense. Generally, gear manufacturers work closely with their signature artists, in some cases, right down to the tiniest of details (Some artists repeatedly send back their signature-model prototypes until they're absolutely perfect).</p> <p>So, while acknowledging the plethora of fine signature gear that's available today, here's the cream of the crop: five items that simply get it right. This list was compiled by a group of <em>Guitar World</em> staffers including Gear Editor Paul Riario. </p> <p><strong>Fender Eric Johnson Stratocaster</strong></p> <p>Maybe you've read it in forums or heard it from people in the know (maybe even from people whose job it is to try out Fender gear all day long), but Fender's Eric Johnson signature Strat has quietly earned a reputation as possibly one of the best instruments Fender produces on a regular basis.</p> <p>At first glance, the EJ model looks a lot like other U.S.-made Strats. But once you study the details, you start to notice its refinement. In fact, EJ-model connoisseurs tend to agree that it's not one single feature that makes this guitar special — it's the way all the smaller features work together. </p> <p>The guitar has a one-piece, vintage-tinted quartersawn plain maple neck (contours sanded very smooth) with a ’57-style V shape; a light, two-piece alder body with deep ’57-style body contours and cavities. It comes in 2-Color Sunburst, Black, Candy Apple Red and White Blonde. The frets are highly polished. The pickups are Eric Johnson single-coils (not over-wound at all) with countersunk screws and a five-way switch. Other features include a vintage tremolo with silver-painted block and ’57-style string recess. There's no paint between the base plate and the block.</p> <p>Basically, if you're a fan of the Stratocaster in its purest form, you'll truly appreciate this model, which also packs in several practical updates for modern players.</p> <p><img src="/files/imce-images/EJ%20Strat.jpg" width="620" height="209" alt="EJ Strat.jpg" /></p> <p><em>MSRP: $2,599.99 | <a href="http://www.fender.com/products/search.php?partno=0117702806">Check out this guitar at fender.com.</a></em></p> <hr /> <strong>ESP LTD James Hetfield Snakebyte</strong> <p>When it comes to signature guitars made for the rigors of heavy metal, it's hard to beat the LTD James Hetfield Snakebyte from ESP.</p> <p>The Snakebyte is a light-weight guitar that packs the heavyweight punch necessary for one of metal's marquee players. The neck is thin and comfortable, perfect for quick chord changes, and you'll find all of the high-end features of its more expensive Japanese-made cousin without sacrificing quality.</p> <p>And, as an added bonus, the Snakebyte now comes stock with a set of EMG James Hetfield pickups, putting all of the Metallica guitarist's secret weapons — minus his fabled right hand — at your fingertips.</p> <p>For a full test drive and review from <em>Guitar World</em> Gear Editor Paul Riaro, head <a href="http://www.guitarworld.com/review-esp-ltd-james-hetfield-snakebyte">here</a>.</p> <p><img src="http://dl.guitarworld.com/ltdsnakebyte.png" width="620" /></p> <p><em>MSRP: $1,570 | <a href="http://www.espguitars.com/guitars/signature/ltd-snakebyte.html">Check out this guitar at esp.com.</a></em></p> <hr /> <strong>Seymour Duncan Alnico II Pro Slash APH-2 pickups</strong> <p>For the die-hard Slash enthusiast, there's a whole boatload of signature gear to choose from, from the "Appetite" Les Paul to a the custom octave fuzz from Jim Dunlop.</p> <p>While you could buy your way to a pretty good replica of Slash's actual rig with enough money, the best place to start might just be the Alnico II Pro Slash APH-2 pickups from Seymour Duncan.</p> <p>These moderate-output humbuckers will give you just the right amount of bite for those gritty riffs while still allowing for the searing sustain necessary to unleash ripping solos. Pop them in any humbucker-friendly guitar and you'll be well on your way to channeling your favorite top-hat-wearing guitar hero.</p> <p><img src="http://dl.guitarworld.com/slashpickups.jpg" width="620" /></p> <p><em>MSRP: $269 | <a href="http://www.seymourduncan.com/products/electric/humbucker/vintage-output/alnico_ii_pro_s_1/">Check out these pickups at seymourduncan.com.</a></em></p> <hr /> <strong>Jim Dunlop DB01 Cry Baby From Hell</strong> <p>Take a quick poll of metal guitarists to find out their favorite wah pedal and Jim Dunlop's Cry Baby From Hell will undoubtedly come out on top.</p> <p>Made to the specifications of the late, great Dimebag Darrell, the Cry Baby From Hell features an extended sweep range knob, 6-way range selector and kick-in volume boost to take your solos over the top.</p> <p>Dime, like a number of other guitarists, would often use his wah as a high-end boost for solos, leaving it fully cocked while he tore up the fretboard. Either fully engaged or used as a high-pass filter, the Cry Baby From Hell should meet all your needs and then some. </p> <p>Now start getting those squeals and pinch harmonics down!</p> <p><img src="http://dl.guitarworld.com/dimebagcrybaby.jpg" width="620" /></p> <p><em>MSRP: $286.44 | <a href="http://www.jimdunlop.com/product/db01-dimebag-signature-wah">Check out this pedal at jimdunlop.com</a></em></p> <hr /> <strong>EVH 5150 III 50-Watt Head</strong> <p>Perhaps no one's tone is as sought-after as that of Eddie Van Halen. And fortunately for all you finger-tapping maniacs out there, almost no other guitarist has more quality signature gear on the market.</p> <p>And while his Wolfgang Special guitar is top-of-the-line and the MXR Phase 90 will have you rocking the cradle with the best of them, it's his line of signature amps from EVH that have really made a mark on the world of hard rock and metal.</p> <p>Even if it is a scaled-down version of its 100-watt big brother, there's no denying the EVH III 5150 50-watt head packs a <em>lot</em> into a small package. This three-channel amp matches up nicely with any cabinet, but you definitely can't go wrong with any of the cabs in the EVH 5150 III line. Pair it up with either the 2x12 or 1x12 and you'll have 'em dancing in the streets in no time!</p> <p><img src="http://dl.guitarworld.com/evh5150.png" /></p> <p><em>MSRP: $1,333.32 | <a href="http://www.evhgear.com/gear/subpage?partno=2253000400">Check out this amp at evhgear.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="/slash">Slash</a> </div> <div class="field-item even"> <a href="/eric-johnson">Eric Johnson</a> </div> <div class="field-item odd"> <a href="/metallica">Metallica</a> </div> <div class="field-item even"> <a href="/eddie-van-halen">Eddie Van Halen</a> </div> <div class="field-item odd"> <a href="/van-halen">Van Halen</a> </div> <div class="field-item even"> <a href="/dimebag-darrell">Dimebag Darrell</a> </div> <div class="field-item odd"> <a href="/pantera">Pantera</a> </div> <div class="field-item even"> <a href="/damageplan">Damageplan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/your-signature-please-five-essential-pieces-signature-gear#comments Dimebag Darrell Dunlop Eddie Van Halen Eric Johnson ESP EVH Fender James Hetfield Seymour Duncan Slash Guitar World Lists Amps Electric Guitars News Features Gear Fri, 29 Aug 2014 14:46:55 +0000 Damian Fanelli, Josh Hart 16421 at http://www.guitarworld.com Prime Cuts: Metallica's James Hetfield and Kirk Hammett Critique Key Songs in the Band’s Harsh, Noble History http://www.guitarworld.com/primecuts_metallica <!--paging_filter--><p><em>Another gem from the </em>Guitar World<em> archive</em> ...</p> <p>Metallica’s 1983 debut, the explosive <em>Kill ’Em All</em>, taught a grateful world a lesson in unbridled thrashing fury. Since then, their sound has passed through numerous stages, but the guttural intensity that was the hallmark of the young Metallica remains the essence of the band today.</p> <p>Over the past 25 years, Hammett and James Hetfield have established themselves as metal’s quintessential guitar alliance. In the following retrospective, Kirk and James take a walk down Metallica memory lane and critique some of the key songs in the band’s harsh, noble history.</p> <p><strong>“Seek and Destroy," <em>Kill ’Em All</em> (1983)</strong></p> <p>JAMES HETFIELD: The idea for “Seek” came from a Diamond Head song called “Dead Reckoning.” I used to work in a sticker factory in L.A., and I wrote that riff in my truck outside work. This was our first experience in a real studio. I used a white Flying V, which was the only guitar I had back then. I still have the guitar in storage. The song is based around a one-note riff that was up a little higher. Though most of my riffs are in E, that one worked off an A.</p> <p>KIRK HAMMETT: When I was doing that guitar solo, I was using James’ Marshall. That was the Marshall—it had been hot-rodded by some L.A. guy, the same guy who hot-rodded Eddie Van Halen’s Marshalls—and when it came time to do my guitar leads, I just plugged into that. I had maybe four or five days to do all my leads. I remember thinking, There’s 10 or 12 songs on this album, so that means two a day. I had to throw down a solo, not think much about it, and move on.</p> <p>I had my trusty old Ibanez Tubescreamer, my trusty wah pedal and my black Gibson Flying V that I used on the first four albums. It was either a ’74 or a ’78, I’m not sure. I didn’t have much really worked out; I knew how I wanted to open the initial part of the solo after the break, so I just went for it two or three times. </p> <p>And then the producer said, ‘That’s fine! We’ll use it!’ There were no frills, no contemplation, no overintellectualizing—we weren’t going over the finer points. On a couple of notes in that solo, I bend the notes out of pitch. For 18 years, every time I’ve heard that guitar solo, those sour notes come back to haunt me! [<em>laughs</em>] I remember on that tour, whenever it came time to do that guitar solo, I was always like, Okay, I’m gonna play this so much better than the way I recorded it!</p> <p>I had been taking lessons from Joe Satriani for, like, six months prior to joining the band, so his influence was pretty heavy in my mind and in my playing. He passed down so much information to me, I was still processing a lot of it. When it came time to do the solo, I was thinking, I hope Joe likes this. I hope this isn’t something he’ll just pick apart, like he has in the past.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/J-tvJcTPxHc" frameborder="0" allowfullscreen></iframe></p> <p><strong>"The Four Horsemen," <em>Kill ’Em All</em> (1983)</strong></p> <p>HETFIELD: Dave [<em>Mustaine, Metallica’s original guitarist</em>] brought that song over from one of his other bands. Back then it was called “The Mechanix.” After he left Metallica, we kind of fixed the song up. The lyrics he used were pretty silly.</p> <p>HAMMETT: Prior to recording that song, we put in a slow middle section that wasn’t there when I first joined the band, and it needed a slow, melodic solo. I remember going through the song with everyone, and when I got to that part, I played something really melodic. Lars looked up at me and said, “Yeah, yeah!” He’s a big lead guitar fan. One of his biggest influences is Ritchie Blackmore. For that song I put down one lead, then added one on a different track. </p> <p>I wasn’t sure which one to use. I listened to both tracks at once, to see if one would stand out. But playing both tracks simultaneously sounded great, and we decided to keep it like that on the record. Some of the notes harmonized with each other, and I remember Cliff [<em>Burton, bassist</em>] going, “Wow, that’s stylin’—it sounds like Tony Iommi!”</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/C4nCy5CITc8" frameborder="0" allowfullscreen></iframe><br /> <hr /> </p><p><strong>"Creeping Death," <em>Ride the Lightning</em> (1984)</strong></p> <p>HETFIELD: We demoed “Ride the Lightning” and one other song in the studio before we recorded the album, so there’s actually a demo somewhere of those three songs with different lyrics. When we did the crunchy “Die by my hand” breakdown part in the middle, I sat in the control room after we did all the gang vocals, and everyone was just going nuts! That was our first real big, chanting, gang-vocal thing. There was almost some production value to it. That whole album was a big step for us. By then I had the Gibson Explorer. I grew to love that shape better than the V.</p> <p>HAMMETT: When we first began playing that song in the garage, I noticed that the lead guitar part also incorporated the chorus. I thought that was a good opportunity to play something a bit wild and dynamic. The first figure in that song pretty much came off the top of my head. I was still using the black Flying V and the Boss distortion pedal through Marshall amps, with a TC Electronics EQ. For that song, Flemming [<em>Rasmussen, engineer</em>] suggested that I double-track the solo, which made it sound a bit thicker and fuller. We did that solo, after which we had to do this small fill at the end, a four-bar break with four accents afterwards. The plan was to fill the break up and play something over the four accents. When I studied with Joe Satriani, I did this chordal exercise, a diminished chord with four notes. I just played that over these four accents, and it worked out real nice.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/lXWq3f01e2U" frameborder="0" allowfullscreen></iframe></p> <p><strong>"Fade to Black," <em>Ride the Lightning</em> (1984)</strong></p> <p>HETFIELD: That song was a big step for us. It was pretty much our first ballad, so it was challenging and we knew it would freak people out. Bands like Exodus and Slayer don’t do ballads, but they’ve stuck themselves in that position which is something we never wanted to do; limiting yourself to please your audience is bullshit.</p> <p>Recording that song, I learned how frustrating acoustic guitar can be. You could hear every squeak, so I had to be careful. I wrote the song at a friend’s house in New Jersey. I was pretty depressed at the time because our gear had just been stolen, and we had been thrown out of our manager’s house for breaking shit and drinking his liquor cabinet dry. It’s a suicide song, and we got a lot of flack for it, [<em>as if</em>] kids were killing themselves because of the song. But we also got hundreds and hundreds of letters from kids telling us how they related to the song and that it made them feel better.</p> <p>HAMMETT: I was still using the black Flying V, but on “Fade to Black” I used the neck pickup on my guitar to get that warm sound. I played through a wah-wah pedal all the way in the “up” position. We doubled the first solo, but it was harder to double the second solo in the middle because it was slow and there was a lot of space in it. Later I realized that I harmonized it in a weird way—in minor thirds, major thirds and fifths. For the extended solo at the end, I wasn’t sure what to play. We had been in Denmark for five or six months, and I was getting really homesick. We were also having problems with our management. Since it was a somber song, and we were all bummed out anyway, I thought of very depressing things while I did the solo, and it really helped. I played some arpeggios over the G-A-B progression, but we didn’t double track that solo. When that was finished, I went back and did the clean guitar parts behind the verse. James played an arpeggiated figure while I arpeggiated three-note chords. We ended up getting a very Dire Straits–type sound.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/WEQnzs8wl6E" frameborder="0" allowfullscreen></iframe><br /> <hr /> </p><p><strong>"The Call of Ktulu," <em>Ride the Lightning</em> (1984)</strong></p> <p>HAMMETT: Again, we were using Marshalls; I tracked the whole album with Marshall amps and my Gibson Flying V. For that song, I knew that I wanted to come up with something really melodic at the beginning of the solo. At that point in the song, there’s just a lot of riffing, a lot of heavy dynamics. I was thinking, Wouldn’t it be nice if we had something somewhat melodic to lead into it? Hence that little melody I played. I can remember thinking, Fuckin’ hell, man, these guys want me to play an awful-long fucking guitar solo! It was our first instrumental, and it was an incredibly long guitar solo. </p> <p>It was, like, ‘How can I keep this solo going without making it sound like I’m just playing a bunch of notes?’ So I thought that I would break it up into sections rather than play one long spew of notes. I used a modal approach, and there are also arpeggios that I play in the solo. They’re actually ‘broken arpeggios,’ a term that I got from Yngwie Malmsteen. At that time, 1984, Yngwie was big in the guitar world; he influenced me in that he was using all these different scales and different arpeggios, and really got me thinking about that kind of sound. I was also thinking chromatically: there’s that one part at the top of the next cycle where I play a chromatic lick that goes all the way down the high E string with the wah pedal.</p> <p>I actually wrote out the entire solo on pieces of paper, using my own notes and my own pet names for the individual licks. I would say that 80 percent of it was composed beforehand and 20 percent of it was improvised. When we revisited that song with the symphony on <em>S&amp;M</em>, it was a lot of fun. It felt like I was visiting my guitar technique from, like, 15 years ago or something. I just don’t play like that now—I’m a lot bluesier—so it was pretty trippy.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/t1RTgznup5c" frameborder="0" allowfullscreen></iframe></p> <p><strong>"Welcome Home (Sanitarium)," <em>Master of Puppets</em> (1986)</strong></p> <p>HETFIELD: The idea for that song came from the movie <em>One Flew Over the Cuckoo’s Nest</em>. “Fade to Black” worked well, and we wanted to have another slow, clean, picking type of song, this time with a chorus. I had trouble singing that chorus. It’s really high, and when I went to sing it in the studio, I remember Flemming looking at me like, “You’re kidding.” I said “Shit, I don’t know if I can do this!” So I ended up singing it lower than I intended, but we put a higher harmony on it and it worked pretty well. The riff for that song was lifted from some other band, who shall remain anonymous.</p> <p>HAMMETT: The beginning of the first solo is an arpeggiated ninth chord figure, where I basically mirror what James is playing. The second guitar figure had some harmonies. I used a wah-wah pedal on the third solo, which was pretty straight ahead. The fourth solo comes out of harmonized guitars; the very last lick was based on something really cool I saw Cliff play on guitar in the hotel one night that I knew would work in that spot.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/V6Dfo4zDduI" frameborder="0" allowfullscreen></iframe><br /> <hr /> </p><p><strong>"Master of Puppets," <br /> <em>Master of Puppets</em> (1986)</strong></p> <p>HETFIELD: I think we wanted to write another song like “Creeping Death,” with open chords carried by the vocals and a real catchy chorus. On Master of Puppets we started getting into the longer, more orchestrated songs. It was more of a challenge to write a long song that didn’t seem long. The riff for that song was pretty messy—constantly moving. It works good live. People love to scream “Master!” a couple of times.</p> <p>HAMMETT: I used my Jackson Randy Rhoads V for this solo. When you listen to the solo, there’s this weird sound right after the mellow part where it sounds like I’m hitting a superhigh note in the midst of my phrasing, like I’m fretting the string against the pickup. Well, what happened was, I had accidentally pulled the string off the fretboard! You know how you take an E string, you pull it down toward the floor away from the neck? I accidentally pulled down on the string, and it fretted out on the side of the fretboard. We heard it back, and I was like, ‘That’s brilliant! We’ve gotta keep that!’ Of course, I’ve never been able to reproduce that since; it was like a magic moment that was captured on tape. That was one of my most favorite things about that guitar solo. I thought I had screwed the solo up by accidentally pulling on the string, but once I heard it back, I thought it sounded great. That was definitely a keeper!</p> <p>For the next solo we used backward guitar parts. To get them I played a bunch of guitar parts that were in the same key as the song and laid them down on quarter-inch tape. Then we flipped the tape over and edited it, so we had two or three minutes of backward guitar. We put it in the last verse of the song.</p> <p>A lot of people think I actually came into my own sound on that song. That had everything to do with buying Mesa/Boogie Mark II-C heads. Boogie made those heads for a short time in the mid Eighties and only made a limited amount of them. They moved on after that, and they haven’t really been able to recapture that sound since—I don’t know if they ever tried or not. But there’s something about Boogie Mark II-C heads that were really unique and very individual in their gain stages and overall sound. Most of Master of Puppets was tracked with Boogie heads and Marshall heads combined, and I used my Gibson Flying V and my Jackson. By that time, I also had my black Fernandes Stratocaster.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/xnKhsTXoKCI" frameborder="0" allowfullscreen></iframe></p> <p><strong><em>The $5.98 EP/Garage Days Re-Revisited</em> (1987)</strong></p> <p>HETFIELD: Putting out an EP of all cover tunes was absolutely unheard of, which we thought was really cool. We didn’t do too many arrangements, except to some of the Budgie tunes, where we eliminated some lame singing parts. For some of the songs we tuned down to D to make them a little heavier. The guitar sound is really awful, but it was the first thing we put out where the bass could be heard, so Jason [<em>Newsted, bassist</em>] was happy</p> <p>HAMMETT: That was recorded when I first started using ESP guitars with EMG pickups. All the lead guitar parts on that EP flowed really quickly. I did them in two nights. All of the leads were mine. The fact that the original versions of “Helpless” and “The Wait” don’t even have solos in them was a bit of luck—no one would have anything to compare them to, and it kept any preconceived ideas out of my head. We did that EP for the fans, just for fun, and Elektra loved it and released it.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/mVjnpaMscfQ" frameborder="0" allowfullscreen></iframe><br /> <hr /> </p><p><strong>"…And Justice for All," <em>…And Justice for All</em> (1988)</strong></p> <p>HETFIELD: That song is pretty long, like all the songs on that album. We wanted to write shorter material, but it never happened. We were into packing songs with riffs. The whole riff is very percussive; it goes right along with the drums. The singing on that song is a lot lower than usual.</p> <p>HAMMETT: I worked out an opening lick for the solo but it wasn’t really happening, so I plugged in the wah-wah pedal, which I always do when all else fails. As soon as I plugged in, we were done. A lot of people give me shit about how I hide behind the wah pedal, but something about it brings out a lot of aggression. It just tailors the sound to match the mood and emotion I’m trying to convey. It’s purely an aesthetic thing and not a crutch or anything like that. The riff where I utilize the open string hammer-ons developed from a Gary Moore lick that I’d been studying. I figured it would sound really good combined with the heavy E-chord progression</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/CQ4GbcuBvUQ" frameborder="0" allowfullscreen></iframe></p> <p><strong>"One," <em>…And Justice for All</em> (1988)</strong></p> <p>HETFIELD: I had been fiddling around with that A-G modulation for a long time. The idea for the opening came from a Venom song called “Buried Alive.” The kick drum machine-gun part near the end wasn’t written with the war lyrics in mind, it just came out that way. We started that album with Mike Clink as producer. He didn’t work out too well, so we got Flemming to come over and save our asses.</p> <p>HAMMETT: I lost a lot of sleep over that set of guitar solos! [<em>laughs</em>] The main guitar solo at the end, with the right-hand, Eddie Van Halen–type tapping came almost immediately. That guitar solo was just a breeze; what was going on with the rhythm section in that part of the song was just very, very exciting for me to solo over. The first solo was a little bit more worked out. </p> <p>I heard James playing some really melodic stuff over the intro, just doodling around, and I thought, That’s pretty cool, I’m gonna use part of that. So I have to give credit to James for subliminally pushing me in that melodic direction. I think the first two licks at the top of the first solo are his, and the rest of the solo just sort of fell into place. That little chord comp thing in that first solo came from a major-chord exercise that I do all the time. I thought it would sound really good in the solo if I just staccato-picked it and resolved it right there. I thought the solo needed something to perk people’s ears up!</p> <p>The middle guitar solo in that song, I must have recorded and rerecorded it about 15 million times. I wanted a middle ground between the really melodic solo at the beginning and the fiery solo at the end. I wanted that to sit very confidently within the song, but it sounded very unconfident, and I was never happy with it.</p> <p>Finally, it came down to the wire: we were mixing the album while simultaneously touring on the <em>Monsters of Rock</em> tour. One night, I flew from Philadelphia to New York City, and while everyone else was on their way to Washington, D.C., I went to the Hit Factory and rerecorded the solo again. I brought my guitar, I had one of my main amps sent to the studio, and I redid the solo there and finally nailed it. I was very, very happy about that! The next day, we played a show in Washington, D.C. It got panned by the critics, because we’d all only had about three hours of sleep and were exhausted. </p> <p>But I got a good solo the night before, so it was worth it!</p> <p>We wanted a clean guitar sound for “One.” I think at that point I was using the ESP neck-through-body KH-1 guitar, with the skulls on the fingerboard. I’d gotten that guitar in ’88 and used it pretty prominently in the studio. I used an ADA preamp and an ADA MP-1—it was a programmable digital amp that had tubes in it, with a separate rack-mounted Aphex parametric EQ. I remember blending that thing with the Boogies for lead sounds and clean sounds. The clean sound on ‘One’ was done almost exclusively with the ADA MP-1.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/WM8bTdBs-cw" frameborder="0" allowfullscreen></iframe><br /> <hr /> </p><p><strong>"Enter Sandman," <em>Metallica</em> (1991)</strong></p> <p>HAMMETT: Again, I was playing my ESP with a wah pedal, and this time I used a bunch of different amps. We were combining Boogies and modified Marshalls; I also think we had a clean old Fender in there, and maybe even an old Vox amp, and they were all blended together to get that tone. I can remember getting that lead guitar sound together very quickly, very spontaneously. When it came time to start thinking about that guitar solo, I just thought, Well, this is a great guitar song, and it’s in the spirit of all my favorite guitar bands, like Thin Lizzy and UFO, but kind of modernized. So I kept thinking, Michael Schenker, Michael Schenker… But then I started thinking, If Brian Robertson from Thin Lizzy played on this song, what would he play? With that mindset, I started playing what I thought Brian Robertson would play on a song like that, and the entire fucking guitar solo wrote itself!</p> <p>You know how the guitar solo plays out, and then there’s a lead guitar break that leads into a breakdown? I think the time has come to tell where I actually got that lick. It’s from ‘Magic Man’ by Heart, but I didn’t get it from Heart’s version; I got it from a cut off Ice-T’s <em>Power</em> album, where he used it as a sample. I was listening to <em>Power</em> a lot while we were recording <em>Metallica</em>, so I kept on hearing that lick. I thought, I have to snake this! I did change it around a little bit, though.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/MPJKuygePHk" frameborder="0" allowfullscreen></iframe></p> <p><strong>"Don’t Tread on Me," <em>Metallica</em> (1991)</strong></p> <p>HETFIELD: A lot of the songs on this album are more simple and concentrated. They tell the same story as our other shit but don’t take as long. There aren’t a hundred riffs to latch on to—just two or three stock, really good riffs in each song.</p> <p>I used my ESPs and tons of other guitars: a 12-string electric, a Telecaster, a Gretsch White Falcon, a sitar and other things. I also used a B-Bender, a bar installed in the guitar that twists the B string up a full step. It’s used a lot in country music. But “Don’t Tread” is just real heavy guitar—there’s really nothing else to it.</p> <p>HAMMETT: I used a Bradshaw [<em>preamp</em>] because the mids were clean and the low end sounded real percussive, and I put it through a VHT power amp. The harmonic distortion also sounded nice and dirty. For the highs we used two Marshalls. We combined all the sounds and put it all through Marshall cabinets with 30-watt speakers and blended all the room mikes. My sound is a lot thicker and punchier than before, and I think it’s better than ever. For the majority of the leads on this album I used a third ESP guitar. I also used my 1989 black Gibson Les Paul Custom. For the clean sound, I used a ’61 stock white Strat and a Fender blackface Deluxe. I also used a ’53 Gibson ES-295 style, and an ESP Les Paul Junior with EMG pickups.</p> <p>I used the ’89 black Gibson Les Paul Custom and a wah-wah pedal on “Don’t Tread on Me.” At one point I had to play these ascending lead fills, and it just wasn’t happening at all. So I wound up playing harmonics instead of lead guitar fills, and it worked really well.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/Db1s-eV-Bd0" frameborder="0" allowfullscreen></iframe><br /> <hr /> </p><p><strong>"The God That Failed," <em>Metallica</em> (1991)</strong></p> <p>HETFIELD: That’s a very nice song. Slow, heavy and ugly. There are a lot of single-note riffs and more open-chord shit on this album. A lot of the rhythms I came up with were a little too complicated—half-step changes and other weirdo shit that Kirk had trouble soloing over. So we simplified some things. All the harmony guitar stuff on this album is incorporated in the rhythm tracks. I played rhythm all the way through, then I overdubbed harmony guitar things. There are harmony solos and harmony guitar in the rhythms, but they’re very distinct from each other. We found that layering a guitar six times doesn’t make it heavy.</p> <p>HAMMETT: I had this whole thing worked out, but it didn’t fit because the lead was too bluesy for the song, which is characterized by real heavy riffing and chording. So producer Bob Rock and I worked out a melody, to which I suggested that we add a harmony part, but Bob said it would only pretty it up. So we ended up playing the melody an octave higher, and it sounded great. We basically mapped out the whole solo, picking the best parts from about 15 solos I’d worked out. It’s one of my favorite solos on the album.</p> <p>One thing I did on this album that I hadn’t done before was play guitar fills. I filled up holes—like when James stops during the vocal, I put in a little stab or, as Bob calls it, a “sting.” My solos on this album are a little offbeat. Though a lot of guitar players start the solo on the downbeat—the first beat of the measure—I come in on the upbeat of the third measure of a bar, like on “Enter Sandman” and “Don’t Tread on Me.”</p> <p><iframe width="620" height="350" src="http://www.youtube.com/embed/HIgb7cMgJEw" frameborder="0" allowfullscreen></iframe></p> <p><strong>"Hero of the Day," <em>Load</em> (1996)</strong></p> <p>HAMMETT: The first time James heard my solo on "Hero of the Day," he didn’t like it. He said, "It sounds like bad Brian Robertson!" [<em>laughs</em>] I was, like, "What do you mean?" And then, after much "debating" back and forth, we kind of agreed that it wasn’t so much the solo that was the problem but the lack of anything going on underneath it. So he went and put something down underneath it that made it sound, well, a little better to his ears, I guess. It was one of those things where one musician hears one thing one way and another musician hears it completely different.</p> <p>For the <em>Load</em> album, I was experimenting so much with tone that I had to keep journals on what equipment I was using. For "Hero of the Day," I know I used a 1958 Les Paul Standard with a Matchless Chieftain, some Boogie amps and a Vox amp—again, they’re all blended. I was listening to a lot of David Bowie at the time, particularly the sounds on <em>Low</em>, and I was really interested in playing guitar parts to see if I could shape the character of the song by playing parts instead of solos. And to a certain degree that’s what I was trying to do during "Hero of the Day." It’s a guitar solo in the classic sense, but it’s a part of the song as well. I was very into the idea of creating soundscapes and crafting textures. I was tired of playing ripping, shredding solos; I wasn’t into proving myself like I was around, say,<em> …And Justice for All</em>. It’s great to be able to have that in your back pocket and use it when necessary. But for the most part, taste, tone and atmosphere are my main concerns.</p> <p>I’ll tell you a funny story, though. In ’94, a guy came up to me and said, "How come you stopped doing double stops? You used to play a lot of double stops, and then you stopped doing it. I miss it." And when we were recording <em>Load</em>, all of a sudden I remembered him saying that. I thought, Yeah, you know, he’s right! So in that song "Better Than You," which ended up on <em>ReLoad</em>, I just crammed both solos with all sorts of double stops. And that was totally for that guy.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/olzz82oRCMI" frameborder="0" allowfullscreen></iframe><br /> <hr /> </p><p><strong>"Fuel," <em>ReLoad</em> (1997)</strong></p> <p>HAMMETT: That track was actually recorded at the same time we were doing all the <em>Load</em> stuff. It was one of the first tracks [<em>from that session</em>] that I actually played a guitar solo on. That guitar solo was played through a couple of old Marshalls, some Vox amps and the Chieftain, and I used a 1963 Sea Foam Green Strat. I can remember thinking, God, this guitar has such a killer sound to it! It wasn’t like all my other guitars, which had active humbuckers and everything. It sounded fat, present and full, and I was blown away by how big it sounded, even though I was going through single-coil pickups, stuff that wasn’t active. That was a real treat for me, because it really felt like I was going in a new direction, tone-wise and equipment-wise. And that all kind of blossomed throughout <em>Load</em> and <em>ReLoad</em>. Bob Rock definitely had a big role in that, because he’s a total equipmenthead, and he really got me thinking about vintage gear.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/PvF9PAxe5Ng" frameborder="0" allowfullscreen></iframe></p> <p><strong>"No Leaf Clover," <em>S&amp;M</em> (1999)</strong></p> <p>HAMMETT: That song came together only about a week before we actually played with the symphony. And that week leading up to the actual dates was so hectic. We had to do so much footwork that I really didn’t have as much time as I would have liked to spend on that solo. So I thought, Hell, I’ll just go for it and improvise! And what you hear on that track is just me improvising, and playing off the top of my head on my ESP ‘Mummy’ guitar. I mainly used my live rig, which consists of Boogies and Marshalls and Boogie cabinets. My rack-mounted wah is in there, and that’s about it, other than maybe just a touch of delay.</p> <p>There’s a modulation toward the end of the solo, and I kind of wanted to outline that modulation a little bit. That’s why I shift keys for the four or eight bars at the end. The solo on "No Leaf Clover" is actually comped from the best licks from both nights and made into one solo. In retrospect, I would have loved to have had more time to structure it and put it together. But we were on a deadline, blah blah blah, and we really didn’t want to rerecord anything—we wanted it to all be recorded with the symphony. So we just kind of went for it.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/XP1XJiBvE_c" 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="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/primecuts_metallica#comments GW Archive James Hetfield Kirk Hammett Metallica Prime Cuts Interviews News Features Magazine Mon, 04 Aug 2014 15:18:39 +0000 Guitar World Staff 1889 at http://www.guitarworld.com Metallica's James Hetfield to Narrate History Channel TV Series 'The Hunt' http://www.guitarworld.com/metallicas-james-hetfield-narrate-history-channel-tv-series-hunt <!--paging_filter--><p>When he’s not on the road with Metallica, one of James Hetfield's most consuming passions is hunting. That hobby has landed him a spot narrating an eight-episode History Channel series called <em>The Hunt,</em> beginning 10 p.m. ET June 8.</p> <p>The program chronicles the annual controlled hunt in Alaska for Kodiak brown bears, which can grow to 12 feet tall and up to 1,500 pounds. This tradition goes back centuries — to the region’s early Alutiiq people — though it is now strictly regulated by the state department of fish and game.</p> <p>This TV appearance caps a busy period for Hetfield, as Metallica works on a new album. He appeared last week at the Acoustic 4 A Cure benefit, then took part in the San Francisco Giants’ second annual Metallica Night. </p> <p>Metallica hopes to begin recording their followup to 2008's <em>Death Magnetic</em> in the fall.</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="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/metallicas-james-hetfield-narrate-history-channel-tv-series-hunt#comments James Hetfield Metallica News Tue, 20 May 2014 17:39:07 +0000 Guitar World Staff 21298 at http://www.guitarworld.com James Hetfield Performs The Beatles' "In My Life" and Covers Bob Seger and Green Day with Joe Satriani — Video http://www.guitarworld.com/james-hetfield-performs-beatles-my-life-and-covers-bob-seger-and-green-day-joe-satriani-video <!--paging_filter--><p>During a benefit called Acoustic-4-a-Cure, Metallica's James Hetfield performed a solo acoustic version of the Beatles' "In My Life." </p> <p>At the same event, Hetfield was joined on stage by Joe Satriani and Green Day's Billie Joe Armstrong for a medley of Bob Seger's "Turn the Page" and Green Day's "Boulevard of Broken Dreams."</p> <p>Strange as all that sounds, you can check out clips of both performances below.</p> <p>During Hetfield's solo set, he also performed solo acoustic versions of Metallica's "Nothing Else Matters" and "Until It Sleeps." </p> <p>Speaking of Metallica, <a href="http://www.guitarworld.com/metallica-cover-ozzy-osbourne-beatles-and-deep-purple-musicares-map-fund-benefit-video">you can head here</a> to watch fan-filmed videos of the band performing acoustic versions of "In My Life," Deep Purple's "When a Blind Man Cries" and Ozzy Osbourne's "Diary of a Madman" at Monday's MusiCares MAP Fund Benefit.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/fNOLp-hceF8" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/m9D525NA9FI" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/james-hetfield-performs-beatles-my-life-and-covers-bob-seger-and-green-day-joe-satriani-video#comments Acoustic Nation James Hetfield News Videos Videos News Fri, 16 May 2014 19:46:56 +0000 Damian Fanelli 21277 at http://www.guitarworld.com Video: Metallica's James Hetfield Visits Guitar Center in San Francisco http://www.guitarworld.com/video-metallicas-james-hetfield-visits-guitar-center-san-francisco <!--paging_filter--><p>Metallica's James Hetfield recently visited Guitar Center in San Francisco (where I tried out, and almost bought, a very nice Gretsch 6120 about 11 years ago). </p> <p>The guitarist, who sat in the store's "little room," shared stories about his early fears, becoming a musician and rising to fame. He even played some guitar! </p> <p>All the while, customers shopped in the store with no idea that a member of Metallica was supplying those loud riffs they heard in the background. </p> <p>In the 13-minute clip, which you can check out below, Hetfield is playing his new ESP Iron Cross signature model in a lovely Snow White finish (Check out the NAMM photo gallery below, which includes photos of the ESP and LTD versions of this model). </p> <p>For more about the ESP version of this guitar, which was introduced at the 2014 Winter NAMM Show in Anaheim, California, last month, visit <a href="http://www.espguitars.com/products/9332-esp-iron-cross-sw">espguitars.com</a>.</p> <p>For more about ESP's new NAMM offerings, <a href="http://www.guitarworld.com/namm-2014-esp-announces-signature-series-guitars-james-hetfield-kirk-hammett-alex-skolnick-and-more">head here</a>, and check out RELATED CONTENT to the left (under the photo of Hetfield).</p> <p><iframe width="620" height="375" src="//www.youtube.com/embed/1Eq9RVKT9XQ" 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="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/video-metallicas-james-hetfield-visits-guitar-center-san-francisco#comments ESP ESP Guitars Guitar Center James Hetfield Metallica Videos Interviews News Wed, 05 Feb 2014 14:37:32 +0000 Damian Fanelli 20420 at http://www.guitarworld.com NAMM 2014: ESP Announces Signature Series Guitars for James Hetfield, Kirk Hammett, Alex Skolnick and More http://www.guitarworld.com/namm-2014-esp-announces-signature-series-guitars-james-hetfield-kirk-hammett-alex-skolnick-and-more <!--paging_filter--><p>Some of ESP’s most high-profile endorsees have helped create new ESP, E-II and LTD Signature Series guitars and basses, all of which are making their debut at the 2014 Winter NAMM Show.</p> <p>“ESP’s artist endorsees are among the most respected and influential musicians in contemporary music, and our Signature Series models offer the look, feel and sound that they specify in their own instruments,” says Matt Maciandaro, ESP president.</p> <p>Perhaps the most highly anticipated new Signature Series model for 2014 is the <strong>James Hetfield</strong> (Metallica) Iron Cross in Snow White finish, available as both an ESP model and a more budget-conscious LTD version. </p> <p>Metallica’s other guitarist, <strong>Kirk Hammett</strong>, along with ESP and Lugosi Enterprises, adds his name to the LTD KH-WZ White Zombie, a new limited-edition addition to the LTD Graphic Series. </p> <p>Acclaimed multi-genre virtuoso guitarist <strong>Alex Skolnick</strong> (Testament, AST) has helped design the ESP Alex Skolnick and LTD AS-1 guitars, making their debut at NAMM. Both guitars are available in Silver Sunburst finish, while the LTD version is also available in Lemon Drop with a flamed maple top.</p> <p>ESP is now offering the signature guitar of legendary Rolling Stones/Faces guitarist <strong>Ron Wood</strong> in an affordable LTD version for the first time with the LTD Ron Wood, available in 3-Tone Burst and Black finishes.</p> <p>Dillinger Escape Plan guitarist <strong>Ben Weinman</strong> gets his first LTD Signature model for 2014 with the BW-1, a semi-hollow guitar with a flamed maple top and an EverTune bridge. An EverTune bridge is also on the 7-string LTD signature model of Ken Susi (Unearth), the KS-7. </p> <p>ESP player <strong>Will Adler</strong> (Lamb of God) has had updates to the finishes of his signature models, the ESP Will Adler Warbird and the LTD SE Warbird, and <strong>Frédéric Leclercq</strong> of DragonForce has a new signature bass, the FL-204.</p> <p>ESP’s new E-II brand is coming out of the shoot with new Signature models. Bassist <strong>Doris Yeh</strong> and guitarist <strong>Jesse Liu</strong> of Chthonic have new signature models with the E-II DYD-5 and the E-II JL-7 respectively. <strong>Elias Viljanen</strong> (Sonata Arctica) also has an E-II signature model, the 7-string EV-7.</p> <p>Information on the 20 new LTD guitar models is available on ESP’s website, <a href="http://www.espguitars.com/">espguitars.com.</a></p> http://www.guitarworld.com/namm-2014-esp-announces-signature-series-guitars-james-hetfield-kirk-hammett-alex-skolnick-and-more#comments Alex Skolnick ESP ESP Guitars James Hetfield Kirk Hammett NAMM 2014 Electric Guitars News Gear Tue, 14 Jan 2014 15:54:14 +0000 Guitar World Staff 20186 at http://www.guitarworld.com Video: James Hetfield Performs Metallica's "Enter Sandman" with Kids from Little Kids Rock http://www.guitarworld.com/video-james-hetfield-performs-metallicas-enter-sandman-kids-little-kids-rock <!--paging_filter--><p>Over the weekend, Metallica's James Hetfield performed with kids from Little Kids Rock, the nation's leading nonprofit provider of music instruction and instruments to public schools.</p> <p>It just so happens that Little Kids Rock was honoring Hetfield at its annual Rockin' The Bay Benefit Saturday, November 9, at Facebook's headquarters in Menlo Park, California. </p> <p>Hetfield was recognized for his contributions to and support for the organization and received the inaugural "Livin' The Dream Award," which was created in honor of Josef Desimone, the late executive chef of Facebook who spearheaded the benefit for Little Kids Rock and who was a huge Metallica fan.</p> <p>"I'm a firm believer in creative expression through music. It is important to have it available from a young age, which is why I support Little Kids Rock's mission to make music education accessible to children," Hetfield said. </p> <p>"I've seen how music changes people's lives for the better and I am honored to have a part in helping the organization enrich young lives through the lifelong gift of music education."</p> <p>Below, you can check out two fan-filmed clips from the event.</p> <p>For more about Little Kids Rock, visit <a href="http://www.littlekidsrock.org/">littlekidsrock.org</a>.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/LsSsK5OZvWw" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/qyysYpiwJFk" 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="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/video-james-hetfield-performs-metallicas-enter-sandman-kids-little-kids-rock#comments James Hetfield Metallica News Mon, 11 Nov 2013 19:17:05 +0000 Guitar World Staff 19730 at http://www.guitarworld.com