Articles on this Page
- 08/05/14--09:26: _'200 Acoustic Licks...
- 08/05/14--09:32: _2015 Guitar World B...
- 08/05/14--10:02: _Slipknot Premiere N...
- 08/05/14--10:19: _August 8, 1966: "Hu...
- 08/05/14--10:20: _Chop Shop with John...
- 08/05/14--10:31: _Kix Discuss and Pre...
- 08/05/14--10:56: _Sixx:A.M. Premiere ...
- 08/06/14--05:48: _Summer NAMM: Songwr...
- 08/06/14--06:14: _Luke Winslow-King t...
- 08/06/14--07:53: _Sixx:A.M. Premiere ...
- 08/06/14--07:58: _Trevor Hall Announc...
- 08/06/14--08:01: _8-Year-Old Girl Cov...
- 08/06/14--08:17: _Slash Discusses Riv...
- 08/06/14--09:12: _Learn Every Classic...
- 08/06/14--09:14: _Weird Science: The ...
- 08/06/14--09:32: _The Hold Steady Les...
- 08/06/14--13:28: _Steve Morse Talks D...
- 08/07/14--09:34: _The Recording King ...
- 08/07/14--10:14: _Steve Smyth's One M...
- 08/07/14--10:38: _Freakshow: The Lock...
- 08/05/14--10:02: Slipknot Premiere New Music Video, "The Negative One"
- 08/05/14--10:56: Sixx:A.M. Premiere New Song, "Gotta Get It Right"— Listen
- 08/06/14--05:48: Summer NAMM: Songwriter Sessions Live! Recap
- 08/06/14--06:14: Luke Winslow-King to Release New Album ‘Everlasting Arms’
- 08/06/14--07:53: Sixx:A.M. Premiere "Gotta Get It Right" Music Video
- 08/06/14--07:58: Trevor Hall Announces "Small is Beautiful" Tour Begining Sept 10
- 08/06/14--08:17: Slash Discusses Rivera Rockcrusher Recording Unit — Video
- 08/06/14--09:14: Weird Science: The 10 Strangest Vintage Effects of All Time
- 08/06/14--09:32: The Hold Steady Lesson: How to Play "Spinners"— Exclusive Video
- 08/07/14--10:38: Freakshow: The Lockhearts Discuss Their Debut Single and Gear
200 Acoustic Licks: Guitar Licks Goldmine (Hal Leonard): A guitar licks goldmine awaits in this incredible acoustic collection. With four hours of content, this DVD is jam-packed with lead lines, phrases and riffs personally taught to you by professional guitarists Matthew Schroeder, Ben Woolman, Peter Roller and Colin O'Brien.
Every authentic lick includes a walk-through explanation by a pro guitarist and note-for-note on-screen tablature. Normal and slow-speed performance demos are included to really help viewers master the licks.
Total running time: 4 hours, 4 minutes.
200 Acoustic Licks: Guitar Licks Goldmine is available now at the Guitar World Online Store for $24.99.
Each year, we aim to make our annual Buyer’s Guide the kind of girls-and-gear spectacular that you can’t put down.
This year was no different. We flew with high hopes toward sunny California to lock down a supposedly easy Malibu beach shoot and have some fun in the sun with a trio of Playboy Playmates.
Sadly, our hopes were dashed by cloudy skies and heavy winds that forced us to move toward a more tranquil locale. Undeterred, we found a cool spot in downtown L.A. called UFO - The Poodle Parlor, a vintage warehouse where numerous music videos have been shot.
It turned out to be the ideal place to turn up the heat for the 2015 Guitar World Buyer’s Guide.
As we unloaded the latest in drool-worthy guitars, amplifiers, effects and accessories, we patiently waited for the stars of the show to make their appearance, and I can tell you, we weren’t disappointed. Nikki Leigh (Playboy’s Miss May 2012), Dani Mathers (Playboy’s Miss May 2014) and Gemma Lee Farrell (Playboy’s Miss November 2013) are some of the most smoking-hot girls ever to grace these pages. After slipping into ripped-up rock tees, they grabbed a few guitars and started shredding for the camera.
As with previous Buyer’s Guides, this year’s issue presents a selection of the newest gear along with gorgeous gals who know how to handle an ax or two. It also includes the winners of our annual Model Search, Skye Mangrum and Rae Weber.
Be sure to check out this new behind-the-scenes video below! And if you’re still hankering for more, stay tuned for more behind-the-scenes photo outtakes from this shoot!
Even though I didn’t get a chance to get on a beach this time around, I have to admit that this was the best warehouse job I’ve ever had.
On Friday, Slipknot premiered their first new song in six years, "The Negative One."
Today, they've unleashed the music video for the track. Watch it below and let us know what you think in the comments or on Facebook!
For more non-stop Slipknot-ism, check out slipknot1.com.
Forty-eight years ago this summer — in late July and August 1966 — the Beatles found themselves in a touchy situation.
On July 29 of that year, a teen magazine called Datebook published segments of a nearly 5-month-old interview with John Lennon. Among the republished segments was this quote by Lennon:
"Christianity will go. It will vanish and shrink. I needn't argue with that; I'm right and I will be proved right. We're more popular than Jesus now; I don't know which will go first — rock 'n' roll or Christianity. Jesus was all right but his disciples were thick and ordinary. It's them twisting it that ruins it for me."
The quote, which originally appeared in a March 1966 London Evening Standard story by Maureen Cleave (a reporter who was friendly with Lennon and the other Beatles), didn't cause much of a stir in the UK or the rest of the world when it was originally published. After all, the Jesus line was just a tiny part of a lengthy piece full of tidbits like:
In the sitting room are eight little green boxes with winking red lights; (Lennon) bought them as Christmas presents but never got round to giving them away. They wink for a year; one imagines him sitting there till next Christmas, surrounded by the little winking boxes.
However, with its publication in Datebook, the quote reached a wider audience — including the American South. On Sunday, July 31, a disc jockey in Birmingham, Alabama, kicked off a drive to ban the Beatles from the airways. He said their radio station would no longer play records by the Beatles, who "grew wealthy as the music idols of the younger generation."
By early August, deranged knuckleheads began hoisting "Ban The Beatles" signs and burning Beatles albums, even establishing pickup points where "Beatles trash" (including records, photos and other memorabilia that would've been worth a lot of money today had they not been destroyed by deranged knuckleheads) could be dropped off, stomped on — and burned, of course.
Forty-eight years ago today (August 8, 1966), The Daily Gleaner of Birmingham published the following notice:
"Hundreds of Beatles records are to be pulverized in a giant municipal tree-grinding machine here because of what Beatle John Lennon said about Christ, a disc jockey revealed today. 'After going through the "Beatle-grinder" borrowed from Birmingham City Council, all that will be left of the records will be fine dust.' A box full of the dust will be presented to the British pop stars when they arrive in Memphis, Tennessee, not far from here, for a concert Aug. 19, said local disc jockey Rex Roach."
That summer, the London Evening Standard piece and its Datebook excerpt grew more notorious as the storm of controversy escalated. Lennon was forced to apologize, which he did at a Beatles press conference during the band's final tour in August.
EPILOGUE: With its nearly 36 million fans, the Beatles' Facebook page is much more popular than any single Jesus-related Facebook page. Hey, I'm just pointing it out! Please don't pulverize this website in a giant municipal tree-grinding machine!
As you contemplate all this nonsense, check out a a spoof of this interesting slice of the Beatles' history. It's a scene from All You Need Is Cash, a 1978 made-for-TV film about a fictional band called the Rutles. The film was written and narrated by Eric Idle of Monty Python:
Damian Fanelli is the online managing editor at Guitar World.
In the first two installments of Chop Shop, we looked at some arpeggio-based runs that were spiced up with octaves, finger taps, pinch harmonics and behind-the-nut bends.
This time, as promised, I’m going to talk about the ways in which I’ve employed ideas I’ve learned from guitarists in different genres to my own playing. To start off, I’m going to show you a lick in the key of B that I use on the track “The Nightmare Unravels,” from my latest solo CD, The Art of Malice.
To perform this lick, I use the technique known as hybrid picking, which involves using the bare fingers to pluck strings in conjunction with a flatpick. The best way to describe the technique and how it sounds is through demonstration, so check out the performance of FIGURE 1 on this column’s accompanying video lesson to hear it in a rock context.
Note the unique “popping” sound created by the combination of finger picking and flat picking.
Country guitar great Albert Lee is a master of this technique, and it is used to great effect in a rock context by players such as Steve Morse and Zakk Wylde. While hybrid picking can provide you with another cool way to vary your tone, it also allows you to easily perform string-skipping runs that would be arduous to play using just a pick.
Some country purists wouldn’t involve the use of a pick, just the thumb and first two fingers of the picking hand (see PHOTO 1). But since I like to incorporate this technique into my rock playing, I often use my pick in conjunction with my middle and ring fingers.
As you can see in FIGURE 1, with the exception of the very last note (the B at the 19th fret on the high E string), this run is played entirely on the D and B strings. I use my pick to down-pick the D string and my middle finger (marked m above the TAB) to alternately pluck the B-string notes, making the numerous string skips a breeze to negotiate. The open B note is sounded often, which is very useful because, as it is the root note, it clearly anchors the run to the key of B.
This run may seem a little complicated at first, but when you break it down you’ll see that it’s really just a repeating seven-note fingering-and-picking pattern that is applied to different positions on the neck. This very rhythmic pattern is isolated in FIGURE 2. All that is required to master this lick is to nail this shorter pattern, which includes a hammer-on on the D string, from the index finger to the ring, and an index-finger pull-off on the B string.
The longer lick in FIGURE 1 is based on this same pattern and shaped-shifted up and down the neck to various positions. Like anything new, start off slowly and build up speed slowly, concentrating first on the fingering and picking pattern and then incorporating some palm muting, which will help keep things neat and tight sounding.
Also, start with a clean sound and introduce distortion later. Stick with it, and before you know it you’ll be playing FIGURE 1 at speed.
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Today, GuitarWorld.com presents the exclusive premiere of a new video by Kix.
In the clip, which you can check out below, the members of the band discuss their new album, Rock Your Face Off, which was released today, August 5.
Since reuniting in 2003 and adding bassist Mark Schenker to the lineup, Kix have given in to their passion to create new music. Rock Your Face Off is the band’s first new studio album in nearly 20 years.
The album, which was produced by Taylor Rhodes, is a collection of blues-inspired rock that combines catchy hooks and tasty riffs with the inspired musicianship and party atmosphere Kix are known for.
Kix consists of Steve Whiteman (vocals), Ronnie Younkins (guitar), Brian Forsythe (guitar), Jimmy Chalfant (drums) and Mark Schenker (bass).
Photo: Mark Weiss
Sixx:A.M. have released a new song, "Gotta Get It Right," on iTunes.
Check it out below and let us know what you think in the comments or on Facebook!
The band's new album, Modern Vintage, will be released October 7.
Acoustic Nation's inaugural Songwriter Sessions: Live! event recently kicked off at Summer NAMM in Nashville, TN.
Perfectly at home in the songwriter-haven that is Nashville, the event invited writers to submit their best tunes which were then voted on by AN readers.
The top six songwriters – Kendra Bragg, Eric Coomer, Sam Hatmaker, Jenna Paone, Dani Poppitt and Chris Rogers – were selected to perform their submitted songs at Summer NAMM, and have them critiqued by hit songwriter Clay Mills and Acoustic Nation editor Laura Whitmore.
The level of songwriting talent at the event was unmistakably high, and we were honored to shine a spotlight on these great artists.
Below, watch Chris Rogers perform his sharply-written song “Sideshow,” which is followed by evaluations from Mills and Whitmore.
We’d like to once again thank Clay Mills and SongTown for their support in making the first Songwriter Sessions Live! a success.
Find out more about the Songwriter Sessions Live! participants at the links below:
Kendra Bragg: www.facebook.com/pages/Kendra-Bragg
Eric Coomer: www.facebook.com/theericcoomer
Sam Hatmaker: www.reverbnation.com/samhatmaker
Jenna Paone: www.jennapaone.com
Dani Poppitt: www.reverbnation.com/danipoppitt
Chris Rogers: www.chrisrogersmusic.com
Luke Winslow-King is releasing a new album Everlasting Arms on September 30 via Bloodshot Records.
The pre-order sale link is available here.
Winslow-King is a guitarist/singer/songwriter from New Orleans, LA by way of Cadillac, MI.
Following his critically acclaimed Bloodshot Records debut The Coming Tide in 2013, LWK (for brevity’s sake) has been as hardworking a musician as they come.
Subsequent tours in the United States and overseas with his singing partner (and now wife) Esther Rose and a mutating band (including the core of upright bassist Cassidy Holden, drummer Benji Bohannon, and trumpeter/keyboardist Ben Polcer) landed the group in front of larger audiences while sharing the stage with the likes of Jack White, Pokey Lafarge, Taj Mahal, Chris Thile, and Rebirth Brass Band.
Winslow-King’s second release for Bloodshot in as many years, Everlasting Arms finds inspiration in the developmental experiences of life and has LWK & Co. building upon previous creative efforts with a wider scope, exploring a sonically and stylistically panoramic songwriting vision, carrying on in balancing tradition with modernity.
Listen to the album’s lead single, “Everlasting Arms,"here.
Below, watch a 2011 performance of LWK performing “The Comin’ Tide”:
For upcoming tour dates and more, visit http://lukewinslowking.net/.
Yesterday, Sixx:A.M. released a new song, “Gotta Get It Right” on iTunes.
Today, the band, which features singer James Michael, guitarist DJ Ashba (Guns N’ Roses) and bassist Nikki Sixx (Motley Crue), have premiered the music video for the track. Check it out below and let us know what you think in the comments!
The band’s new album, Modern Vintage, will be released October 7.
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Singer songwriter Trevor Hall will be heading back on the road this fall on a North American headline tour beginning on September 10 at Slim’s in San Francisco, CA.
The “Small is Beautiful” tour will include stops in Vancouver, Los Angeles, Atlanta, Boston and New York City. See the full list of dates below.
The announcement comes on the heels of Trevor having wrapped up a 30+ city amphitheater tour with Michael Franti’s Soulshine Summer shows. For tour updates visit: www.smarturl.it/thtour
Trevor recently surprised his fans with the sudden release of his new 12-track album Chapter of the Forest, a collection of songs born during a yearlong sabbatical where Trevor returned to his beloved India, Nepal, Vermont, and Maine, and spent that time in deep reflection and spiritual connection.
“This album is inspired by simplicity, by the roots of life, and by the beauty that one finds in solitude and in nature,” says Hall.
Chapter of the Forest was released on June 17th and debuted at #3 on the iTunes Singer/Songwriter chart and #17 on the iTunes Overall Albums chart.
Commenting on his “Small Is Beautiful” tour Trevor states, "The 'Small Is Beautiful' tour goes along with the same message as Chapter of the Forest. It’s about coming back to the roots and approaching music in a simple and conscious way.”
WATCH A SPECIAL ACOUSTIC PERFORMANCE OF THE FIRST SINGLE “WISH MAN” HERE:
Small is Beautiful Tour Dates:
10 San Francisco, CA Slim’s
12 Portland, OR Aladdin Theatre
13 Seattle, WA Nectar Lounge
14 Vancouver, BC Media Club
16 Missoula, MT Top Hat
18 Salt Lake City, UT The State Room
20 Ft. Collins, CO Aggie Theatre
21 Aspen, CO Belly Up Aspen
24 Lake Tahoe, CA Crystal Bay
27 San Juan Capistrano The Coach House
28 Los Angeles, CA The Troubadour
7 Charleston, SC Music Farm
10 Tampa, FL The Ringside Café
11 Orlando, FL The Social
12 Jacksonville, FL Freebird Live
14 Asheville, NC Grey Eagle
15 Atlanta, GA Eddie’s Attic
17 Ozark, AR Harvest Festival
18 St. Louis, MO Off Broadway
19 Evanston, IL Space
21 Cleveland, OH Music Box
23 Burlington, VT Higher Ground
24 Boston, MA Middle East
25 New York, NY Gramercy Theatre
26 Vienna, VA Jammin’ Java
28 Philadelphia, PA World Café Live
29 Fairfield, CT Stage One
Trevor Hall began songwriting and performing when he was 16 years old. He burst into the music scene with the song “The Lime Tree” which was featured on the Shrek the Third soundtrack. Hall’s captivating live performances and growing popularity have led to sold out tours across the country as well as touring with such artists as Steel Pulse, The Wailers, Jimmy Cliff, Matisyahu, Michael Franti and Colbie Callait.
In 2009, Hall released his Vanguard debut which featured the single “Unity,” a song written and performed with longtime friend, Matisyahu. The self-titled release debuted at #7 on the Billboard Heatseekers chart and Hall was cited by MTV’s ‘Subway Fresh Buzz’ Series as “one of the 20 emerging artists for 2010.”
His follow up album Everything, Everytime, Everywhere debuted on iTunes Rock Chart at #3, iTunes Top Albums at #12 and #8 Amazon Movers & Shakers. The featured single “Brand New Day” was used as the music bed for the reformatted CBS This Morning Show.
Find out more at http://www.trevorhallmusic.com/
We thought we'd share this late-2013 video of an 8-year-old Japanese girl named Li-Sa-X covering none other than Paul Gilbert.
Below, watch her perform an instrumental Racer X tune called "Scarified." The track originally appeared on Racer X's 1987 album, Second Heat, and was written by Gilbert and Scott Travis.
No, it's not perfect, but it's impressive for an 8-year-old (or a 38-year-old)!
What's even more impressive is that, earlier this year, Gilbert took the time to respond to Li-Sa-X's video with a new video of his own. After he shreds a bit (as is customary), Gilbert invites Li-Sa-X to become a student at his online ArtistWorks guitar school, offering her a free pass to sign up.
If Li-Sa-X looks familiar, it's because she appeared on GuitarWorld.com when she covered Guthrie Govan's "Fives."(Watch it here.) Enjoy!
In the newly posted video below, Paul Rivera Jr. interviews Slash about how he used the Rivera Rockcrusher Recording power attenuator, load box and speaker emulator on his upcoming album and how he plans on integrating the units live.
For more about the Rivera Rockcrusher Recording unit, visit rivera.com.
Learn every song on Aerosmith's legendary 1975 album, Toys in the Attic, with this tab book by Hal Leonard Publishers.
This 88-page book, which is available for $19.99 at the Guitar World Online Store, includes exact transcriptions in notes and tab for all nine tunes off this Aerosmith masterpiece:
• "Adam's Apple"
• "Big Ten Inch Record"
• "No More No More"
• "Round and Round"
• "Sweet Emotion"
• "Toys in the Attic"
• "Uncle Salty"
• "Walk This Way"
• "You See Me Cryin'."
It’s probably not a coincidence that effects such as wah pedals and fuzz boxes started appearing en masse about the same time that recreational drugs like marijuana and LSD became popular with rock musicians.
Indeed, it would take the mind of an incredibly stoned individual — someone deprived of exposure to the sun’s rays, fed a diet of lukewarm Mountain Dew and stale frozen pizza and kept awake for days by snorting lines of Instant Maxwell House — to even conceive of the idea for some of the music industry’s many audio oddities.
In salute to effect innovators like Electro-Harmonix’s Mike Matthews and Zachary Vex of Z.Vex (both of whom may be as straight and unpolluted as an Iowa highway, for all we know), we present to you our selections for the strangest and most wonderful guitar effects ever unleashed upon the unsuspecting public.
Plugging into one of the following effects is like discovering an ancient Mayan city of gold on the tip of your fingernail while your cat pontificates, in Lebanese, about Proust. Or whacking yourself in the head really hard with a sledgehammer.
Note that, since it's unusual to come across two or three of these effects, let alone all 10, we do not have consistent photos or videos of the effects presented below. Luckily, there's this thing called YouTube.com. We tried to find the most to-the-point and least-annoying video for each effect. (We admit we really love the video for Number 5, the Maestro Rover!)
What could possibly be weirder than a guitar synthesizer pedal made in the early Seventies by a drum company? Like many so-called guitar synthesizers from this era, the Ludwig Phase II is not a synth but actually several effects, including fuzz, voltage-controlled filters and gating, combined in a box that unfolds to reveal a rocker pedal, several oversized mushroom-shaped footswitches and a control panel placed at a height only Verne Troyer would find comfortable.
With a little patient tweaking, the Phase II can produce the sound of anything from alien conversations to spaceship landings—the kind of weirdness that’s made it a favorite of Sonic Youth (Washing Machine), Primus’ Larry Lalonde (Pork Soda) and Pearl Jam’s Mike McCready (Binaural).
Ampeg is best known for its big ’n’ beefy bass amps, but the company also attempted to exploit the pedal market in a few rare instances. Ampeg’s first effort, the Scrambler, bewildered even acid casualties upon its introduction in 1969, but today’s bizarro stomp box aficionados consider it the Holy Grail. Although these pedals are rarer than Paris Hilton’s brain cells, they were built to withstand nuclear war, so units that turn up are usually in fine working condition. Its two controls (texture and balance) generate a mutated rainbow of fuzz tones ranging from metallic ring modulation with buzzing octave-up overtones to the flatulence of a 400-pound chili cook-off judge.
Tremolo effects aren’t particularly strange, but this early Fifties contraption, the first mass-produced external effect device for the electric guitar, earns distinction for its primitive design and clunky aesthetics. (And it was manufactured in Toledo, Ohio — isn’t that weird?) Instead of employing components like transistors, resistors and diodes to generate its on/off effect, the Tremolo Control used a motor to rock a glass tube filled with mercury (the original heavy metal) back and forth across an electrical contact to open and close the circuit. Unfortunately, mercury deteriorates over time, but Windex makes a safe alternative (and it provides “clean” tone). This effect is a favorite of Billy Gibbons, Ry Cooder and Duane Eddy.
Another so-called guitar synthesizer from the Seventies, the EMS Synthi Hi-Fli was mounted on a waist-high stand and looked like a prop from Dr. Who (EMS actually made the synths used to create sound effects for the show). Originally (and appropriately) called the Sound Freak, the Hi-Fli was essentially an early multi-effect unit that combined fuzz, octave shift, ring modulation, phasing and resonant filters to generate synthlike tones. David Gilmour used a Synthi Hi-Fli on The Dark Side of the Moon, and other fans include Steve Hackett (when he was with Genesis) and the Chemical Brothers.
Someone must have spiked the water coolers at Maestro with Blue Sunshine — how else to explain sonic oddities like Maestro’s Bass Brassmaster, Filter Sample and Hold, Ring Modulator and the world’s first fuzz box? The Maestro Rover is a rotating speaker unit that not only looks like a UFO but sounds like one, too, as the speaker can rotate at exceptionally high speeds to create watery, warbling Doppler effects. A built-in crossover routes low frequencies to a guitar amp while it directs treble frequencies to the Rover’s rather low-powered internal amp, which isn’t loud enough to irk even a Ladies’ Auxiliary tea party. That’s why David Gilmour’s Rover is, uh, house trained.
You know those bizarre, dissonant metallic boinks on ZZ Top’s “Cheap Sunglasses” and the closing theme of South Park? That’s the sound of a ring modulator. Electro-Harmonix and Maestro unleashed this atonal beast of an effect on unsuspecting musicians during the early Seventies, and guitarists have been struggling to tame them ever since. By moving the controls while you play (the EHX Hotfoot makes a handy “third hand”), you can imitate the sounds of extraterrestrial radio transmissions, drunken calypso steel drummers and screaming robot elephants. Who hasn’t wanted their guitar to sound like that?
One of the finest pedal flangers ever made, the ADA Flanger generates a wide variety of impressive effects, from jetlike whooshes to shimmering chorus. But spend a little extra time tweaking the controls and some truly bizarre sounds emerge, such as ring modulator–like percussive metal overtones and ghostly moans. Its best (i.e., weirdest) effect is a sort of “auto whammy” that is coaxed out of the pedal by turning the enhance control all the way up. Engage the effect and your guitar’s pitch will rise and fall dramatically and uncontrollably, even if you aren’t playing anything at all. How cool is that?
Perhaps the most appropriately named pedal of all time, the Roland Funny Cat sounds like a feline that has huffed a spray can of Rust-Oleum and downed a bottle of Jäger — and is being whipped. Kind of a fuzz/envelope-follower combination, the Funny Cat spews and mews unpredictably, with the effect often becoming more pronounced the softer, or the higher up the neck, you play. Considering how hard it was to get killer buds (an essential part of good pedal design) in Japan during the early Seventies, the Roland engineer who designed this probably smoked a lot of catnip instead.
These pedals are identical in every way except for their paint jobs. Controls consist of knobs for range (depth) and sample-and-hold speed, and a switch that engages either the sample-and-hold random-filter effect or an envelope follower, for autowah effects. Even with this limited feature set, the pedals can generate a surprisingly vast palette of strange but wonderful tones, ranging from juicy, drippy envelope-follower funk to guttural auto-arpeggiator stutters. Frank Zappa used one on “Ship Ahoy,” “Black Napkins” and several other songs, so if it’s weird enough for the man who wrote “Poofter’s Froth Wyoming Plans Ahead,” it’s certainly weird enough for you.
While honorable mention must be made to the Heil Talk Box (which provides guitarists with a tube that they stick in their mouths to duplicate the sound of a stomach being pumped and other barfy delights), the Electro-Harmonix Talking Pedal enables your guitar to speak through purely electronic means. Actually, it only produces “A-E-I-O-U” vowel sounds, but it does give a guitar an uncanny vocallike tonality that is reminiscent of Yoda speaking Cantonese.
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In this exclusive Guitar World video, the Hold Steady's Tad Kubler and Steve Selvidge show you (and us) how to play "Spinners," a track from the band's 2014 album, Teeth Dreams.
Teeth Dreams, the band's sixth album, is also their first since 2010's Heaven is Whenever. It was produced and mixed by Nick Raskulinecz, who has produced Foo Fighters, Rush, Alice in Chains, Deftones, Ghost and more.
The Hold Steady played their first show in 2003 and are entering their second decade as a band. For more about the band, follow them on Facebook.
Teeth Dreams is available now via iTunes and a ton of other places!
Deep Purple’s latest album, 2013's Now What?!, marked the opening of next chapter in the band’s 46-year career.
Blending the spirit of classic Seventies Deep Purple with modern production and a progressive mindset, the album reached Number 1 in several countries, including Germany and Russia, and gave the band its first British Top 20 album in 20 years.
Guitarist Steve Morse is celebrating his 20th anniversary with Deep Purple by joining the band for a month's worth of U.S tour dates that will take them from Washington state to Florida — and pretty much everywhere in between.
The band's current lineup is Ian Paice (drums), Ian Gillan (vocals), Roger Glover (bass), Steve Morse (guitar) and Don Airey (keyboards).
I recently spoke with Morse and got an update on the Deep Purple tour, his gear and the new Flying Colors album, Second Nature, which is due for an August 30 release. In Flying Colors, Morse is joined by Mike Portnoy, Neal Morse, Dave LaRue and Casey McPherson.
GUITAR WORLD: How has reaction been to Deep Purple's Now What?!?
It's been really good, and I credit that to Bob Ezrin [producer] for keeping the energy and focus of the band and for getting that little bit extra out of everyone. There was a heavy emphasis on pre-production for this album, and Bob really worked hard behind the scenes — even before we had recorded a single note.
What can you tell me about the musical influences that inspired the track "All the Time in the World"?
Don Airey is a big fan of American-style music. He can just pick up and start playing any Booker T. & the M.G.s tune or any jazz standard. He's really eclectic in that way. Then there’s Ian Paice, who was into R&B, swing and jazz even before he came into Deep Purple. We all have our different influences. That particular song has a Motown, rhythm-and-groove kind of feel to it.
2014 marks 20 years that you’ve been with Deep Purple. Does it feel like it’s been that long?
My perception of time is gone [laughs]. I really can't believe how fast the years have rolled by.
Can you tell me how you got involved with the band?
Shortly after Ritchie [Blackmore] left the band, Joe Satriani was suggested as a replacement for the tour they were doing. Joe's a real pro who can just walk in and make something sound amazing. I learned a lot just from listening to his version of the set.
At some point, though, they realized Joe had his own thing going and this was just going to be a temporary solution. They really needed someone to come in and develop a sense of permanence with the band. Roger had seen me play live with the Steve Morse Band in the past, and the other guys had heard the Dixie Dregs stuff in England, so there was already some familiarity with me.
We initially had agreed to do four shows together in 1994. Prior to the first show, I had learned the last set they had played with Joe and had also listened to some of the recordings with Ritchie. I decided to use an amalgamation of the two approaches when we got together. I was a little apprehensive at first, but once we started to jam, the groove felt great and everyone was smiling and having a great time. Sometimes the chemistry just works out that way.
Will there be another Deep Purple studio album?
Yes. We're working on another studio record and have already had the writing sessions for it. Bob Ezrin is back on board for this one. It's nice to have someone like him in charge of the complexity that can surround an album because there are so many decisions that need to be made.
What can you tell me about the new Flying Colors album, Second Nature?
This one is a little bit longer in terms of its arrangement. We also all co-produced, so it's a little bit less restrained. The essential element is similar to Deep Purple in that I’m working with people I feel comfortable with. One of the differences with Flying Colors is that there may be a little more haggling about the details [laughs]. In some ways, everyone has a strong opinion, but we always work it all out.
What’s your live setup like?
With Purple, I use the Y2D Music Man guitar. With Flying Colors I’ll use my blue-finished original four-pickup guitar. I've also got an Engl head I use through a fairly typical 4x12 cabinet. It's a German amp I came upon through one of my guitar roadies. They custom modified it to my specs, and it’s now become a signature amp. It's got a creamy, smooth high end as opposed to being irritating and brittle. The sound is clean enough to where I can do solo gigs and actually play classical guitar through the amp without distortion.
For pedals, I have two TC Electronic Flashback delays. They were kind enough to do a custom sound for me. They’re wet delays that can easily be set, and they go into Ernie Ball volume pedals, which determine how much of a delay you’ll hear. I also use a TC Reverb and a Keeley compressor.
Is there a single memory from your career that stands out above the others?
I remember not even being old enough to drive when my band opened for a group called the Hampton Grease Band with Col. Bruce Hampton, who at the time was a local Atlanta fixture. There was a big crowd and I remember it was the first time I really got into the moment of performing and not being nervous at all. I actually became a part of the show with the crowd. That is to say, I was enjoying it just as much as they were enjoying the fact that the live music was taking them away from whatever was going on in their lives at that moment.
That was where I discovered the real secret to performing: You don't ever fake it. I've never been one to try to manipulate the audience. I prefer to experience the show with them.
James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, GoJimmyGo.net. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on Twitter @JimEWood.
Recording King's USA Custom Shop produces exquisitely crafted collectors' banjos handmade in the USA.
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Recording King's custom production is led by Greg Rich, who built his reputation designing some of the world's most unique deco-style banjos from the late '80s through the early '90s.
The Custom Shop builds individual handcrafted works of art that stay true to classic Pre-War style and sound, but have a look and presence all their own.
The M5 Deluxe takes the banjo's rugged, utilitarian nature, and elevates it to a museum piece. Designer Greg Rich hand-engraved the elaborate floral patterns on each individual piece of "old gold" hardware. With a hand-selected flamed maple resonator and one-piece figured maple neck, the M5 has the brightness and punch players want from a professional-level banjo. The thin, hand-rubbed nitrocellulose lacquer finish allows the M5 to display a full tonal range across all registers. The M5 is finished with a classic two-hump tailpiece and ivoroid tuner buttons for vintage style and high-performance.
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Recording King's USA Custom Shop is turning out instruments at the top tier of banjo design and construction.
See the current custom shop pieces at:
Today, GuitarWorld.com presents the exclusive premiere of the official music video for "The Distortion of Lies and the Overdriven Truth" by One Machine.
It also happens to be the title track of the band's debut album, which was released earlier this year via Scarlet Records.
One Machine, the brainchild of guitarist/songwriter Steve Smyth (Testament, Nevermore, Forbidden, Dragonlord, Vicious Rumors), also features vocalist Mikkel Sandager, guitarist Jamie Hunt, bassist Tomas Obeast and drummer Michele Sanna (Note: drummer Raphael Saini played on the new album.)
The Distortion of Lies and the Overdriven Truth was recorded and produced by Smyth. Mixing was handled by Roy Z (Judas Priest, Bruce Dickinson, Halford) and mastering by Alan Douches (Three Inches of Blood, Firewind, Sepultura).
The clip, which you can check out below, was shot by Anthony Dubois and directed by Mike Sloat. As always, be sure to let us what you think of the video and the track in the comments below or on Facebook!
Despite the fickle nature of Sydney, Australia's live scene, rock quartet the Lockhearts have been earning acclaim locally and internationally.
Formed in Sydney in 2012 and led by vocalist Tim Meaco, the Lockhearts boast a melody-driven approach to modern rock. They recently released their debut single, "Freakshow," and are planning the next step in their journey.
GuitarWorld.com recently caught up with the band for a discussion about "Freakshow" and their growth in the local scene, plus gear, future plans and more.
GUITAR WORLD: Tell me about your journey since you formed in 2012 and became the house band at the Ziggy Pop Spectrum in Sydney.
Meaco: Playing the weekly residency at Ziggy Pop has been amazing. Originally we were asked to headline for the first couple of months, but the crowd kept growing and asking us to come back. There was no way we were turning down a weekly show at a great inner-city location on Oxford Street. We’re a live band, after all.
Before all that, we spent almost every waking hour in our rehearsal studio writing and working on our live set, just dying to get on a stage. As soon as we had a bunch finished, we hit the recording studio and laid them down, including our first single, "Freakshow," which got to the top 10 rock charts on iTunes Australia and Number 2 on MTV Hits Australia, which was really exciting for our first release.
What's the rock and roll scene like in Sydney nowadays?
Fleeting and diverse. The “scene” is always changing, from garage rock, blues, indie, rockabilly and metal, there’s a lot of sub-genre variety. Like any major city, there is a lot of talent around, but bands are constantly coming and going, and so are our live venues. It's tough for a lot of bands to get regular shows due to the rise and fall of venues that support live music. It's not always the most nurturing environment, but it's certainly a good test of your determination and resilience. Which every young band needs.
You released "Freakshow" recently, and it seems you're going to release new music in small doses. What's the reasoning behind that? Why aren't you putting out a conventional full-length album or EP like most other bands?
We’ve watched too many bands give it away early, put out a full-length release with a half-cocked plan and end up with their record fading into obscurity. We didn’t want to fall into that trap. The reason we’re doing it this way is, as a new band we want to always have something recent available on the market and be prepared with new music to release regularly, while building our live show and extending our reach.
How much new music have you completed?
We’ve got eight songs down and ready to go and plenty more that are ready to hit the recording studio. We never stop writing.
Your music is characterized by catchy guitar riffs and choruses. How challenging is it, in your opinion, to come up with a riff that instantly catches the listener's attention?
Age [lead guitar] and I worked together on the riffs for "Freakshow," and what you hear is a true collaboration. But what really pulled this song together was the rhythm. A guitar riff is only as good as the foundation under it, the driving bass line and primal beat are what give it girth. It can definitely be challenging, but we’ve found the key is to not over think it. We know it’s a great riff when it feels right to all of us, when the whole band is grooving and it gets stuck in your head. It's all about what serves the song.
What's the guitar setup you guys use for recording music and playing shows?
Age: Gibson Les Paul Custom / Gibson SG / EVH 5150 III + Orange Speaker Cab
Tim: Gretsch Duo Jet / The Heritage H-150 / Epiphone Wilshire Phantomatic / Marshall JCM900 SL-X + Marshall JCM800 cab
As Gibson artists, you’ll never find us without a Les Paul or SG in the arsenal!
Your music video "Freakshow" is very creative and colorful. Whose concept was that and how much of an input did the band have in it?
Thank you! It was a lot of fun to make. Everything we release always has the whole band’s creative input. We worked closely with feature film director Tanzeal Rahim to come up with a concept we liked. We definitely wanted to bring a psychedelic element to the visual.
For people unfamiliar with your music, what kind of bands would you say the Lockhearts draw parallels with? In other words, fans of what bands might like your music?
One thing we’ve been told constantly after live shows is that people find it difficult to pigeonhole us, which is great! "Freakshow" was once reviewed as “somewhere between Queen and the Black Keys,” so perhaps that’s a good start.
Have you played shows outside Sydney, or do you plan to do so any time soon?
We played two shows with Aussie legends the Baby Animals earlier last year up the coast of New South Wales, but this year we are planning on traveling a bit further and playing more interstate shows. We're very excited to get to Melbourne, Brisbane and other major cities.
I've never seen you live, but I somehow feel that your studio recording of "Freakshow" captures the energy you would have on a stage while playing that song. Is that a fair assessment?
For sure, we always aim to capture our live energy in the studio but once we’re on the stage anything can happen – i.e. it can be hard to capture the sound of your bass player jumping into the drum kit. We do change up the arrangement to keep it fun too!
Andrew Bansal is a writer who has been running his own website, Metal Assault, since early 2010, and has been prolific in covering the hard rock and heavy metal scene by posting interviews, news, reviews and pictures on his website — with the help of a small group of people. He briefly moved away from the Los Angeles scene and explored metal in India, but he is now back in LA continuing from where he left off.
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