Features http://www.guitarworld.com/taxonomy/term/5/all en 10 Essential Heavy Metal Documentaries You Need to Watch Now — Video http://www.guitarworld.com/10-essential-heavy-metal-documentaries-you-need-watch-now-video/25372 <!--paging_filter--><p>The recent success of the N.W.A. biopic, <em>Straight Outta Compton,</em> demonstrated that extreme music can be of extreme interest to audiences. </p> <p>And so, we've opted to take a look at some great metal movies. </p> <p>Of course, there aren’t too many heavy metal biopics out there (other than maybe this one), so instead, here are 10 artist-specific documentaries that are definitely worth your precious time. Grab the popcorn.<br /> <br /><br /> <strong>10. Ozzy Osbourne: <em>God Bless Ozzy Osbourne</em></strong></p> <p>Despite being co-produced by Ozzy’s son Jack, this film takes a surprisingly candid look at the Prince of Darkness. The stories recounted by former band mates like Bill Ward and former tour mates like Motley Crue’s Tommy Lee are, as would be expected, hilarious and often debased. But it’s the interactions between Ozzy and his family, and the examination of his decades-long battle with drugs and alcohol, that are the heart of the movie.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/16_7P6TmeJ8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>9. Anvil: <em>Anvil! The Story of Anvil</em></strong></p> <p>Even people who aren’t into metal fell hard for this hard-luck story about an early Eighties Canadian act who became almost-famous, only to spend the next two decades slogging it out in virtual obscurity. Fittingly, since the release of the film Anvil have enjoyed more success than they ever did in their prime, releasing new albums, touring extensively and playing shows with the likes of AC/DC.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/FF4H8lB2Y_o" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>8. Motley Crue: <em>Uncensored</em></strong></p> <p>A promo-video-plus-behind-the-scenes footage collection, ‘Uncensored’ stands as a gloriously decadent documentation of glam metal in its mid-Eighties heyday. Wanna know what the Sunset Strip scene was like? Look no further than one Vince Neil being interviewed half-naked…as he’s surrounded by well-endowed women…and having a drink…in a pool…that’s in the back of a limousine.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/2r9J3jbKFUI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>7. Lemmy Kilmister: <em>Lemmy: 49% Motherf**ker, 51% Son of a Bitch</em></strong></p> <p>Lemmy, as they say, is God. This documentary shows you why.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/mOmcIf8Io9M" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>6. Metallica: <em>Some Kind of Monster</em></strong></p> <p>Metallica has been maligned and even ridiculed over the years for their employment of a “performance-enhancing coach” to work out issues between band mates—a situation that forms the crux of much of this movie. But the fact remains that ‘Some Kind of Monster’ is a brave pulling back of the curtain by the world’s biggest metal band, who expose all their messy insides for the whole world to see.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/eE4wmmnahnk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>5. Alice Cooper: <em>Super Duper Alice Cooper</em></strong></p> <p>Alice Cooper might not be metal, per se, but his musical offspring—everyone from Marilyn Manson to Rammstein to Rob Zombie—certainly are. What’s more, this excellent 2014 documentary, which features amazing archival footage of the ‘Coop in action, demonstrates that, in his prime, he just may have been the scariest of them all. Just ask the poor chicken who had the misfortune of encountering him onstage…</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/wQEh9ZaiJqs" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>4. Cannibal Corpse: <em>Centuries of Torment: The First 20 Years</em></strong></p> <p>This three-hour-plus documentary of the seminal death metal act’s first two decades is shockingly inclusive, with home-video footage of seemingly every step in their long, trailblazing and often disgusting career. As Ice-T aptly puts it in one of the many talking-head appearances, “Yo! This is some crazy shit right here!”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/-5q4wi_hYx8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>3. Pantera: <em>3: Watch It Go</em></strong></p> <p>The Cowboys from Hell certainly raised plenty of it onstage. But as their home videos attest—and none more so than ’3′—the insanity continued basically everywhere else. Among other antics, witness the band members, along with crew and friends, destroy dressing rooms and cars, play of juvenile pranks on one another, and do plenty of drinking and puking—and in one case, even shitting in the woods.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/AwvcNl5oyHc" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>2. Iron Maiden: <em>Flight 666</em></strong></p> <p>Iron Maiden’s 1985 ‘Live After Death’ concert film stands among the greatest live metal videos of all time. So how to top it? By producing another onstage doc that not only includes incredible live performances, but also footage of your singer flying the entire band from massive show to massive show on their own private plane—cheekily dubbed Ed Force One.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/6yY4vrpb3rM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>1. Celtic Frost: <em>A Dying God</em></strong></p> <p>This 2008 doc, directed by Swiss journalist Adrian Winkler, follows Celtic Frost on their 2006-2007 reunion tour in support of their final studio album, ‘Monotheist.’ In addition to capturing the rejuvenated band live onstage across Europe, Japan and the U.S., there’s also plenty of interview segments with Thomas Gabriel Fischer and Martin Ain about the history and then-present state of the influential group. </p> <p>But the real bonus is awesome archival footage of Hellhammer and Celtic Frost in their early days, including an entertaining interview/live performance segment from Swiss television in 1985.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/6HN8kGB4urg" 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="/ozzy-osbourne">Ozzy Osbourne</a> </div> <div class="field-item even"> <a href="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/10-essential-heavy-metal-documentaries-you-need-watch-now-video/25372#comments Anvil Metallica Ozzy Osbourne Guitar World Lists Videos News Features Fri, 28 Aug 2015 14:09:23 +0000 Richard Bienstock 25372 at http://www.guitarworld.com Labor Day Sale: Save 25 Percent at the Guitar World Online Store http://www.guitarworld.com/labor-day-sale-save-25-percent-guitar-world-online-store/25371 <!--paging_filter--><p>In celebration of Labor Day 2015, the <a href="http://guitarworld.myshopify.com/collections/dvds/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=LaborDay2015">Guitar World Online Store</a> invites you to save 25 percent on anything and everything!</p> <p>Just be sure to use code <strong>LABORDAY2015</strong> at checkout.</p> <p>Once again, that's <strong>LABORDAY2015</strong>!</p> <p>The sale includes every item at the store, including DVDs, books, T-shirts and more.</p> <p>NOTE: This sale ends 11:59 p.m. September 8, 2015.</p> <p><strong><a href="http://guitarworld.myshopify.com/collections/dvds/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=LaborDay2015">Head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/labor-day-sale-save-25-percent-guitar-world-online-store/25371#comments Guitar World Online Store labor day sale News Features Fri, 28 Aug 2015 12:40:40 +0000 Guitar World Staff 25371 at http://www.guitarworld.com Lamb of God's Mark Morton, Willie Adler and Randy Blythe Talk Turmoil and Their Vibrant New Album, 'VII: Sturm Und Drang' http://www.guitarworld.com/storm-survivors-lamb-god-talks-working-through-turmoil-recording-new-album/25184 <!--paging_filter--><p>Nearly 15 minutes into a phone call with Lamb of God guitarist Mark Morton about events that took place between the release of 2012’s <em>Resolution</em> and the band’s new album <em>VII: Sturm Und Drang</em>, the normally ultra-mellow musician adopts a slightly defensive tone. </p> <p>“This thing really broadsided us,” Morton says from his daughter’s bedroom, the only place in his house where he can get any privacy. </p> <p>“When Randy was arrested, we weren’t aware there had even been any sort of incident, and suddenly he’s being hauled off to jail. It’s hard to describe what we went through because, ultimately, the reason that it happened is so tragic.”</p> <p>Morton is talking about the subject he’s least interested in addressing, but knew would come up—the 2012 arrest of vocalist Randy Blythe in Prague for allegedly committing manslaughter. </p> <p>In summary, at a concert in 2010, 19-year-old Daniel Nosek clambered onstage and Blythe allegedly shoved him back into the crowd. Nosek landed on his head, suffering brain injuries, which he died from two weeks later. When Lamb of God returned to Prague in 2012, a team of armed policemen surrounded them at the airport and arrested Blythe, who spent five weeks in jail before he was released on bail. </p> <p>Blythe returned to Prague in February 2013 to stand trial, even though he faced up to 10 years behind bars. After six days of testimony he was acquitted by the court, which determined he was morally, but not criminally, responsible for Nosek’s death.</p> <p>“The whole time he was in there I wasn’t worried about what might happen to the band, I was worried about my friend Randy,” Morton says. “It was a super-heavy and depressing thing to go through, and those feelings don’t just go away because it’s over now.” </p> <p>When asked if he was elated when he learned Blythe was exonerated, Morton pauses, then responds, “How can you be stoked about a situation in which someone died? I never thought Randy did anything wrong, but knowing that justice was served after this long period of time went along with the knowledge that this family lost their son. How does someone cope with that? There’s nothing about this situation to celebrate.”</p> <p>A few long moments of silence later, it becomes clear that the phone connection has been severed. It seems Morton has hung up. <em>Guitar World</em> leaves messages on his manager’s phone and publicist’s cell voicemail. Five excruciating minutes pass. Then six. With interviews already conducted with co-guitarist Willie Adler and Blythe, it would be a shame if Morton is through talking.</p> <p>Then the phone rings. “Hey, man. I know it must totally seem like I hung up on you, but I swear I didn’t,” he explains. “I’m out here in Virginia and my cell service is terrible. But I’m back. Ask me anything.”</p> <p>It’s a huge relief to know Morton didn’t get pissed off and bail on the interview. Even without touching on Blythe’s incarceration, which had a major impact on the songwriting process, sound and spirit of the new album, there’s still plenty to talk about. And Morton played a major role in the creation of <em>VII: Sturm Und Drang</em>, which features some of Lamb of God’s most trenchant thrash and tech-metal riffs, satisfying accompanying lines, creative production techniques and insightful lyrics. </p> <p>There’s a new resilience, enthusiasm and creativity throughout the songwriting and playing, as if the realization that they could have lost their vocalist for 10 years gave Lamb of God fresh life.<br /> Mentioning Morton’s skill as a songwriter and soloist doesn’t downplay the considerable talents or contributions of rhythm guitarist Willie Adler, who was actually the first one in the band to start writing for the follow-up to <em>Resolution</em>. </p> <p>“When Randy was in jail, for some reason I just wanted to dive into writing,” Adler says. “I had to make that my priority. I became obsessive. Not that my thoughts weren’t with Randy or the family that was going through all of this, but my therapy was to continue pushing myself and continue writing. And that’s kind of all I could think about. It was hard not to keep in the back of my mind that the music I was writing might not even be for Lamb of God. That thought was ever-present and I don’t know if that filled me with the drive to keep going or if my drive was to distract myself from that thought.”</p> <p>With few exceptions, the songs on <em>Sturm Und Drang</em> are more adventurous and the performances more cohesive than most of Lamb of God’s past output. “Embers” starts with a clattering industrial beat over a slow, moody down-picked melody before igniting into a series of chugging riffs and rapid-fire licks. “Engage the Fear Machine” couples queasy guitars with a martial beat, and leaves space between chords for swinging southern rock guitar lines and haunting arpeggios. And “Delusion Pandemic” is built around swift, complex rhythms that shift throughout the song, intermingled with guitar earworms that overshadow the abundant twists and turns. </p> <p>“If anything, the whole situation with Randy in jail really put this whole band situation in a very different light and context,” Morton says. “Now, three years later, we’ve come out far stronger and bonded closer as a band because of what we all went through, as horrible as it was.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/qoM6qDXw9Dw" frameborder="0" allowfullscreen></iframe></p> <hr /> One could surmise that <em>VII: Sturm Und Drang</em> sounds so vibrant and vital because Adler, Morton, bassist John Campbell and drummer Chris Adler were stoked to be making music together again. Even if that’s the case, Blythe sounds furious for an entirely different reason. <p>The last place he wanted to be was in the studio.</p> <p>“Seriously, I was like, ‘Fuck, I don’t wanna go back in there,’ ” he says, sitting on the outdoor porch of his home in Richmond, Virginia, on a 90-degree day, bare-chested and dressed in a pair of $14 black Target shorts. </p> <p>“The sessions went well and all and I’m very happy with the songs, but I’m bummed out every time we have to make another record because I hate recording. Some guys are studio dudes. Mark loves the studio. He’s not such a big fan of touring. I like touring. I do not enjoy the recording process. It drives me fucking nuts. But it’s a necessary evil when you’re in a band.”</p> <p><em>Sturm Und Drang</em>, which translates in English to Storm and Stress, was an 18th Century German romantic literary movement that valued individuality, awareness of nature and spontaneous emotional expression. Morton, who co-wrote some of the lyrics, suggested the title to Blythe, who loved it. </p> <p>“Mark and I were texting one day and talking about this theme that had developed in the record about how people react when placed in extreme situations,” Blythe says. “So we were like, ‘We need a title that reflects this.’ We were trying to think of a single English word or phrase that encapsulates it and we were beating our heads against the wall. Then Mark got back to me and said, “Do you know what Sturm Und Drang is?” I said, ‘Yes, of course I do.’ I know it because I read a lot. And I knew a bit about [the scene’s founder] Goethe and the development of literature. But I also knew it from the general context it has taken on, and I said, ‘Yup, that’s perfect.’ </p> <p>We had to argue for it a bit because everyone else was not as convinced that it was so perfect. But it really encapsulates what the record is about and where the band has been over the past few years.”</p> <p>As the group’s main songwriters, Morton and Adler naturally had the most impact on the eclectic sound of <em>VII: Sturm Und Drang</em>. Having gotten a jumpstart on his co-guitarist, Adler spent more time writing than usual and penned some of his favorite riffs during the time between Blythe’s incarceration and the continuation of the <em>Resolution</em> tour. </p> <p>Morton, meanwhile was less ambitious in advance than usual. Instead of writing complete songs and demoing them with lead guitar, bass and a guide vocal, he cobbled together a batch of riffs and segues, and in late 2013 brought them to practice to figure out where they would work best.</p> <p>“We presented our ideas to each other, and almost immediately all these lightbulbs started to go off,” Adler says. “Any time Mark had a riff, it seemed like I had a part that fit together with it and that hadn’t happened in a long time.” </p> <p>The songs on <em>Sturm Und Drang</em> benefited from the guitarists’ collaborative energy. Simple and complex passages clicked like Lego blocks, and the counter-melodies sounded equally spot-on. “After all this time in Lamb of God, we know how each other plays,” Adler says. “So when we’re working on our own, it’s almost like we’re writing for the other guy’s part even when that wasn’t the original intention.”</p> <p>In the spring of 2014, Morton and Adler presented their song ideas to bassist John Campbell and drummer Chris Adler, and the four musicians fine-tuned and sometimes revamped the material as a full band. That’s when politics entered the equation. The band members voted on every idea and majority ruled. It’s the way Lamb of God have always worked, only in the past there were fewer parts to vote on since more of the songs came in complete. Having such a democratic writing process has sometimes caused tempers to flare, so to prevent blowouts each member of Lamb of God has the power to veto anything egregiously objectionable. </p> <p>“Say four guys want a particular song to be called ‘Candyland’ and one guy’s totally against it (I’m using that as an example because I’m looking at that game right now),” Morton explains. “I could say, ‘You know what? I don’t care if it’s four to one. I cannot live with that title. I hate it, I’m gonna hate it forever and I’m gonna be so pissed off about this that it’ll always bother me.’ Then, you can use your veto. But you really only get to throw that card when it really counts. I’m not sure I’ve ever even thrown mine.”</p> <p>The first couple songs the band wrote for <em>VII: Sturm Und Drang</em> didn’t make the grade, so they were dissected and the best parts were used in other tunes. Song number three was the charm. With the propulsive “Still Echoes,” which features a blood pressure–raising, off-time opening riff before leveling off a tad, Lamb of God hit full stride and never looked back.</p> <p>“I had been farming a little bit on my laptop at home between tours and I came up with this high-energy part that demanded a reaction,” Morton says. “Everyone loved it, and when we could play ‘Still Echoes’ in rehearsal, or at least a version of it, that, to me, was a big moment. It was the first time in the session that we all went, ‘Okay, we’re on to something. That song’s bad-ass.’ ”</p> <p>“When Mark first played that opening riff, it reminded me of old Burn the Priest [the band’s former name under which they released one self-titled album in 1999], and when Chris put the blast beats over it, a lot of memories of those days flooded back,” Adler says. </p> <p>Producer Josh Wilbur, who produced <em>Resolution</em> and has also worked with All That Remains, Hatebreed and others, flew to Lamb of God’s practice space in August 2014 and spent a month working with the band to narrow down the best ideas and help tie together loose ends. At that point, Lamb of God had 15 completed songs and 24 unfinished ideas, many of which had been sewn together in various configurations. </p> <p>“Even the complete songs were absolutely torn apart,” Adler says. “In some cases, we stole riffs from finished songs and added them to unfinished songs, and this was way before any of them had titles.”<br /> Lamb of God continued tweaking and revising, and Blythe frantically wrote lyrics once he heard the material. Then in January 2015 Lamb of God flew to Suburban Soul Studios in Torrance, California, and tracked for two weeks with Wilbur before heading to Australia for a short tour. Instead of recording the drums first, as they had done in the past, Morton, Adler and Campbell played to basic MIDI beats, which gave them more flexibility when it came to the final recording. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/OCmBWOF1A0g" frameborder="0" allowfullscreen></iframe></p> <hr /> “That was Josh’s idea,” Morton says. “He discovered that when you track drums first there is very little room for the song structures to change, and he wanted us to have the freedom to be able to change a vocal part or extend or shorten a rhythm. Once the drums are done, you’re committed. It was a little less fun to do it that way, but the strategy seems pretty smart to me.” <p>Wilbur had other, more subtle ideas that added to the diversity of <em>VII: Sturm Und Drang</em>. These included adding talk box guitar to the ripping “Erase This.” </p> <p>“One day I was driving our rental car to the store to get a drink, and Bon Jovi’s ‘Livin’ on a Prayer’ came on the radio,” recalls Morton. “I got back to the studio, handed Josh a drink and asked, ‘Hey, who produced “Livin’ on a Prayer”? And Josh said, ‘I don’t know, but it’s funny you brought that up because I was just thinking it would be really cool if you put talk box guitar in the middle of the song. And now that you brought up Bon Jovi, we have to do it. I think it’s a sign!’ I was like, ‘Okay, fuck it, but if we’re gonna do the talk box we better make sure this is where we want it because we’re never going to do it again.’ ” </p> <p>“I had never used a talk box before, so our friend from Dunlop came in with a couple for us to try,” adds Adler. “Josh was stoked on the idea, but in my mind I’m just thinking about Peter Frampton and Joe Walsh, and I was like, ‘Uhh, I don’t know about this.’ But it came out awesome.”</p> <p>In addition to experimenting with new guitar techniques, Lamb of God took liberties with vocals. Instead of screaming his way through the entire album, Blythe only roared and howled for about 80 percent of the songs. Elsewhere, he talked, ranted, half-sang and even crooned; the song “Overlord” is probably the closest Lamb of God will likely ever get to Metallica’s “One.”</p> <p>“I started writing ‘Overlord’ two years ago, and I would play little bits here and there on the road for Mark,” Adler says. “But I never envisioned it as a Lamb tune until it came back up in rehearsal and I brought it in. At that point it was still in a really skeletal phase. But once everybody gave their input it started to form into this really rad song.”</p> <p>“It’s not the first time Randy’s sung clean,” Morton clarifies. “There was a deep cut on <em>Resolution</em>, ‘Insurrection,’ where he did the fourth verse clean. And it served a really great purpose because we kind of set the stage with that song. So it wasn’t a completely foreign idea when we went to do ‘Overlord.’ ”</p> <p>For Blythe, adding melodic vocals to his plate was neither daunting nor enthralling, it was just…necessary. “Honestly, I didn’t think much about it,” Blythe says. “It all happened very organically. Willie sent me some riffs. I started singing in my truck and I went with my instincts. It happened naturally. I did a bunch of takes for it in the studio, but it was actually easier for me than screaming. And it’s not auto-tuned. That’s my real voice.”</p> <p>Contrary to what some media outlets have reported, <em>VII: Sturm Und Drang</em> isn’t a concept record about life behind bars. Nor is it a treatise about being back on the outside. And despite the intensity of Blythe’s vocals, writing and recording wasn’t particularly therapeutic for him and didn’t provide any sort of closure to his ordeal in Prague.</p> <p>“I don’t need to write a prison record for closure, so this is not a prison record,” Blythe insists. “People constantly want to call it that and they want to put me in that state of post-traumatic stress disorder. They’ll say, ‘Do you have nightmares? Are you depressed?’ I’m not a fucking fragile egg. Sometimes shit sucks and you man up and deal with it. Maybe people are too fucking fragile now or something because this term ‘PTSD’ always pops up. That one should be reserved for combat vets. Those motherfuckers have to face life and death situations all the fucking time. I don’t get PTSD when I have an argument with my wife or when someone cuts me off in traffic. I’m not that soft.”</p> <p>Blythe started writing two songs, “Still Echoes” and “512,” in his journal while he was in prison, and each reflects a different aspect of his experience there. The former is a tribute to the Misfits’ “London Dungeon,” which was about the time the band spent two nights in a jail in Brixton, England, after frontman Glenn Danzig and guitarist Bobby Steele got into a fight with skinheads while waiting to see the Jam. “I kept singing that song to myself for inspiration while I was in jail, along with Bad Brains’ ‘Attitude’ and Black Flag’s ‘Rise Above,’ ” Blythe says. “Those were my jams.”</p> <p>“512” is a more serious track about the psychological change prisoners go through when they’re locked up. “If you want to last in there, you can’t think and behave like you do when you go to the grocery store because it’s not a normal place,” Blythe says. “So I was thinking about that and reading through the journals that I kept. I was like, Man, I was having some crazy thought processes. And then I thought about other people put in extreme situations and how they behave.”</p> <p>The theme of “people in extreme situations” resurfaces throughout <em>VII: Sturm Und Drang</em>. The closing cut “Torches,” which features guest vocals by the Dillinger Escape Plan’s Greg Puciato, is about self-immolation. It’s one of two numbers that feature a cameo; the other is “Embers,” in which Deftones’ Chino Moreno lends his unmistakable pained wail to the cinematic outro.</p> <p>But back to protesters setting themselves ablaze…</p> <p>“Everyone has seen the image on the first Rage Against the Machine album cover with the monk burning,” Blythe says. “At that point in time, that was a valid response to an extreme situation. There’s a guy named Jan Pallach in the Czech Republic, who I learned about while I was waiting for my trial. He immolated in protest over the Warsaw Pact invasion of 1968." </p> <p>"The Czechs had been occupied for so long and the people were getting beaten down and apathetic after having been occupied by the Nazis. Then they had a bit of freedom and then they became Communists. Finally they said, ‘No, we’re not going to become communists anymore.’ So Russia and the rest of the Warsaw Pact said, ‘Okay, fuck you,’ and invaded and the Czechs were beaten down.” </p> <p>Much happier discussing the content of his lyrics and what he learned since he returned home than he is talking about his boring experiences in the studio, Blythe eagerly continues. “In protest, this guy Jan Pallach immolated right there in Wenceslas Square, and he became a symbol of free talk and dissidence during the Communist era. That was a valid choice he made. He wasn’t mentally ill. And there are Tibetans who do it to this day over the treatment of them by China." </p> <p>"Sadly enough, because we live in this gore-saturated internet mass-media world, people are barely noticing people setting themselves on fire in protest of something. Now that’s an extreme situation. I did a lot of research on immolations and the whole time I was thinking, Fuck man, how upset do you have to be about something to set yourself on fire?</p> <p>Other songs are less historical. “Delusion Pandemic” confronts the “generation of mockingbirds” that has become so reliant on technology it has shut itself off from the real world. “This is the rise of our demise!” roars Blythe, between elongated guitar chugs and off-kilter riffs. </p> <p>“What’s terrifying to me is that kids being raised in this environment don’t know anything else,” he says. “We were in Australia on the Soundwave tour recently, and I had a talk with this band whose members were all in their mid-to-late twenties. They weren’t 12. We were talking about the old days of touring, and they were astonished that anyone could tour in a van without a cell phone or a GPS.</p> <p>“One of them said, ‘Well, how did you know where you were going?’ ‘Umm, I got a fucking map.’ And they went, ‘Well, how did you get directions to the club?’ And I said, ‘I called them and asked them for an address and they gave me directions.’ There was no Mapquest at that point. The fact that these people can’t even conceive of that scares me. Soon, they’re going to make a machine that wipes your butt for you, and what’s going to happen when the system fails? These kids are all going to be walking around with shitty drawers.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/dulxbKkj9Wg" frameborder="0" allowfullscreen></iframe></p> <p><em>Photos: Travis Shinn</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="/lamb-god">Lamb of God</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/storm-survivors-lamb-god-talks-working-through-turmoil-recording-new-album/25184#comments Lamb of God Mark Morton October 2015 Randy Blythe Willie Adler Interviews News Features Magazine Thu, 27 Aug 2015 21:17:25 +0000 Jon Wiederhorn 25184 at http://www.guitarworld.com August 27, 1990: The Day Stevie Ray Vaughan Died http://www.guitarworld.com/august-1990-how-stevie-ray-vaughan-died <!--paging_filter--><p>Stevie Ray Vaughan was 35 when he died in a helicopter crash outside East Troy, Wisconsin, August 27, 1990. </p> <p>The previous day, Vaughan had relayed to his bandmates a disturbing dream he had where he witnessed his own funeral. That evening, the guitarist, with his band Double Trouble, joined as special guests for a concert at the Alpine Valley Musical Theater, along with Eric Clapton, Buddy Guy, Robert Cray and Vaughan’s big brother, Jimmie. </p> <p>After the show, four helicopters, owned and operated by Omniflight Helicopters Inc., were reserved to fly the artists and their crews back to Chicago. One helicopter was reserved for Stevie, Jimmie and Jimmie's wife Connie. Members of Clapton’s crew, however, had already taken seats on the helicopter when the Vaughans arrived to board. Eager to return to Chicago, Stevie asked Jimmie and Connie for the last seat.</p> <p>With dense fog settling in, the helicopters began departing at 1 a.m. Jeff Brown, the pilot of Vaughan’s helicopter, banked sharply to the left about a half-mile after take off. The helicopter collided into a ski slope; everyone on board was killed instantly. </p> <p>Reports of the accident didn't begin surfacing until the morning when the helicopter failed to reach its destination of Meigs Field in Chicago. Double Trouble members Tommy Shannon and Chris Layton began thinking the worst when Vaughan’s hotel room in Chicago was found empty. Shortly after 7 a.m. Jimmie was called to identify his brother’s body.</p> <p>That afternoon, radio and television broadcasts confirmed Vaughan had died aboard the ill-fated helicopter. Fans sought refuge at Zilker Park in Austin, Texas, to mourn the city’s favorite son. Many expressed the tragic senselessness of Vaughan’s death in light of his recovery from a public battle with drugs and alcohol a few years prior.</p> <p>Stevie Ray Vaughan was buried at Laurel Land Memorial Park in Dallas, Texas. More than 1,500 people, including Jimmie and fellow musicians Stevie Wonder, Bonnie Raitt, Dr. John, Buddy Guy and Jackson Browne, among others, attended the funeral. A Stevie Ray Vaughan Memorial Statue was dedicated at Auditorium Shores on Lady Bird Lake, where Vaughan played a number of shows throughout his career.</p> <p>The cause of the helicopter accident was attributed to pilot negligence. Jeff Brown, a veteran airplane pilot, had little experience operating a helicopter in inclement weather. In 1995 Jimmie and his mother Martha Vaughan sued Omniflight for negligence. The family was awarded an undisclosed sum.</p> <p>Below, you'll find some audio from Vaughan's final show. Amazingly, the person who posted the performance actually spelled "Vaughan" and "Jimmie" correctly. That never happens.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/QMFb6T4rMeY" 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="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/august-1990-how-stevie-ray-vaughan-died#comments SRV Stevie Ray Vaughan Videos Features Thu, 27 Aug 2015 15:18:45 +0000 Tony Grassi 11195 at http://www.guitarworld.com Alex Lifeson Dissects 11 Key Rush Songs, from "Anthem" to "Test For Echo" http://www.guitarworld.com/interview-alex-lifeson-dissects-11-key-rush-songs-anthem-test-echo <!--paging_filter--><p><em>Here's one from the </em>Guitar World<em> archive.</em></p> <p>In 2008, <em>Guitar World</em> asked Rush guitarist Alex Lifeson to dissect several key songs from the band's past. </p> <p>Starting with "Fly By Night" (1975) and ending with "Test for Echo" (1996), he discussed his guitars, amps and effects.</p> <p>Here's how it went.</p> <p><strong>“ANTHEM”</strong><br /> <em>Fly by Night</em> (1975)</p> <p>“We were trying to be quite individual with <em>Fly by Night</em>, which was the first record that Neil, Geddy and I did together. That song was the signature for that album. Coincidentally, the name of our record company, which is Anthem Records in Canada, came from this song. </p> <p>"Neil [Peart, drummer] was in an Ayn Rand [author of "The Fountainhead"] period, so he wrote the song about being very individual. We thought we were doing something that was different from everybody else.</p> <p>“I was using a Gibson ES-335 then, and I had a Fender Twin and a Marshall 50-watt with a single 4x12 cabinet. An Echoplex was my only effect.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/N5gg9ObM8uU" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>“2112”</strong><br /> <em>2112</em> (1976)</p> <p>“We started writing the song while on the road. We wrote on the road quite often in those days. ‘The Fountain of Lamneth,’ on <em>Caress of Steel</em>, was really our first full concept song, and 2112 was an extension of it. That was a tough period for Rush because <em>Caress of Steel</em> didn’t do that well commercially, but we were really happy with it and wanted to develop that style. </p> <p>"Because there was so much negative feeling from the record company and our management was worried, we came back full force with <em>2112</em>. There was a lot of passion and anger on that record. It was about one person standing up against everybody else.</p> <p>“I used the ES-335 again and a Strat, which I borrowed for the session; I couldn’t afford one at the time. I used a Marshall 50-watt and the Fender Twin as well. I may have had a Hiwatt in the studio at that time, too, but I think it came a little later. My effects were a Maestro phase shifter and a good old Echoplex. There were a limited number of effects available back then. The Echoplex and wah-wah were staples in those days.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/YYSW73GWRUw" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“LA VILLA STRANGIATO”</strong><br /> <em>Hemispheres</em> (1978)</p> <p>“We wrote this one on the road. We used our soundchecks to run through songs that we were going to record; then, when we would have a few days off we’d start recording. </p> <p>"This song was recorded in one take, with all of us in the same room. We had baffles up around the guitar, bass and drums, and we would look at each other for the cues. My solo in the middle section was overdubbed after we recorded the basic tracks. </p> <p>"I played a solo while we did the first take and rerecorded it later. If you listen very carefully, you can hear the other solo ghosted in the background. That was a fun exercise in developing a lot of different sections in an instrumental. It gave everyone the chance to stretch out.</p> <p>“By that time I had my ES-355, and my acoustics were a Gibson Dove, J-55 and a B-45 12-string. I had my Marshall in the studio. I had the Twin and two Hiwatts, which I was also using live, but the Marshall was my real workhorse. The Boss Chorus unit had just come out at that time, but I think I used a Roland JC-120 for the chorus sound here. <em>Hemispheres</em> was the first of many ‘chorus’ albums.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Zc6CMWpxS24" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“THE SPIRIT OF RADIO”</strong><br /> <em>Permanent Waves</em> (1979)</p> <p>“There was a radio station here in Toronto—it’s an alternative station now—and ‘the spirit of radio’ was the station’s catch phrase. The song was about the freedom of music and how commercialized radio was becoming. FM radio in the late Sixties and early Seventies was a bastion of free music, where you got to hear a lot of things that you wouldn’t have heard otherwise. </p> <p>"It was much like MTV was in the beginning, before it became another big network that feeds a large but very specific segment of the viewing audience. Radio has become a lot more commercialized since then. Now, the station that we wrote that song about won’t play our music.</p> <p>“By the time we cut this, I was using mainly a Strat that I had modified by putting humbuckers in the bridge position. I also used the 355, which I used in the studio for the next couple of records. My amps were Hiwatts, the Marshall and the Twin. I also had a Sixties Bassman head and cabinet. The flanger on that song was an Electro-Harmonix Electric Mistress, which I still have. I used the Boss Chorus Ensemble, and I had graduated to the Roland Space Echo, which replaced my Echoplex.”</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/5Tq-UsaRchI" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“LIMELIGHT”</strong><br /> <em>Moving Pictures</em> (1980)</p> <p>“‘Limelight’ is about being under the microscopic scrutiny of the public, and the need for privacy—trying to separate the two and not always being successful at it. Because we’ve never been a high-profile band, we’ve managed to retain a lot of our privacy. But we’ve had to work at it. Neil’s very militant about his privacy.</p> <p>“My guitar was a different modified Strat with a heavier and denser body. We set up a couple of amps outside of the studio as well as inside, so we got a nice long repeat from the sound echoing in the mountains. </p> <p>"The approach on that solo was to try to make it as fluid as possible. There was a lot of bending with lots of long delay repeats and reverb, so notes falling off would overlap with notes coming up. I spent a fair amount of time on that to get the character, but once we locked in on the sound, it came easily.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ZiRuj2_czzw" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“NEW WORLD MAN”</strong><br /> <em>Signals</em> (1982)</p> <p>“Most of <em>Signals</em> was completed, but we wanted to add one more song. Neil had been fooling around with the lyrics, so we wrote and recorded ‘New World Man’ in the studio within one day. It has a very direct feel. Doing that in one day was a lot of fun. The pressure was on but off at the same time.</p> <p>“It was almost compulsory to do solos at that time, but I didn’t want to feel that every song had to have that kind of structure. I wanted to get away from that, and to this day I feel that way. I enjoy playing solos and I feel that my soloing is quite unique to my style, but I’m bored with that structure.</p> <p>“I used a Tele for the whole song. I played it through the Hiwatts with a little bit of reverb and chorus.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/sQRShD0xuAk" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“THE BIG MONEY”</strong><br /> <em>Power Windows</em> (1985)</p> <p>“That was a tough one that took a long time to complete. It was recorded in Montserrat. The guitar was tuned up a whole step with the E string at Fs, and I played a lot of open chords. I did a lot of drop-ins where I hit a chord and let it ring, then dropped in the next chord and let it ring and so on. When we started recording the song, it sounded too ordinary, so we tried dropping in those chords during the verses as an experiment.</p> <p>“I remember doing the solo in this studio in England, SARM East, which is in the East End of London. We set aside a week for solos, last-minute vocals and mixing. The control room was tiny; there was barely enough room for me to turn my body around when I was playing, but I got a really great sound with the repeats and lots of reverb. I loved to be soaked in that kind of effect at the time.</p> <p>“I used a white modified Fender Strat that I called the ‘Hentor Sportscaster.’ The name came from Peter Henderson, who co-produced Grace Under Pressure [Rush’s 1984 album]. The amp setup was a couple of Dean Markley 2x12 combos, two Marshall 2x12 combos, two Marshall 100-watt JCM800 heads and two 4x12 cabinets. I also ran a direct signal. By that time I had a pretty comprehensive rack with two TC Electronic 2290s and a 1210 that I used for phasing, and I had a Roland DEP-5.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/WQgu0MpnKq8" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“TIME STAND STILL”</strong><br /> <em>Hold Your Fire</em> (1987)</p> <p>“We were in a bit of a reflective period at that time. Everything seemed to be moving by very quickly. Aimee Mann [then bassist and singer with pop group ’Til Tuesday] came up and did vocals in the chorus of that song. It was a lot of fun to work with her. She was very nervous. </p> <p>"I don’t think she had done that sort of thing very often, especially with a band like us. We weren’t necessarily playing the kind of music that she was into or listening to, but she liked the band. We made her feel relaxed very quickly, turning the whole session into a fun thing.</p> <p>“That was the year that I got the Signature guitars with single-coil active pickups. It’s very apparent on that song. The guitar has a clear, metallic sound to it that really sings. I got into that bright tone, and my sound was still very chorusy. I had gotten rid of all my Hiwatts and the Dean Markleys and was using primarily Marshalls again. I used 2x12 combos as well as the JCM800.”</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/KGsQ5n9Qu0A" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“SHOW DON’T TELL”</strong><br /> <em>Presto</em> (1989)</p> <p>“By then we were working with Rupert Hine as our producer. Oddly enough, I had been working on the basic ideas of that song at home and brought it to the studio when we started writing the record. We developed it from there. It was much heavier in the early version; the tempo had come up a little bit. </p> <p>"Rupert’s approach to the guitar sound was a little lighter than I wanted. That was partly my fault, because I was still using the Signature a lot, which didn’t lend itself to a very thick sound. That amp lineup stayed the same as before, and effects would come and go. I was fiddling around with whatever was new at the time, as I’ve always done.</p> <p>“We’d taken a seven-month break, which at that time had been our longest hiatus. We needed to clear the cobwebs and get away. We came into Presto feeling a lot more enthusiastic about working. The change to Atlantic Records was good because we felt like we needed a change all around. We were going into the Nineties, and it made everything fresher.”</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/tiIPe9ow-BI" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“STICK IT OUT”</strong><br /> <em>Counterparts</em> (1993)</p> <p>“I used a Peavey 5150 and a 100-watt Marshall JCM800. I had a [Roland] JC-120 as well that I used for some clean things, but primarily everything was done on the Peavey and the Marshall. The guitar was a ’72 Les Paul Standard that I had used on certain songs in the past. I used a dropped-D tuning and ran the guitar straight into the amp with no effects.</p> <p>“We had gone back to working with Peter Collins, who produced Hold Your Fire. We used a much more direct approach to recording, moving back toward the essence of what Rush was about as a three-piece. In retrospect, <em>Counterparts</em> didn’t work as well as we’d hoped, but it led us in the right direction. We’re much more satisfied with Test for Echo, which we view as a progression from Presto.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/GgzNbPVb3zs" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <strong>“TEST FOR ECHO”</strong><br /> <em>Test for Echo</em> (1996)</p> <p>“There’s a lot of different stuff on there. I tuned the entire guitar down a whole step to a D standard tuning. I got a new Les Paul Custom with beautiful sustain, a heavy tone and a compact, but not too small, sound. In the choruses I used a Godin Acousti-Caster, which has a really interesting sound that is at the same time almost acoustic but definitely electric. </p> <p>"I used primarily Marshalls—50-watt and 100-watt JCM800 heads and two 30th Anniversary models—with four cabinets: two vintage 4x12s and two 1950 cabinets with Celestion 25-watt speakers. I used a DigiTech 2101 to knit everything together. The important thing with that is to use it through a good speaker simulator, like the Palmer. The compensated outputs on the 2101 don’t quite do it for me, but through the Palmer it has nice body and width.</p> <p>“I feel like we arrived with this record. There’s a particular feel that I don’t think we had before—a nice groove and a lot of really good Rush songs. I feel like we were all really together on this album. Although we strive for that all the time, it’s not always achievable. The mood was so good in the studio, and we were so unified in direction.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/deUirMqTV6A" 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="/rush">Rush</a> </div> <div class="field-item even"> <a href="/geddy-lee">Geddy Lee</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/interview-alex-lifeson-dissects-11-key-rush-songs-anthem-test-echo#comments Alex Lifeson Geddy lee GW Archive Rush Interviews News Features Magazine Thu, 27 Aug 2015 14:15:02 +0000 Chris Gill 14609 at http://www.guitarworld.com New Book/CD: Step-by-Step Breakdown of Jeff Beck's Guitar Styles and Techniques http://www.guitarworld.com/new-bookcd-step-step-breakdown-jeff-becks-guitar-styles-and-techniques <!--paging_filter--><p><a href="http://guitarworld.myshopify.com/products/jeff-beck-a-step-by-step-breakdown-of-his-guitar-styles-and-techniques/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=JeffBeckStepbystep">Take a deep breath and jump into the guitar adventure that is Jeff Beck.</a> </p> <p><em>Jeff Beck: A Step-by-Step Breakdown of His Guitar Styles and Techniques</em> is an exclusive book/CD pack that features in-depth analysis of the songs and solos that highlight Beck's career, from the Yardbirds to his landmark jazz-fusion albums of the Seventies to the present day.</p> <p><strong>Ten songs are analyzed, including:</strong></p> <p>• Beck's Bolero<br /> • Big Block<br /> • Cause We've Ended as Lovers<br /> • A Day in the Life<br /> • El Becko<br /> • Freeway Jam<br /> • Goodbye Pork Pie Hat<br /> • Led Boots<br /> • Over Under Sideways Down<br /> • Rock My Plimsoul</p> <p><strong><a href="http://guitarworld.myshopify.com/products/jeff-beck-a-step-by-step-breakdown-of-his-guitar-styles-and-techniques/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=JeffBeckStepbystep">This book/CD package is available now at the Guitar World Online Store for $22.99.</a></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/oPBqk-0gWfQ" 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="/jeff-beck">Jeff Beck</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/new-bookcd-step-step-breakdown-jeff-becks-guitar-styles-and-techniques#comments Jeff Beck News Features Thu, 27 Aug 2015 14:07:11 +0000 Guitar World Staff 19170 at http://www.guitarworld.com The 10 Greatest Led Zeppelin Songs http://www.guitarworld.com/10-greatest-led-zeppelin-songs/25353 <!--paging_filter--><p><strong>From “Dazed and Confused” to “Achilles Last Stand” … from “Heartbreaker” to “Ten Years Gone” … <em>Guitar World</em> presents a critical analysis of the classic-rock group’s 10 best tracks.</strong></p> <p>With the recent-ish release of <em>Celebration Day</em>, the concert film immortalizing Led Zeppelin’s historic and most likely final reunion concert at London’s O2 Arena on December 10, 2007, guitarist-producer Jimmy Page reminded the world just how profoundly great and enduring his band’s music is. </p> <p>In homage to what is arguably hard rock’s most innovative group (and certainly its most influential), what follows is a tour of 10 of the most celebrated Led Zeppelin songs, with a focus on the guitar playing, songwriting and arranging genius of the quartet’s visionary founder. </p> <p>If you'd like to explore this topic further, be sure to check out <a href="http://www.guitarworld.com/50-greatest-led-zeppelin-songs">The 50 Greatest Led Zeppelin Songs,</a> which also was written by Jimmy Brown. Enjoy!<br /> <br /><br /> <strong>10. “Heartbreaker” (<em>Led Zeppelin II</em>)</strong></p> <p>With its menacing, octave-doubled blues-scale riffs and sexy string bends, this song epitomizes the “Led Zeppelin swagger.” Interestingly, the verse riff features Jones strumming root-fifth power chords on bass, treated with overdrive and tremolo, while Page alternately lays back on decidedly thinner-sounding thumb-fretted octaves—a signature technique heard in his and Jimi Hendrix’s rhythm guitar styles—and punches barre-chord accents together with the bass and drums. </p> <p>Page recorded the song with his 1959 Gibson Les Paul Standard, which he had recently bought from Joe Walsh, playing the guitar through his newly acquired 100-watt Marshall amplifier. The song also showcases some of Jimmy’s most aggressive, inspired soloing, including a free-form, tantrum-like a capella breakdown section. </p> <p>Page recorded the breakdown while the band was touring the U.S., using a studio different from the one where the rest of the song’s tracks were cut. He was unaware that his guitar on that particular section was tuned slightly sharp of the rest of the tracks, which are at concert pitch. The discrepancy goes unnoticed to most listeners and only becomes obvious if one goes to play along with the entire recording.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/BZ7CZ7nLWZ4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. "The Rain Song" (<em>Houses of the Holy</em>)</strong></p> <p>Performed in an unusual tuning (low to high, D G C G C D) with lots of ringing open strings and unison-doubled notes, this beautiful song features a sophisticated chord progression that was initially inspired by Beatle George Harrison, who challenged Page to write a ballad. </p> <p>After playfully evoking the verse section of Harrison’s “Something” on the first three chords of “The Rain Song,” Page veers off into an ultimately more ambitious and original progression. Particularly inventive and cool sounding is the Hawaiian-flavored dominant-ninth chord slide that precedes the first lyric line of each verse.</p> <p>When asked to explain why the studio version of “The Rain Song” is in the key of G while the live version, as heard in the film <em>The Song Remains the Same</em>, is in A, Page replied, “It surprises me to hear you say that, because I thought they were both in A. Okay, the [live] tuning is [low to high] E A D A D E. </p> <p>The only two strings that change are the G, which goes up to A, and the B, which goes up to D.” Page explained how he arrived at this unusual tuning. “I altered the strings around so that I’d have an octave on the A notes and an octave on the D notes, and still have the two E#,” he said. “Then I just went to see what finger positions would work.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/CxEu0QN6nzk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. “Ten Years Gone” (<em>Physical Graffiti</em>)</strong></p> <p>Like “The Rain Song,” this heart-warming yet heavy ballad demonstrates Page’s intuitive harmonic depth and sophistication, as he employs jazzy, “expensive”-sounding maj7, maj13, min9, dim7 and maj6/9 chords as effortlessly as Burt Bacharach, minus the associated schmaltz. </p> <p>The song’s instrumental interlude, which begins at 2:31, is particularly sweet and rich sounding. It features a laid-back, phaser-treated lead guitar melody with soulful double-stops over a bass, drums and clean, jangly rhythm guitar accompaniment. Also noteworthy is Page’s doubling of the chorus riff, first heard at 0:32, with an electric sitar.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/o2AEnLAP9XY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. “Communication Breakdown” (<em>Led Zeppelin</em>)</strong></p> <p>With its down-picked “pumping” eighth notes and syncopated power-chord stabs, this song’s urgent verse riff embodies the spirit of Chuck Berry–style rock and roll. Not surprisingly, it served as the quintessential prototype for both heavy metal and punk rhythm guitar. </p> <p>Page’s piercing, well-crafted solo, with its climactic, chromatically ascending unison bends, is like Berry on steroids and demonstrates that Page, on his new band’s freshman outing, was already thinking “outside the box,” both figuratively and literally (the physical “box” being a pentatonic fretboard shape).</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/n5PvAi8PTsI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. “Since I’ve Been Loving You” (<em>Led Zeppelin III</em>)</strong></p> <p>Jimmy’s impassioned guitar solo in this highly dramatic Chicago-style slow blues song is among his most inspired and emotive. </p> <p>The song’s chord changes and structure are truly original, and in his rhythm guitar part Page plays an inventively slick turnaround phrase at the end of each chorus (initially from 1:06–1:12) that mimics a steel guitar, with a bent note woven into and placed on top of two successive chord voicings. </p> <p>What makes this phrase so interesting and enigmatic is how, over the second chord, Dbmaj7 (played on organ by John Paul Jones) Page bends a C note up to D natural—the flat nine of Dbmaj7—and manages to make it sound “right.” It’s something few musicians apart from Miles Davis would have the guts to do.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/8RfOaAj7E5g" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>05. “Whole Lotta Love” (<em>Led Zeppelin II</em>)</strong></p> <p>This song has one of the coolest intro and verse riffs ever written. Not content to play it “straight,” as his blues-rock contemporaries might have done, Page inserts a subtle, secret ingredient into this part, giving it that x factor and a spine-tingling quality. </p> <p>Instead of playing the riff’s second and fourth note—D, on the A string’s fifth fret—by itself, he doubles it with the open D string (akin to the way one would go about tuning the guitar using the traditional “fifth-fret” method), then proceeds to bend the fretted D note approximately a quarter step sharp by pushing it sideways with his index finger. </p> <p>The harmonic turbulence created by the two pitches drifting slightly out of tune with each other is abrasive to the sensibilities and musically haunting, but the tension is short-lived and soon relieved, as Page quickly moves on to a rock-solid E5 power chord. “I used to do that sort of thing all over the place,” said Page. “I did it during the main riff to ‘Four Sticks’ too.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/uiLKT5rPHBA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. “The Song Remains the Same” (<em>Houses of the Holy</em>)</strong></p> <p>Like a getaway chase on a stolen horse, this ambitiously arranged song, with its galloping rhythms and fleet-footed solos, is guaranteed to give you an adrenaline rush. Particularly noteworthy is Page’s decision to overlay two electric 12-string guitars during the song’s opening chord punches, each playing different and seemingly irreconcilable triads, such as the pairing of C major and A major. </p> <p>“I’m just moving the open D chord shape up into different positions,” Page told <em>Guitar World</em> in 1993. “There actually are two guitars on this section. Each is playing basically the same thing, except the second guitar is substituting different chords on some of the hits.”</p> <p>He adds, “ ‘The Song Remains the Same’ was originally going to be an instrumental, like an overture to ‘The Rain Song,’ but Robert [Plant] had some other ideas about it! I do remember taking the guitar all the way through it, like an instrumental. It really didn’t take that long to put together—it was probably constructed in a day. And then of course I worked out a few overdubs.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/4m2FhRv8xF0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. “Stairway to Heaven” (<em>Led Zeppelin IV</em>)</strong></p> <p>Jimmy Page trampled over two rules of pop music with this masterpiece: it’s more than eight minutes long, a previously prohibitive length for pop radio formats, and the tempo speeds up as the song unfolds. </p> <p>“Stairway” is the epitome of Page’s brilliance as not only a guitarist, but also as a composer and arranger, as he layers six-string acoustic and 12-string electric guitars throughout the song in a gradual crescendo that culminates in what many consider to be the perfect rock guitar solo, performed on his trusty 1959 Fender “Dragon” Telecaster (his go-to guitar in the early days of Led Zeppelin).</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/9Q7Vr3yQYWQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. “Dazed and Confused” (live version, <em>The Song Remains the Same</em>)</strong></p> <p>Clocking in at more than 28 minutes, this marathon performance marks the apex of this song’s evolution and showcases some of Led Zeppelin’s most intense jamming and collective improvisation in a variety of styles. Page is at the height of his powers here, in terms of both chops and creative vision, never at a loss for a worthwhile musical idea. </p> <p>The otherworldly violin-bow interlude, beginning in earnest at 9:10 and spanning nearly seven minutes, is particularly inspired, and Page’s use of tape echo and wah effects in conjunction with the bow is absolutely brilliant.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/ZQgYn23Xvck" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. “Achilles Last Stand” (<em>Presence</em>)</strong></p> <p>This epic, 10-minute song is Page’s crowning achievement in guitar orchestration. </p> <p>The ensemble arrangement, bookended by a swirling, unresolved arpeggio loop, really begins to blossom at 1:57, and from this point on, Page spins numerous melodic variations over top of the jangly, plaintive Em-Cadd9#11 chord progression that underpins most of the composition. </p> <p>Interestingly, Page previewed this chord vamp in the 1973 live version of “Dazed and Confused” that appears on <em>The Soundtrack to The Song Remains the Same</em>, beginning at 5:52.</p> <p>Thoughtful consideration was put into the stereo image of each guitar track, which keeps the entire recording crisp despite the dense arrangement. The song also features one of Page’s most lyrical guitar solos (and one of his personal favorites).</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/YWOuzYvksRw" 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="/led-zeppelin">Led Zeppelin</a> </div> <div class="field-item even"> <a href="/jimmy-page">Jimmy Page</a> </div> <div class="field-item odd"> <a href="/robert-plant">Robert Plant</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/10-greatest-led-zeppelin-songs/25353#comments 10 Best 10 Best Songs January 2013 Jimmy Brown Jimmy Page John Paul Jones Led Zeppelin Robert Plant Top 10 Guitar World Lists News Features Magazine Wed, 26 Aug 2015 17:32:49 +0000 Jimmy Brown 25353 at http://www.guitarworld.com October 2015 Guitar World: Lamb of God, 20 Best Gig-Ready Combo Amps, Guide to Cry Baby Wahs and More http://www.guitarworld.com/october-2015-guitar-world-lamb-god-20-best-gig-ready-combo-amps-guide-crybaby-wahs-and-more/25313 <!--paging_filter--><p><strong><a href="http://guitarworld.myshopify.com/products/guitar-world-october-15/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWOCT15">The all-new October 2015 issue of Guitar World is available now!</a></strong></p> <p><em>Guitar World’s</em> October 2015 issue features <strong>Lamb of God</strong> front and center.</p> <p>Guitarist Mark Morton touches on the subject he’s least interested in addressing. The 2012 arrest of vocalist Randy Blythe in Prague for allegedly committing manslaughter.</p> <p>It was super-heavy and a depressing thing to go through. Those feeling just don’t go away because now it’s over. He also introduces the band’s latest album, <em>VII: Sturm Und Drand.</em></p> <p>Then it's on to <em>Pop Evil. With their popularity surging, the hard rocking quintet from Michigan are up and have every reason to be.</em></p> <p><strong>Dunlop Cry Baby Wah:</strong> They can be classed into three general categories: Vintage, Multifunctional and Signature. For 35 years Dunlop has been the major players in the wah-wah game. We round up nine of the company’s current offerings to help you decide wah is right for you.</p> <p><strong>Five Songs with Tabs for Guitar and Bass:</strong></p> <p>• YES, "Roundabout"<br /> • LAMB OF GOD, ''RUIN"<br /> • METALLICA, "The Four Horsemen"<br /> • RED HOT CHILI PEPPERS, "Higher Ground"<br /> • SLEEPING WITH SIRENS, "Kick Me"</p> <p><strong><a href="http://guitarworld.myshopify.com/products/guitar-world-october-15/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWOCT15">The all-new October 2015 issue of Guitar World is available at the Guitar World Online Store!</a></strong></p> <p><img src="/files/imce-images/Screen%20Shot%202015-08-12%20at%201.01.33%20PM_1.png" width="620" height="809" /></p> http://www.guitarworld.com/october-2015-guitar-world-lamb-god-20-best-gig-ready-combo-amps-guide-crybaby-wahs-and-more/25313#comments October 2015 News Features Wed, 26 Aug 2015 14:44:34 +0000 Guitar World Staff 25313 at http://www.guitarworld.com Midnight McCartney: John Pizzarelli Discusses Reinterpreting Paul McCartney’s Solo Catalog http://www.guitarworld.com/midnight-mccartney-guitarist-john-pizzarelli-discusses-new-album-reinterpreting-paul-mccartney-s-solo-catalog/25336 <!--paging_filter--><p>Back in 2014, Paul McCartney had a great idea for an album. He just needed a world-renowned guitarist and singer to make it happen. </p> <p>Enter John Pizzarelli, whose musical interpretations of such legendary artists as Frank Sinatra, James Taylor and McCartney’s former band, the Beatles, have received critical acclaim. Pizzarelli even worked with McCartney on his 2012 album, <em>Kisses on the Bottom.</em></p> <p>McCartney invited Pizzarelli to delve into his deep catalog of post-Beatles material and take some of his lesser-known tunes and reinterpret them in a mellow jazz style. </p> <p>The resulting album, <em>Midnight McCartney</em> (which will be released September 11), features “Silly Love Songs,” “Maybe I’m Amazed,” “Coming Up” and other tunes from McCartney’s 45-year-long solo career—all tastefully done in Pizzarelli’s trademark style.</p> <p>I recently spoke with Pizzarelli about the new album, his work with Paul McCartney, guitars and more.</p> <p><strong>GUITAR WORLD: How did this project begin?</strong></p> <p>I had worked on <em>Kisses on the Bottom</em> with Paul in 2012, and we promoted it the following year. We played “My Valentine” on the Grammys and he did a MusiCares event and a live iTunes concert. Then in May of 2014, I got this letter from Paul out of the clear blue sky. He said, “I have this crazy idea to run by you.” </p> <p>The idea was that maybe I would do a record of some of his post-Beatles catalog as well as some lesser-known songs like “Junk," “Warm and Beautiful” and “My Valentine." He said if I liked the idea maybe I could call the record <em>Midnight McCartney</em> and include a dishy little picture of me against the Manhattan skyline [laughs]. </p> <p>I was like, “OK! Whatever you want to call it. Let’s go!” So I went in, did some demos, recorded the record at the beginning of this year and now here we are—<em>Midnight McCartney</em>!</p> <p><strong>For those of us who have never had the pleasure of meeting him, what’s Paul McCartney like?</strong></p> <p>I remember my sisters watching <em>The Ed Sullivan Show,</em> getting <em>Abbey Road</em> in the late Sixties and listening to all of the records and then following him through the Seventies and Eighties as well as the new stuff. Then meeting him and going, “OK. Now this all makes perfect sense!” </p> <p>He’s a fine musician with amazing musical instincts and has done pretty much everything you could possibly imagine. I remember being in my twenties and going to William Paterson College. When he was in his twenties, he was getting off of a plane and there were 50,000 people screaming! Then he played Shea Stadium when he was 23. </p> <p>To have all of that happen in his lifetime and then find out that not only is he a really great musician but he’s also a very down-to-earth guy—that’s what really stuck with me. There’s no mistaking that he’s Paul McCartney.</p> <p><strong>Let’s discuss a few tracks from <em>Midnight McCartney</em>, starting with "Coming Up."</strong></p> <p>That was one that I really knew well from the early Eighties [1980]. I heard that all the time on the radio. I looked at the lyric and the chords set themselves up to be a sort of blues shuffle. So then we came up with the groove. That’s when we realized it would be something cool for Michael McDonald to do. So he came in and did his thing and really put it over the top!</p> <p><strong>"Maybe I’m Amazed"</strong></p> <p>That was one I remember playing in rock bands back in high school. It was about trying to get the groove and figuring out what to play under the A section. Then it was about coming up a really good guitar part. </p> <p><strong>"With a Little Luck"</strong></p> <p>That song was my wife’s idea and was the very last thing we did. I wasn’t really sure about it, but the more I thought about it I knew we needed one more mid-tempo thing. That’s when I thought, “You know? 'With a little luck I might be able to make it work!” [laughs]. It just plays itself as a shuffle and worked out well. </p> <p><strong>Was there any extra pressure during the recording sessions knowing that Paul was going to hear the final product?</strong></p> <p>I think so. The best part was being locked in this little studio in New York and really making sure everything was right. Every time someone was asked to do something they really stepped up to the plate. There was something about saying the word “McCartney” that put a little extra magic into the process and that’s what really made it fun. You knew where you were headed so you wanted to put your best foot forward.</p> <p><strong>What did you take away from the process of diving deep into Paul’s catalog?</strong></p> <p>The material is still very good. Paul is such a smart songwriter and these songs are so well written. It was nice to put the songs in different clothes and then realize they’re still fun to listen to. When you have strong hooks and great melodies that are really pliable, you’re able to reinterpret them in an interesting way.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/WyIILQeryyc" frameborder="0" allowfullscreen></iframe><br /> <strong>Do you have plans to tour this new album?</strong></p> <p>We recently did a week in New York City with a string quartet and horns and presented the whole package. We hope to do more of that in the coming year. We have it for quartet all the way up to orchestra and have gotten nothing but great reaction, so we’re very excited.</p> <p><strong>Your father, Bucky Pizzarelli, is a guitar legend. What was it like for you growing up around him and being immersed in his music?</strong></p> <p>It’s interesting to think about all of the things he’s done. He’s 89 now and has played pretty much everywhere; he even played on <em>Kisses on the Bottom</em>. Here’s someone who grew up listening to Django Reinhardt on the radio and Eddie Lang and ended up working with Stéphane Grappelli, Joe Mooney and Benny Goodman. </p> <p>He made music with Zoot Sims, Clark Terry, Slam Stuart and all of these great jazz musicians. The idea of loving what you do is personified in what he does. He’s still making music and still looking for the perfect chord for a song. </p> <p><strong>What was the best bit of advice he gave you as a guitarist that you’ve been able to apply to your playing?</strong></p> <p>I remember he commented once on a television interview about my playing and said, “Fearless." It’s the idea that you want to be thrown into situations you might not be ready for but you have to do it anyway. That’s really what its all about. Always being eager to do something musical at any time. So that when you do get called for something you’re ready to do what they expect as well as put your own stamp on things. </p> <p><strong>What excites you the most about <em>Midnight McCartney</em>?</strong></p> <p>Having done these kinds of records a few different times—like translating James Taylor songs into bossanova or Beatles songs from the previous album (<em>John Pizzarelli Meets the Beatles</em>), this one is the culmination of all the times that we’ve tried to reinvent things. I’m excited because all of the work we’ve done with those other records has led to this one. When I listen to it I’m confident about what we did. We were asked to do something special and I was proud to say, “Here’s what we did with your idea, Mr. McCartney. We’re thrilled we were able to do this for you.”</p> <p><em>Photo: Timothy White</em></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href="http://gojimmygo.net/">GoJimmyGo.net</a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="https://twitter.com/JimEWood">Twitter @JimEWood.</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="/paul-mccartney">Paul McCartney</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/midnight-mccartney-guitarist-john-pizzarelli-discusses-new-album-reinterpreting-paul-mccartney-s-solo-catalog/25336#comments James Wood John Pizzarelli Paul McCartney Interviews News Features Tue, 25 Aug 2015 17:37:24 +0000 James Wood 25336 at http://www.guitarworld.com The Beatles' 10 Greatest Guitar Moments http://www.guitarworld.com/fab-10-beatles-10-greatest-guitar-moments/25344 <!--paging_filter--><p>The Beatles were such talented songwriters that it’s easy to overlook the fact that their music has some great—and occasionally groundbreaking—guitar work. </p> <p>With that in mind, <em>Guitar World</em> decided to celebrate the 10 best guitar moments from the band's hit-making history. </p> <p>In assembling this list, we looked beyond our personal favorite songs and reflected on where John Lennon, George Harrison and Paul McCartney showed their talents as guitarists, whether in a solo, a riff, a technique or by their astute selection of instrument and arrangement. </p> <p>For some songs, we’ve gone a step further and analyzed the guitar work to give you insights into the magic that makes these moments so special. Enjoy! And be sure to share your thoughts in the comments below or on Facebook!</p> <p>If you'd like to delve much more deeply into this topic, be sure to check out <a href="http://www.guitarworld.com/fab-50-beatles-50-greatest-guitar-moments">The Fab 50: The Beatles' 50 Greatest Guitar Moments.</a></p> <p><strong>10. “Something”</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>Ironically, while the Beatles were breaking apart in 1969, George Harrison was coming into his own as a songwriter and guitarist. </p> <p>His <em>Abbey Road</em> contribution “Something” is among his finest songs, and his guitar playing here and throughout the album is masterful. Harrison’s mellifluous lead lines, in particular, are more expressive than anything he’d done before, demonstrating his newfound confidence and evolving connection to his instrument and creative muse. </p> <p>Performed with his “Lucy” 1957 Gibson Les Paul played through a Leslie speaker, the solo simmers as Harrison turns up the heat on his melody and dynamics, then cools it down with bluesy restraint. </p> <p>“George came into his own on <em>Abbey Road</em>,” says Geoff Emerick, who engineered this and other <em>Abbey Road</em> sessions. “For the first time he was speaking out and doing exactly what he wanted to do. And of course he wrote these beautiful songs and we got a great new guitar sound.” </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/mBjt7EsWbWE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. "I Want You (She’s So Heavy)"</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>John Lennon was composing some of the heaviest rock and roll in the Beatles’ catalog in 1969, and this song—true to its title—is among the most crushing, thanks to an abundance of doubled and overdubbed guitar lines that give it some serious sonic heft. </p> <p>Lennon wrote the song for Yoko Ono, with whom he was newly in love, and the result is a spellbinding exercise in obsessive repetition, from its lyrics—consisting almost entirely of the title and roughly five other words—to the ominous guitar lines that recur throughout it. </p> <p>Clocking in at 7:47, the song is also one of the Beatles’ longest. </p> <p>And although it consists of nothing more than a verse and a chorus repeated several times, it is rhythmically one of their most intricate tunes, switching between 12/8 meter and 4/4 rhythms alternately played bluesy and with a double-time rock beat. Few other artists could have made so much with so little. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/uo1i9uTaCFQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. "I’m Only Sleeping"</strong><br /> <strong><em>Revolver</em> (1966)</strong></p> <p>Harrison’s startling backward guitar solo on this Lennon-penned song is one of his greatest guitar moments on 1966’s <em>Revolver</em>.</p> <p>Over the previous year, he had used an expression pedal to create a volume-swelling sound, similar to a reverse-tape effect, on several tracks, including “Yes It Is” and “I Need You." </p> <p>But for “I’m Only Sleeping,” Harrison wanted to hear his guitar truly in reverse, a decision undoubtedly inspired by Lennon’s own retrograde vocals on “Rain,” recorded earlier the same month, April 1966.</p> <p>Rather than simply improvising guitar lines while the track was played backward, he prepared lead lines and a five-bar solo for the song and had George Martin transcribe them for him in reverse. Harrison then performed the lines while the tape was running back to front.</p> <p>The result is a solo that surges up from the song’s murky depths, suffusing it with a smeared, surreal, dreamlike ambience. Within a year, Harrison’s idea would be copied by such psychedelic rock acts of the day as the Electric Prunes, who employed it on their 1966 hit “I Had Too Much to Dream (Last Night),” and Jimi Hendrix, who used it to great effect on “Castles Made of Sand.” </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/1MMDugt8ZRk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. "And Your Bird Can Sing"</strong><br /> <strong><em>Revolver</em> (1966)</strong></p> <p>This middle-period Beatles gem, written primarily by Lennon, features Harrison and McCartney on impeccably crafted and performed harmony-lead guitar melodies, a pop-rock arranging approach that was still in its infancy in 1966. (It would later be employed extensively in the southern rock genre by bands such as the Allman Brothers and Lynyrd Skynyrd as well as hard rock and metal acts like Thin Lizzy, Boston and Iron Maiden.) </p> <p>Together, Harrison and McCartney’s individual single-note harmony lead guitar parts form, for the most part, diatonic (scale-based) third intervals in the key of E. (Lennon performed his rhythm guitar part as if the song were in the key of D, using a capo at the second fret to transpose it up a whole step, as he did on “Norwegian Wood,” “Nowhere Man” and “Julia.”) </p> <p>The quick half-step and whole-step bends that Harrison and McCartney incorporate into their parts here and there in lock-step fashion are particularly sweet sounding. Heard together, they have the precise intonation of a country pedal-steel part performed by a seasoned Nashville pro. </p> <p>The harmonized lines that the two guitarists play over the “minor-drop” progression during the song’s bridge section, beginning at 1:05, reveal their musical depth and sophistication and command over harmony beyond the basic “I-IV-V” pop songwriting fodder.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/f_P71QAEZKs" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. "A Hard Day’s Night"</strong><br /> <strong><em>A Hard Day’s Night</em> (1964)</strong></p> <p>It lasts all of roughly three seconds, but the sustained opening chord to this classic Beatlemania track is one of rock and roll’s greatest and most recognizable musical moments. </p> <p>Bright and bold as a tolling bell, it loudly announced in 1964 not just the start of the Beatles’ latest album but also the dawning of a cultural transformation that owed nearly everything to the group’s influence. </p> <p>The song was written to order for the Beatles’ feature-length film debut, <em>A Hard Day’s Night</em>. According to George Martin, “We knew it would open both the film and the soundtrack LP, so we wanted a particularly strong and effective beginning.” </p> <p>The dense harmonic cluster that Martin and the group created is the result of four instruments sounding simultaneously: Harrison on his 12-string Rickenbacker and Lennon on his Gibson J-160E acoustic, both strumming an Fadd9 chord (with a G on the high E); McCartney on his Hofner 500/1 bass, plucking a D note (probably at the 12th fret of his D string); and Martin on grand piano, playing low D and G notes. </p> <p>The resulting chord has been described as, technically, G7add9sus4, but to millions of eager listeners in 1964, it was simply the sound of an electrifying new era.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/70QfHtKdh_0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>05. "Revolution"</strong><br /> <strong><em>1966–1970</em> (1973)</strong></p> <p>At the time that this 1968 track was recorded, distortion was well established as an electronic effect for guitarists, but no one had ever used it to the extreme that the Beatles did here. </p> <p>According to Geoff Emerick, Lennon had been attempting to create distortion by cranking up his amp during sessions for “Revolution 1,” the slower version of the song, which the Beatles recorded in May and June of 1968. </p> <p>Emerick had abetted his efforts by overloading the preamp on the microphone used to record Lennon’s guitar, but even this wasn’t enough for Lennon, who told the engineer, “ ‘No, no, I want that guitar to sound dirtier!” </p> <p>By the July recording of “Revolution,” Emerick determined that he could distort the signal even more by patching Lennon and Harrison’s guitars directly into the mixing console via direct boxes, overloading the input preamp and sending the signal into a second overloaded preamp. </p> <p>“I remember walking into the control room when they were cutting that,” recalls Abbey Road engineer Ken Scott, “and there was John, Paul and George, all in the control room, all plugged in—just playing straight through the board. All of the guitar distortion was gotten just by overloading the mic amps in the desk.” </p> <p>As Emerick himself notes in his 2006 memoir <em>Here, There and Everywhere</em>, it was no mean feat: the overloaded preamps could have caused the studio’s tube-powered mixer to overheat. “I couldn’t help but think: If I was the studio manager and saw this going on, I’d fire myself.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/kk6BAIy1MeU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. "Here Comes the Sun"</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>Harrison’s jangly chord-melody playing on this song is exemplary. Using first- and second-position “cowboy” chords with a capo at the seventh fret, the guitarist loosely doubles and supports his catchy, syncopated vocal melody by working it into the top part of his acoustic-guitar accompaniment. </p> <p>He does this by using a “picky-strummy” technique (similar to what Neil Young would later employ in his song “The Needle and the Damage Done”), in which the pick hand gently swings back and forth over the strings in an unbroken down-up-down-up movement, like a pendulum viewed sideways. </p> <p>In doing so, Harrison selectively grazes certain strings on various downbeats and eighth-note upbeats, resulting in a seemingly casual mix of full-chord strums, single notes and two-note clusters that form a pleasing stand-alone guitar part that could easily appeal as a solo instrumental performance. </p> <p>The high register achieved by using the capo so far up the neck—the song is played as if it were in the key of D but sounds in A, a perfect fifth higher—makes the guitar sound almost like a mandolin, an effect similar to that achieved by Bob Dylan on “Blowin’ in the Wind” (also performed capo-7).</p> <p>Also noteworthy are the ringing and musically compelling arpeggio breaks that punctuate the song in various spots, such as after the first verse (immediately following the lyric “It’s all right”) and during the bridge/interlude section, behind the words “sun, sun, sun, here it comes.” </p> <p>Harrison employs a highly syncopated “1-2-3, 1-2-3, 1-2-3, 1-2-3, 1-2, 1-2” phrasing scheme in the first instance and “1-2-3, 1-2-3, 1-2-3, 1-2-3, 1-2” in the latter, creating a rhythmic “hiccup” that resets the song’s eighth-note pulse. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/n6j4TGqVl5g" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. "Taxman"</strong><br /> <strong><em>Revolver</em> (1966)</strong></p> <p>Bassist Paul McCartney had first demonstrated his six-string talents on 1965’s <em>Help!,</em> where he played lead guitar on several tracks and performed on acoustic guitar for his song “Yesterday.” </p> <p>But McCartney would truly come into his own as a guitarist with this cut from 1966’s <em>Revolver</em>. His stinging solo, performed on his 1962 Epiphone Casino through his cream-colored 1964 Bassman amp, is a stunningly sophisticated creation, drawn from an Indian-derived Dorian mode and featuring descending pull-offs that recall Jeff Beck’s work on the Yardbirds’ “Shapes of Things,” released earlier that year. </p> <p>How the solo came to be played by McCartney—and not Harrison, who wrote the song and was the Beatles’ lead guitarist—is a story in itself. </p> <p>According to Geoff Emerick, Harrison struggled for two hours to craft a solo before producer George Martin suggested he let McCartney give it a try. McCartney’s solo, Emerick says, “was so good that George Martin had me fly it in again during the song’s fadeout.” Portions of it, played backward, were also applied to the Revolver track “Tomorrow Never Knows.” </p> <p>Apparently, Harrison didn’t feel slighted. At the time of making <em>Revolver</em>, he was ambivalent about his musical ambitions and pondering Indian mysticism, to which he would eventually convert. </p> <p>“In those days,” he said, “for me to be allowed to do my one song on the album, it was like, ‘Great. I don’t care who plays what. This is my big chance.’ I was pleased to have him play that bit on ‘Taxman.’ If you notice, he did like a little Indian bit on it for me.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/YtksJEj2Keg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. "While My Guitar Gently Weeps"</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>“While My Guitar Gently Weeps” has become one of George Harrison’s signature tunes, but when he wrote the song in 1968, he couldn’t get his band mates to take an interest in it. </p> <p>Frustrated, he asked his pal Eric Clapton to sit in on the recording session for the track, hoping his presence would put the group on its best behavior. Clapton accepted the invitation and delivered a performance that remains a high point in the Beatles’ catalog. </p> <p>For the session, Clapton played a 1957 Les Paul “Goldtop” that had been refinished in red. He’d purchased the guitar in New York City sometime in the Sixties and in 1968 gifted it to Harrison, who nicknamed it Lucy. </p> <p>The guitar was already in Harrison’s possession at the time of this recording. When he picked up Clapton to take him to the studio for the Beatles session, the famous guitarist was empty handed. “I didn’t have a guitar,” Clapton recalls. “I just got into the car with him. So he gave me [Lucy] to play.”</p> <p>Harrison was concerned that Clapton’s solo was “not Beatley enough,” as the group was by the time of this recording well known for its sonic innovation. </p> <p>During the song’s mixing stage, the group had engineer Chris Thomas send Clapton’s signal through Abbey Road’s ADT—Automatic Double Tracking—tape-delay system and manually alter the speed of the delay throughout Clapton’s performance, making the pitch sound chorused. (The effect is especially noticeable in the final measure of the second middle-eight, after the line “no one alerted you.”) Ironically, while the solo is one of Clapton’s most famous, he was never credited on the recording. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/F3RYvO2X0Oo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. “The End”</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>A song called “The End” might seem an ironic place to start a list of the Beatles’ greatest guitar moments. But the round-robin solos that bring the track to its exhilarating peak are without question the group’s most powerful statement expressed through the guitar.</p> <p>Here, for a mere 35 seconds, three childhood friends and longtime band mates—Paul McCartney, George Harrison and John Lennon—trade licks on a song that represents, musically and literally, the Beatles’ last stand as a rock group before they broke up the following year. “The End” is the grand finale in the medley of tunes that make up much of <em>Abbey Road</em>’s second side. </p> <p>As such, it’s designed to deliver maximum emotional punch, and it succeeds completely, thanks in great part to the sound of McCartney, Harrison and Lennon rocking out on their guitars, as they did in their first, embryonic attempts to make rock and roll some 12 years earlier. </p> <p>“They knew they had to finish the album up with something big,” recalls Geoff Emerick, the famed Abbey Road engineer who worked on the 1969 album. </p> <p>“Originally, they couldn’t decide if John or George would do the solo, and eventually they said, ‘Well, let’s have the three of us do the solo.’ It was Paul’s song, so Paul was gonna go first, followed by George and John. It was unbelievable. And it was all done live and in one take.”</p> <p>Much of the song’s power comes from the sense that the Beatles are making up their solos spontaneously, playing off one another in the heat of the moment. As it turns out, that’s partly accurate. </p> <p>“They’d worked out roughly what they were going to do for the solos,” Emerick says, “but the execution of it was just superb. It sounds spontaneous. When they were done, everyone beamed. I think in their minds they went back to their youths and those great memories of working together.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/5bcxHlMxnSY" 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="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/john-lennon">John Lennon</a> </div> <div class="field-item odd"> <a href="/paul-mccartney">Paul McCartney</a> </div> <div class="field-item even"> <a href="/george-harrison">George Harrison</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/fab-10-beatles-10-greatest-guitar-moments/25344#comments Damian Fanelli George Harrison GWLinotte January 2014 John Lennon Paul McCartney The Beatles Guitar World Lists News Features Tue, 25 Aug 2015 16:43:32 +0000 Christopher Scapelliti, Damian Fanelli, Jimmy Brown 25344 at http://www.guitarworld.com 20 of the Best 1x12 Guitar Amps on the Market Today http://www.guitarworld.com/lone-stars-guitar-world-rounds-20-best-1x12-amps-market/25319 <!--paging_filter--><p>Looking for an amp that'll give your tone some more punch but won't add an extra thousand pounds to your rig? </p> <p>You're in luck, because <em>Guitar World</em> has rounded up 20 of the best single-speaker combo, 1x12 guitar amplifiers on the market today. </p> <p>In the photo gallery below, you'll find offerings from everyone from Carvin to Fender to Orange. Whether you're looking for aggressive overdrive or the most sparkling of clean tones, you'll definitely find a combo amp that suits your needs. </p> <p><strong>NOTE: This list is presented in alphabetical order, <em>not</em> by order of any sort of preference. Enjoy!</strong></p> http://www.guitarworld.com/lone-stars-guitar-world-rounds-20-best-1x12-amps-market/25319#comments Carr Amplifiers Carvin Carvin Amps ENGL EVH Gear Fender October 2015 Orange Amps News Features Gear Magazine Tue, 25 Aug 2015 12:23:57 +0000 Guitar World Staff 25319 at http://www.guitarworld.com Guitar World Book Sale: 'How to Hot Rod Your Fender Amp' http://www.guitarworld.com/guitar-world-book-sale-how-hot-rod-your-fender-amp <!--paging_filter--><p>As every guitarist knows, it's all about tone. But getting that magical tone can sometimes be a black art. </p> <p><em>How to Hot Rod Your Fender Amp</em> is the first guidebook explaining how you can get the best sound possible out of your Fender amp with simple to advanced modifications. </p> <p>Covering both old and new Fender amps with how-to photos and schematics, these tips include essential and fundamental pointers like selecting tubes, capacitors, pots, and other electronic equipment, as well as biasing and setting up your amp. </p> <p>Author Jeffrey Falla modified his first amp at age 13 and soon after built his first amp with parts salvaged from old jukeboxes. Today, he builds ToneTron amps for select clientele and still gigs regularly.</p> <p><strong><a href="http://store.guitarworld.com/collections/guitar-world/products/how-to-hot-rod-your-fender-amp/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=HotRodFender">This 184-page book is available now at the Guitar World Online Store for $27.99.</a></strong></p> http://www.guitarworld.com/guitar-world-book-sale-how-hot-rod-your-fender-amp#comments Fender News Features Tue, 25 Aug 2015 12:17:32 +0000 Guitar World Staff 19139 at http://www.guitarworld.com The 21 Greatest Kiss Songs http://www.guitarworld.com/21-best-kiss-songs <!--paging_filter--><p>Here's where my story with Kiss began. I was in the seventh grade and was a young hell-raising thrash kid into Megadeth, Testament, Anthrax, Overkill and Metallica. </p> <p>One day my best friend brought a <em>Hit Parader</em> magazine to school and said, “Dave, check these dudes out." </p> <p>When I saw Kiss on the cover, they had that whole "Japanese Kabuki meets outer-space warrior" vibe to them, and as a 12- or 13-year-old kid, I thought they ruled instantly. I didn’t even really care what kind of music they played or if they even played music at all. I was hooked.</p> <p>To me, Kiss is the most underrated band of all time. I know some of you out there reading this are saying, WHAT!?!?! But here goes.</p> <p>When I talk music, I always bring up Kiss because, pound for pound, they are probably my favorite band of all time. It’s a toss-up between them and Megadeth. But from a lot of people what I hear is, “Oh, man, I could just never get into Kiss." I really feel like a lot of people are missing out on the greatness they have to offer.</p> <p>Some say they sold out because of their vast product line, or they say they are not great musicians or whatever, but you just can’t argue with their incredible live show, and the songs are just unbelievable. I just don’t think they get the respect they deserve as songwriters. They have hooks for days, those big over-the-top choruses that hit you like a ton of bricks. That’s what has set them apart from other bands: They have memorable songs that stand the test of time. </p> <p>To thrive and to still be hugely relevant in the music business for 40 years is pretty much unheard of. </p> <p>If they were good enough for Dimebag Darrell to love them, then hey, who can argue with that?</p> <p>I already loved the band’s image, but they blew me away musically with <em>Kiss Unplugged.</em> It’s an absolutely amazing live record. The musicianship they showed in that performance was incredible. Paul and Gene are spot on with the vocals, the band is firing on all cylinders and Bruce Kulick’s wailing acoustic guitar solos made me a huge fan instantly. I loved it. After hearing that record, I had to own every song the band had ever done. I quickly learned that their back catalog was equally impressive, spanning tons of genres and vibes.</p> <p>I saw Kiss for the first time when I was around 16. I took a couple of friends with me to see them in concert in Columbus, Ohio. Ted Nugent and Skid Row were opening up for them on “The Farewell Tour." </p> <p>I remember my friends came along just to get away from our boring little small town. They poked fun at Kiss during the whole car ride there, saying things like “Kiss is dinosaur rock” and making fun of Paul’s legendary in-between song banter. </p> <p>But when the band fired up and the 100-foot drum risers came out and the fireworks started popping and the pyro blazed, they melted away into a couple of 10-year-old kids. I had a good laugh because when the show ended, the same guys who were talking smack on Kiss were now like, "Oh dude, I need to buy a shirt” and “I’m getting Peter Criss’ signature drum sticks." I will never forget it. It was one of the best shows I’d ever seen. The truth is I say that after every Kiss show I go to.</p> <p>I actually just got back from seeing them last night in Manchester, New Hampshire. The great ones ripped the roof off of the place. If you haven’t seen them yet, go see them. You wont regret it. It’s a blast.</p> <p>Before I go, everyone knows “Rock and Roll All Nite,” but I feel with those best-of collections, you are never truly getting “the real best of” stuff. So here goes: These are the Kiss songs I feel are “must own” songs. Every rock fan should check them out.<br /> <br /><br /> <strong>“Shandi,” from <em>Alive IV<em></em></em></strong></p> <p>This comes off of <em>Unmasked</em> originally, but this version is awesome. It has the Melbourne Symphony Orchestra backing them up. It is a truly great song.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/S5eVAxMgKyE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“I Will Be There,” from <em>Carnival of Souls</em></strong></p> <p>I don’t know who wrote the lyrics, but it’s a message to one of their kids and it is really heart felt. I love the whole Led Zeppelin-esque instrumentation that is going on as well. Very cool tune.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/gPcJPK2MMBA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“I Still Love You,” from <em>KISS Unplugged</em></strong></p> <p>This is a really well-written song and on this version Bruce Kulick makes the acoustic guitar sing like very few have ever done. Also Paul turns in an unbelievable vocal performance here holding one note out for what seems like ten minutes. Another favorite for me on this one is “Sure Know Something.”</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/Rz-Irk2ypeM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“Carr Jam 1981,” from <em>Revenge</em></strong></p> <p>First off, let me say that “Revenge” is a killer record and one of the band’s finest hours, but I put this one on here, which isn’t even a song but a band jam, just because Eric Carr was such a monster drummer and newer generations of drummers need to study this guy. He was the real deal.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/X2XNYwTCIVM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“Shout It Out Loud,” from <em>You Wanted the Best You Got the Best</em></strong></p> <p>This is one of my favorite songs ever. This always puts me in a good mood. It’s such a rock anthem. And on this version no one captures that live concert feel on record quite like Kiss. Also check out “I Stole Your Love” from this CD.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/FhmXCUELPJE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“King of the Mountain,” from <em>Asylum</em></strong></p> <p>I love the drum intro on this one, and it’s just a cool song. “I’m Alive” from this record also rules.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/d91t5jQt6nw" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“Dirty Livin',” from <em>Dynasty</em></strong></p> <p>This album leaned super heavy toward disco, which lost Kiss a lot of fans at the time, but this record has stood the test of time and is now a favorite among fans. “Dirty Livin” rocks, and Peter Criss sings it well. I love the whole vibe. “Magic Touch” is another classic from that record.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/bUOxxYP8I0w" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“Under the Rose,” from <em>The Elder</em></strong></p> <p>I heard this song for the first time about a year ago when I stayed up all night in my new home unpacking. I had my iPod on shuffle and this track came on. I felt like I was on some weird drug just hearing it. I am totally clean and sober but when I heard this, I was like “WHAT”!!!! I Love this album though. It takes a few listens to get into and then you're hooked. “The Oath,” “A World Without Heroes” and "Mr. Blackwell” are all classics from this record.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/nOTUPhS7cPA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“Exciter,” from <em>Lick It Up</em></strong></p> <p>Great song. I like the tone of the whole album. It takes me right back to the Eighties. “Young and Wasted” is worth checking out as well, and, of course, “Lick It Up,” which is a live staple for them. Last night everyone in my section kept screaming for them to play “Lick It Up,” and when they did the place went insane.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/A5fd9-wD4lk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“Nowhere to Run,” from <em>Kiss Gold</em></strong></p> <p>A hidden gem almost no one knows about.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/AeUVOCrsG2s" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“Stand," from <em>Sonic Boom</em></strong></p> <p>I loved the <em>Sonic Boom</em> album; there are a lot of cool songs on that one. This one stands out because that Beatles and Mott The Hoople influence is very evident. I love the chorus; it reminds me of “All the Young Dudes.” The harmony vocal part after the guitar solo is great and reminds me a lot of the harmony part in “God Gave Rock and Roll to You,” another Kiss must-hear.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/pU0InwwNIok" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“King of the Night Time World,” from <em>Alive IV</em></strong></p> <p>This song rules, plain and simple. A fun fact on this song is it was co-written by the manager of the Runaways, Kim Fowley, the same dude who co wrote “Do You Love Me." Kiss has always brought in various co-writers like Bryan Adams on “Rock and Roll Hell” or Michael Bolton on “Forever." Yes that Michael Bolton, and yes, that Bryan Adams. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/GxSp7J-eXL0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“Strange Ways,” from <em>Hotter Than Hell</em></strong></p> <p>Kiss does a cool job on this, but check out the Megadeth version from the “Warchest” box set. It's awesome.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/YlMzof4N3n4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“I’ve Had Enough (Into the Fire),” from <em>Animalize</em></strong></p> <p>Great song!</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/fDPSiqa9So0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“Saint and Sinner” and “War Machine,” from <em>Creatures of the Night</em></strong></p> <p>These rock! Also the version of “Creatures of the Night” from the <em>Alive III</em> record is awesome. It also totally captures the live Kiss experience on record.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/WcUEGL7YFlI" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/eudBY_0LtRY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“Burning Up with Fever” and “True Confessions,” from the Kiss <em>Gene Simmons</em> solo album.</strong> </p> <p>Very cool album, I love these two tracks especially.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/hMgkbZAnTKQ" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/8VaQQldz4Ek" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“Raise Your Glasses,” from <em>Psycho Circus</em></strong></p> <p>This song should be taught in a “great songwriting 101” class. Intro, verse, pre-chorus, chorus, verse, pre-chorus, chorus, middle eight, then guitar solo. Brilliant!</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/y_fq-x1k6O4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“I Want You,” from <em>Rock and Roll Over</em></strong></p> <p>Amazing song. For me it really sums up what made the Seventies-era Kiss so great.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/Ueb5rCZ03zE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>“Black Diamond,” from <em>Kiss My Ass</em></strong></p> <p>This is the tribute album version by Yoshiki. The Kiss version, of course, is amazing, but this one is so cool. I urge people to check it out. It’s a beautifully arranged epic classical version.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/yQxuXO7UVcQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> Till next time, rock on!</p> <p><em><a href="http://en.wikipedia.org/wiki/Dave_Reffett">Dave Reffett</a> is a Berklee College of Music graduate and has worked with some of the best players in rock and metal. He is an instructor at (and the head of) the Hard Rock and Heavy Metal department at The Real School of Music in the metro Boston area. He also is a master clinician and a highly-in-demand private guitar teacher. He teaches lessons in person and worldwide via Skype. As an artist and performer, he is working on some soon-to-be-revealed high-profile projects with A-list players in rock and metal. In 2009, he formed the musical project Shredding The Envelope and released the critically acclaimed album The Call Of The Flames. Dave also is an official artist endorsee for companies like Seymour Duncan, Gibson, Eminence and Esoterik Guitars, which in 2011 released a Dave Reffett signature model guitar, the DR-1. Dave has worked in the past at Sanctuary Records and Virgin Records, where he promoting acts like The Rolling Stones, Janet Jackson, Korn and Meat Loaf.</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="/kiss">Kiss</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/21-best-kiss-songs#comments 10 Best Songs best of Dave Reffett Kiss Top 10 Blogs Features Mon, 24 Aug 2015 16:54:29 +0000 Dave Reffett 11661 at http://www.guitarworld.com Review: TC Electronic Helix and Viscous Vibe Pedals — Video http://www.guitarworld.com/review-tc-electronic-helix-and-viscous-vibe-video/25269 <!--paging_filter--><p><strong><em>GOLD AWARD WINNER</em></strong></p> <p>Back in the heady days of heavy rock and roll, phase shifting effects were all the rage. These weren’t today’s run-of-the-mill, milquetoast sweeps and whooshes, but instead deliciously thick, swirling sounds with fat, chewy texture and a particular voice-like midrange that almost made the guitar seem to talk. </p> <p>Phasing effects of this nature first appeared during the late Sixties with Jimi Hendrix and were heard throughout the Seventies on records by guitarists like David Gilmour, Frank Marino, Pat Travers, Robin Trower, and even early Cheap Trick (“The Ballad of TV Violence,” “Hot Love,” or any other track on their debut album), but vanished about the same time as the ten dollar Thai stick. </p> <p>Over the last few decades, pedal designers have tried to recapture the gnarly sounds of these early phaser effects by using the same or similar obsolete lo-fi analog parts that gave those effects so much of their character, producing pedals in limited amounts with eyebrow-raising prices. </p> <p>Most attempts to duplicate these effects in the digital realm were underwhelming, but the engineers at TC Electronic finally cracked the code, as is evident in their new Helix Phaser and Viscous Vibe TonePrint pedals. Best of all, these pedals are affordably priced—you can buy both for less than one boutique or vintage pedal.</p> <p><strong>FEATURES:</strong> While the Helix and Viscous Vibe are both TC TonePrint pedals, each pedal takes a different approach to its phase shift and vibe effects, respectively. The Viscous Vibe is a modern digital recreation of the original Shin-Ei Uni-Vibe, while the Helix is a multi-personality phaser that is not based on any specific effect but can dial in accurate reproductions of numerous classic phasers with a few careful twists of its knobs. </p> <p>Like the original Uni-Vibe, the Viscous Vibe provides intensity and volume controls, an oversized speed knob, and a switch with separate chorus and vibrato settings. The switch also includes a TonePrint setting that stores downloaded TonePrint vibe effects from TC’s artist library or your own modified preset. </p> <p>The Helix’s mini toggle features a TonePrint setting as well, plus vintage (thick and swirly similar to early Mu-Tron and Electro-Harmonix phasers) and smooth (more like an MXR Phase 90) settings. Controls on the Helix include speed, depth, feedback, and mix, which allow users to dial in a surprisingly wide variety of awesome phase shifting effects.</p> <p>Both pedals offer stereo inputs and outputs, true-bypass switching, and analog dry through circuitry that always passes your guitar’s unprocessed dry tone, whether the pedal is engaged or not, with zero latency and full dynamic response. The pedals operate with either a nine-volt battery or optional external nine-volt 100mA power source. A mini USB jack is provided for downloading updates or TonePrints created with TC’s TonePrint Editor software for Mac and PC.</p> <p><strong>PERFORMANCE:</strong> Most digital phasers and vibe effects I’ve tried were somewhat flat sounding and underwhelming, but the Helix and Viscous Vibe instantly blew me away with their expressive character and dynamic responsiveness. </p> <p>The Viscous Vibe’s chorus effect is the same thick, swirling, psychedelic Uni-Vibe effect guitarists have loved since Jimi played “Machine Gun,” and its vibrato effect is spot on as well. Players who want to go beyond the limitations of the original can do so via the TonePrint Editor software. The Helix absolutely nails almost every classic phaser. </p> <p>The vintage setting delivers thick, growling swirls with throbbing bass, while the smooth setting produces a more subtle midrange-dominated shift that erupts in the background. The speed ranges from flowing molasses throbs to mosquito wing flutters. The only “vintage” aspect missing from both pedals is the noise, but most players will welcome that vast improvement.</p> <p><strong>LIST PRICE:</strong> $149.99 (each)<br /> <strong>MANUFACTURER:</strong> TC Electronic, <a href="http://www.tcelectronic.com/">tcelectronic.com</a></p> <p><strong>CHEAT SHEET:</strong>The Viscous Vibe is an accurate modern recreation of the legendary and unique phase shifting effects of the Shin-Ei Uni-Vibe introduced in the Sixties.</p> <p>The Helix reproduces a wide variety of classic phase shifting effects thanks to its versatile controls and vintage and smooth settings.</p> <p><strong>THE BOTTOM LINE:</strong> TC Electronic’s Helix and Viscous Vibe pedals are certain to please vintage effect connoisseurs with their classic sounds that deliver all the character, expressiveness, and vibe of original phasers from the Sixties and Seventies.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/T4kR-ySaIiU" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/review-tc-electronic-helix-and-viscous-vibe-video/25269#comments October 2015 TC Electronic Videos Effects Features Gear Magazine Mon, 24 Aug 2015 15:07:15 +0000 Chris Gill, Video by Paul Riario 25269 at http://www.guitarworld.com Stevie Ray Vaughan's 10 Greatest Guitar Moments http://www.guitarworld.com/stevie-ray-vaughans-10-greatest-guitar-moments/25307 <!--paging_filter--><p>For someone who spent a mere seven and a half years as a heavy player on the world stage, Texas guitar-slinger Stevie Ray Vaughan left behind a wealth of recorded material—and one hell of a legacy.</p> <p>In that blink of an eye between his incongruous appearance on David Bowie’s <em>Let’s Dance</em> in 1983 and his death in a freak helicopter crash in 1990, Vaughan unleashed four indispensable studio albums that hijacked the trajectory of modern blues guitar. </p> <p>Without the aid of light shows, edgy haircuts and goofy rock-star posturing, he introduced the MTV generation to passion-fueled guitar music—not to mention the work and importance of Jimi Hendrix, Albert King, Buddy Guy and Howlin’ Wolf.</p> <p>He even had time to star in his own mini rock-star drama of drug and alcohol addiction, breakdown, recovery and triumphant return. </p> <p>Today, <em>Guitar World</em> looks back at what we consider SRV's 10 greatest guitar moments. Our list digs deep into his six-string artistry, while taking historical importance and other factors into account. In terms of material, we’ve considered everything, including his DVDs and videos available on YouTube—pretty much everything and anything he recorded.</p> <p><strong>If you'd like to delve more deeply into this topic, be sure to check out <a href="http://www.guitarworld.com/austin-power-stevie-ray-vaughans-30-greatest-recordings">Austin Power: Stevie Ray Vaughan's 30 Greatest Recordings.</a> Enjoy!</strong><br /> <br /><br /> <strong>10. "Testify" (<em>Texas Flood,</em> 1983)</strong></p> <p>The idea of Stevie Ray covering a funky song by the great R&amp;B band the Isley Brothers might seem bizarre until you consider that rhythm and blues was a big part of the Double Trouble playbook. </p> <p>Besides, his choice of “Testify” makes perfect sense when you realize that the guitarist on the Isley’s original 1964 version was none other than his hero, Jimi Hendrix. </p> <p>More a tip of the hat than a cover, Stevie pays respects to Hendrix’s original opening riff before ditching the rest of the song and heading into parts unknown. It’s just as well. “Testify” wasn’t very good in the first place, and Vaughan carves a much more exciting path while ripping a total of seven—count ’em, seven—electrifying solos, each more intense than the one before it. </p> <p>But what really makes this one of Stevie’s very best performances is the variety of sounds he gets by using his wah pedal to subtly color his sound, as it gradually shifts from silky smooth to full-on banshee wail. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/XQroST3_uWw" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. “Couldn't Stand the Weather” (Capitol Theatre, 1985)</strong></p> <p><em>Couldn’t Stand the Weather</em>, Vaughan’s 1984 sophomore album, featured impressive guitar work and sold well, two factors that confirmed SRV and Double Trouble weren’t a mere flash in the pan. </p> <p>Still, many critics and fans at the time couldn’t help but notice that the album was something of a letdown. With its combination of originals and covers and heavy reliance on the blues, the eight-song collection had a “more of the same” feel about it. </p> <p>Thirty years later, however, one can’t help but notice that <em>Couldn’t Stand the Weather</em> is where a Texas-sized portion of Vaughan’s most essential recordings live. These include “Voodoo Chile (Slight Return),” “Cold Shot,” “Tin Pan Alley” and the funky title track, which—contrary to the “more of the same” criticism—finds Vaughan working hard to break out of the blues mold of <em>Texas Flood</em>. The song features several fine guitar parts, from its free-form intro to its funky figures to its Albert King–Jimi Hendrix stew of a solo. </p> <p>One of the most inspiring performances of the song—from September 1985 at New Jersey’s Capitol Theatre—can be found on YouTube (below), courtesy of the Music Vault. It’s all there: Vaughan’s power, intensity, focus and mammoth stage presence, plus a new-for-1985 breakdown section that gave keyboardist Reese Wynans a chance to shine. This version also scores bonus points for its choreography! (<em>P.S.: I was in the audience that night! — Damian Fanelli</em>)</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/veOPrDAGLqE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. "Riviera Paradise" (<em>In Step,</em> 1989)</strong></p> <p>Stevie called it “The King Tone”—the bell-like, crystalline timbre of a Fender Strat played clean, warm and in the in-between (out-of-phase neck-middle and bridge-middle) pickup positions. </p> <p>And he put it to extraordinary use on In Step’s “Riviera Paradise,” one of his rare but unforgettable forays into the world of Wes Montgomery–inspired jazz blues. Done in one magic take, the recording session was the stuff of legends.</p> <p>“Stevie told me he had an instrumental he wanted to try, and I said that I only had nine minutes of tape left,” producer Jim Gaines recalls. “He said, ‘Don’t worry, it’s only four minutes long.’ We dimmed the lights and the band started playing this gorgeous song, which went on to six minutes, seven minutes, seven-and-a-half… The performance was absolutely incredible, totally inspired, dripping with emotion—and here we were, about to run out of tape. </p> <p>“I was jumping up and down, waving my arms, but everyone was so wrapped up in their playing that no one was paying me any mind. I finally got Chris’ attention and emphatically gave him the cut sign. He started trying to flag down Stevie, but he was hunched over his guitar with his head bent down.</p> <p> Finally, he looked up, and they brought the song down just in time. It ended, and a few seconds later the tape finished and the studio was silent, except for the sound of the empty reel spinning around.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/V8wtZeVAa9I" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. "Rude Mood" (<em>Texas Flood</em>)</strong></p> <p>Along with “Testify” and “Lenny,” “Rude Mood” is another of the three instrumental tracks recorded for SRV’s debut release.</p> <p>Written by Vaughan and inspired by the Lightning Hopkins song “Hopkin’s Sky Hop,” this barn-burning track serves as a tour de force display of Stevie’s mastery of a great many different guitar techniques, including fast alternate picking, complex sections devised of fingers-plus-pick hybrid-picking techniques, and seamless transitions from hard-driving rhythm playing to blazing single-note solos. </p> <p>As a composition, it is perfectly constructed into distinct and individual 12-bar choruses, each of which brings the intensity of the song to a new and higher level. </p> <p>Says Double Trouble drummer Chris Layton, “In early ’79, [country DJ] Joe Gracey made early recordings of Double Trouble while Lou Ann [Barton], Jack Newhouse and Johnny Reno were still in the band. That was blues stuff like, 'Ti Na Nee Na Nu,’ ‘Scratch My Back’ and ‘Sugarcoated Love,’ along with an early version of ‘Rude Mood.’ Those recordings were done in the tiny basement of KOKE, a country station. Gracey recorded us on a four-channel mixer with a reel-to-reel, with everything done totally live using just four microphones.”</p> <p>It’s fascinating to hear the recording of “Rude Mood” from that period, because the <em>Texas Flood</em> version, which is much faster, is a note-perfect recreation of it. There is virtually no improvisation whatsoever. It is almost unheard of for a blues guitar player to compose something that lengthy and complicated, and perform it note-perfectly for years and years, just as Stevie did. </p> <p>He displays incredible attention to detail on this song, and this is even more obvious when you compare the two studio versions, recorded four years apart.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/p2q0NXIL6m0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. "Lenny" (<em>Live at the El Mocambo</em>)</strong></p> <p>“Lenny” is a beautiful, Hendrix-inspired ballad that Stevie wrote for his wife, Lenora. </p> <p>The solo section is made up of alternating bars of Emaj13 and Amaj9. Stylistically, the song is very similar to Jimi Hendrix’s classic ballad, “Angel.” For this El Mocambo performance, Stevie chose to play a guitar he dubbed Lenny, a 1963/1964 guitar that Lenny bought for Stevie in the early Eighties. </p> <p>It was stripped down to the natural wood and features a light-brown stain as well as a butterfly tortoiseshell inlay in the body. The guitar originally had a neck with a rosewood fretboard, but Stevie soon replaced it with a maple neck that was a gift from his brother, Jimmie. </p> <p>In true Hendrix style, Stevie treats the arpeggiated bridge section (the B6-D6-G6-Bb6-A6 chord progression) with subtle whammy bar manipulations. His improvised lines are based primarily on E major pentatonic (E F# G# B C#), with brief use of the minor third, G, as a passing tone into the major second, F#. </p> <p>Of great importance is the subtle use of hammer-ons, pull-offs and slides throughout, which serve to provide a liquid feel to his well-articulated and melodic phrases. When playing these lines, Stevie sticks with the index and ring fingers of his fret-hand. Of note is the smooth and effortless way he moves from playing straight 16th notes to playing lines articulated in 16th-note triplets. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/oe2iS8vWMJg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>05. “Leave My Girl Alone” (<em>Austin City Limits</em>, 1989; released on <em>The Real Deal: Greatest Hits 2</em>, 1999)</strong></p> <p>One of the most frustrating things about Vaughan’s tragic death in August 1990 was the fact that, in the last two years of his life, his playing had somehow improved. </p> <p>Vaughan’s (and the rest of the band’s) coke-induced distractions were snuffed out, and his portal—that magical gateway that connected the guitarist to his unique source of inspiration, divine or otherwise—was wide open. </p> <p>A perfect example is this live 1989 version of Buddy Guy’s “Leave My Girl Alone,” recorded on the <em>Austin City Limits</em> TV show. Eric Clapton has mentioned how Jeff Beck “pulls” notes from his guitar; in this case, Vaughan is clearly “pushing” the notes out of his Strat, all in relentless, lightning-fast bursts that make you wonder what you’ve been doing with your life. </p> <p>His ominous groans between phrases underscore the passion and excitement he felt during every performance, especially when he was able to experience his surroundings as a clean and sober guitar god. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/lJXwZFwC3mw" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. "Little Wing" (<em>Live at the El Mocambo</em>, 1991)</strong></p> <p>Stevie Ray Vaughan’s electrifying performance of Jimi Hendrix’s timeless ballad during his July 20, 1983, performance at the El Mocambo Club in Toronto, Canada, is one of the best live versions he ever performed, beautifully filmed and captured at what was the very beginning of his rapid ascent to stardom. Stevie always played the song as an instrumental. </p> <p>Six months after this performance, he would record an instrumental version of “Little Wing” in the Power Station studio in NYC while working on his sophomore release, <em>Couldn’t Stand the Weather</em>. </p> <p>Without mimicking any of Jimi Hendrix’s licks, Stevie expresses his own distinct musicality—as well as complete and utter mastery of the guitar—while beautifully and faithfully emulating Jimi’s style. He relies on specific elements, such as strong and wide vibratos, razor-sharp string bending and expressive legato techniques, delivered with a swinging 16th-note triplet feel. </p> <p>Throughout, Stevie focuses his formidable technique on emotionally expressive phrases, as each new improvised melody balances perfectly against the last.</p> <p>Jimi’s original studio take may have been a mere 2:24 in length, but SRV uses “Little Wing” as a vehicle for extended improvisation, as this stellar version stretches out to just over seven minutes long. A huge plus for all guitarists is that the DVD of this concert, <em>Live at the El Mocambo</em>, stays focused on his hands virtually the entire time, allowing for close scrutiny of just about every blazing lick, bend and vibrato that he performs.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/vY3lsfxGAaU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. "Voodoo Chile (Slight Return)" (<em>Couldn’t Stand the Weather</em>, 1984)</strong></p> <p>It’s ballsy when any guitarist attempts to cover a Jimi Hendrix song, let alone a masterpiece like “Voodoo Chile (Slight Return).” And even though SRV was no ordinary guitarist, he labored long and hard over the decision to include his version of the tune on his second album, <em>Couldn’t Stand the Weather.</em></p> <p>“I love Hendrix’s music,” Vaughan told <em>Guitar World</em> in 1985, “and I just feel it’s important for people to hear him. I know if I take care of his music that it will take care of me. I treat it with respect—not as a burden. See, I still listen to Hendrix all the time, and I doubt I’ll ever quit.”</p> <p>In many ways Stevie was a perfect envoy for Jimi, as witnessed by his electrifying studio take on “Voodoo.” His uncanny ability to smooth out some of Hendrix’s weirder edges without losing any of the music’s power or excitement allowed him to credibly deliver Jimi’s avant-garde blues to a whole new generation of guitar fanatics.</p> <p><em>Note: We can't embed the studio version of the song below, so please enjoy this live version from 1987.</em></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/purPKiG5__A" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. “Pride and Joy” (<em>Texas Flood</em>)</strong></p> <p>Imagine what radio listeners in 1983 thought when they first heard the fat, droning Eb notes that kick off Stevie Ray Vaughan’s “Pride and Joy.” </p> <p>After their steady diet of Irene Cara, Flock of Seagulls and Human League, did they even know it was a guitar? Regardless, the notes—which quickly morphed into a rollicking Texas shuffle—underscored the return of heart-felt guitar music as a viable artistic force. </p> <p>Part of what makes “Pride and Joy” stand out from, well, pretty much everything else is its reliance on heavy-gauge open strings, including the high E (.13, tuned to Eb), B (.15, tuned to Bb) and low E (.58, tuned to Eb). Throw in Vaughan’s trademark “Number One” Strat, an Ibanez TS-808 Tube Screamer, a Roland Dimension D Chorus and a Dumble amp (which belonged to Jackson Browne), and you’ve got something truly unique. </p> <p>“Stevie wrote ‘Pride and Joy’ for this new girlfriend he had when he was inspired by their relationship,” Layton said. “Then they had a fight and he turned around and wrote ‘I’m Cryin’,’ which is really the same song, just the flip side, lyrically.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/0vo23H9J8o8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. “Texas Flood” (<em>Texas Flood</em>)</strong></p> <p>Stevie Ray Vaughan and Double Trouble—bassist Tommy Shannon and drummer Chris Layton—didn’t walk into Jackson Browne’s Down Town Studio in Los Angeles in late 1982 with highfalutin plans about recording their monster debut album. </p> <p>In fact, their sites were set much lower. “We were just making a tape,” Layton said. “We hoped maybe we were making a demo that would actually be listened to by a real record company.” Browne had offered them 72 hours of free time, and the group recorded 10 songs over its last two days at the studio. </p> <p>The last tune to be tracked was “Texas Flood,” an obscure slow-blues tune recorded in 1958 by Texas bluesman Larry Davis (with Fenton Robinson on guitar) that had been a staple of Vaughan’s live shows for years. Vaughan’s version, which borrowed heavily from Davis’ arrangement and singing style, was recorded in a single take—live—just as the clock ran out. According to Nick Palaski and Bill Crawford’s <em><a href="http://www.amazon.com/Stevie-Ray-Vaughan-Caught-Crossfire/dp/0316160695">Stevie Ray Vaughan: Caught in the Crossfire</a></em>, there were only two overdubs, both covering mistakes made when Vaughan broke strings. </p> <p>Listening to Vaughan’s ferocious Albert King–on-steroids two-string bends, it’s a miracle another three or four E and/or B strings didn’t self-destruct every few bars. </p> <p>The stark, five-and-a-half-minute recording is a composite of everything that made Vaughan great, from the note choices to the intensity to his ability to learn from, yet build upon, the groundwork laid by his influences.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/m3159YIe2OU" frameborder="0" allowfullscreen></iframe></p> <p><em><a href="https://soundcloud.com/damian-fanelli/mister-neutron-comanchero-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://www.facebook.com/pages/The-Blue-Meanies/226938220688464?fref=ts">the Blue Meanies,</a> has toured the world and elsewhere. Fanelli, a former member of Brooklyn jump-blues/swing/rockabilly band <a href="http://www.thegashousegorillas.com/">the Gas House Gorillas</a> and New York City instrumental surf-rock band <a href="http://www.cdbaby.com/Artist/MisterNeutron">Mister Neutron,</a> also <a href="https://www.youtube.com/watch?v=NsQ9pIkLXiA">composes</a> and <a href="https://www.youtube.com/watch?v=w7ICimc774Y">records film soundtracks.</a> He writes GuitarWorld.com's <a href="http://www.guitarworld.com/next-bend-clarence-white-inspired-country-b-bender-lick-video">The Next Bend</a> column, which is dedicated to <a href="http://www.guitarworld.com/next-bend-10-essential-b-bender-guitar-songs-damian-fanelli">B-bender guitars and guitarists.</a> His latest liner notes can be found in Sony/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/damianfanelligw/">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="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/stevie-ray-vaughans-10-greatest-guitar-moments/25307#comments GWLinotte October 2014 SRV SRVDF Stevie Ray Vaughan Guitar World Lists Videos News Features Magazine Mon, 24 Aug 2015 15:03:02 +0000 Damian Fanelli, Brad Tolinski, Andy Aledort 25307 at http://www.guitarworld.com