We don't know about you, but around here, September brings to mind tours and massive live shows — probably because it's the only month where summer and fall, the two biggest rock touring seasons, collide.
So, as our thoughts turn to the gigs we've reported on, witnessed and celebrated this year, we thought we'd get our readers — as in, you guys! — involved as we attempt to pinpoint rock's greatest live band or artist!
Welcome to Guitar World's official readers poll for September (It's the first readers poll we've conducted since November 2013, all you poll haters out there), the Battle of the Greatest Live Bands. It kicked off Wednesday, September 3.
Although we (obviously) had thousands of artists and/or bands to choose from, we decided to narrow things down to a mere 32 names, which is perfect for a month's worth of intense — and fun (it's supposed to be fun, people!) matchups. All the artists were carefully selected by Guitar World's entire editorial staff.
Most importantly, note that this poll involves ONLY still-existing bands, so you won't get to watch the Doors duke it out with Led Zeppelin! Pantera will not go head to head with Cream. The Jimi Hendrix Experience will not compete with ... you get the idea.
Here are our 32 artists, in alphabetical order, and you can check also out the entire bracket of matchups at the end of this page.
AC/DC, Aerosmith, Alice Cooper, the Allman Brothers Band, Black Sabbath, Dillinger Escape Plan, Eagles, Foo Fighters, Guns N’ Roses, Iron Maiden, Jack White, Kiss, Korn, Metallica, Muse, Nine Inch Nails, Paul McCartney, Pearl Jam, Phish, Queen, Radiohead, Rammstein, Red Hot Chili Peppers, the Rolling Stones, Rush, Slayer, Slipknot, Soundgarden, Tool, U2, Van Halen and ZZ Top.
Today's Matchup: Voting Closed!
AC/DC (69.14 percent) defeated Alice Cooper (30.86 percent). Thanks for voting!
Let's Go to the Video!
Yesterday's Winners
Van Halen (55.32 percent) defeated Phish (44.68 percent). Thanks for voting! Head HERE to see every matchup so far. Tell your friends so that they, too, can see every matchup so far!
Here's how the bracket was — very unscientifically — compiled.
We drew the artists' names out of a hat (It was, in fact, a Quebec Nordiques baseball-style cap) to help us create our bracket, which is available for your viewing pleasure below. Obviously, none of these of bands are ranked or come from a previously compiled list, so we chose purely random matchups to have as little impact as possible on the final outcome. We're actually pretty pleased with the way the bracket turned out!
Remember that, as with any poll, genre might occasionally clash against genre, so you'll just need to decide which artist has (or has had) the most to offer within his/their genre, perhaps which one has or had more natural talent or technical skill, which one had the biggest influence on other live acts, etc.
Let's get started! As always, you can vote only once per matchup (once per device, that is), and we'll be posting match-ups pretty much every day of the month, sometimes more than once per day, just to give you an early warning!
We don't know about you, but around here, September brings to mind tours and massive live shows — probably because it's the only month where summer and fall, the two biggest rock touring seasons, collide.
So, as our thoughts turn to the gigs we've reported on, witnessed and celebrated this year, we thought we'd get our readers — as in, you guys! — involved as we attempt to pinpoint rock's greatest live band or artist!
Welcome to Guitar World's official readers poll for September (It's the first readers poll we've conducted since November 2013, all you poll haters out there), the Battle of the Greatest Live Bands. It kicked off Wednesday, September 3.
Although we (obviously) had thousands of artists and/or bands to choose from, we decided to narrow things down to a mere 32 names, which is perfect for a month's worth of intense — and fun (it's supposed to be fun, people!) matchups. All the artists were carefully selected by Guitar World's entire editorial staff.
Most importantly, note that this poll involves ONLY still-existing bands, so you won't get to watch the Doors duke it out with Led Zeppelin! Pantera will not go head to head with Cream. The Jimi Hendrix Experience will not compete with ... you get the idea.
Here are our 32 artists, in alphabetical order, and you can check also out the entire bracket of matchups at the end of this page.
AC/DC, Aerosmith, Alice Cooper, the Allman Brothers Band, Black Sabbath, Dillinger Escape Plan, Eagles, Foo Fighters, Guns N’ Roses, Iron Maiden, Jack White, Kiss, Korn, Metallica, Muse, Nine Inch Nails, Paul McCartney, Pearl Jam, Phish, Queen, Radiohead, Rammstein, Red Hot Chili Peppers, the Rolling Stones, Rush, Slayer, Slipknot, Soundgarden, Tool, U2, Van Halen and ZZ Top.
Today's Matchup: Vote Now!
GUNS N' ROSES go head to head with IRON MAIDEN. We don't need to tell you about these bands. We'll let the recently shot videos below do the talking! Vote now; you have one full day!
Let's Go to the Video!
Yesterday's Winners
AC/DC (69.14 percent) defeated Alice Cooper (30.86 percent). Thanks for voting! Head HERE to see every matchup so far.
Here's how the bracket was — very unscientifically — compiled.
We drew the artists' names out of a hat (It was, in fact, a Quebec Nordiques baseball-style cap) to help us create our bracket, which is available for your viewing pleasure below. Obviously, none of these of bands are ranked or come from a previously compiled list, so we chose purely random matchups to have as little impact as possible on the final outcome. We're actually pretty pleased with the way the bracket turned out!
Remember that, as with any poll, genre might occasionally clash against genre, so you'll just need to decide which artist has (or has had) the most to offer within his/their genre, perhaps which one has or had more natural talent or technical skill, which one had the biggest influence on other live acts, etc.
Let's get started! As always, you can vote only once per matchup (once per device, that is), and we'll be posting match-ups pretty much every day of the month, sometimes more than once per day, just to give you an early warning!
In this week’s episode of Sunday Strum, I demonstrate an example using eighth note triplets.
This is a basic way of practicing them, but if you are more comfortable with the rhythm, feel free to switch it up and apply triplets any way you like.
The eighth note triplet rhythm translates to three eighth notes in the space of two eighth notes.
An easy way to think about this is dividing the beat into three equal parts.
Make sure to strum them down, up, down to keep everything consistent.
Check out the lesson right here:
Justin Horenstein is a guitar instructor and musician in the Washington, DC metro area who graduated (cum laude) from the Berklee College of Music in 2006. He plays in Black Clouds, a 3-piece atmospheric/experimental band. Their debut album was recorded by J Robbins (Jawbox, Burning Airlines). Justin’s 18 years of musical experience also includes touring the U.S., a record deal under Sony, starting his own teaching business, recording several albums, and playing club shows with national acts including Circa Survive, The Dillinger Escape Plan, Biffy Clyro, United Nations, Caspian, and more.
“There’s this great duality to our band,” reflects Greensky Bluegrass mandolinist, vocalist, and songwriter Paul Hoffman. “We’re existing in a few different places at once: we’re a bluegrass band and a rock band, we’re song-driven and interested in extended improvisation.”
“We play acoustic instruments,” adds dobro player Anders Beck, “but we put on a rock’n’roll show. We play in bigger clubs and theaters, there’s a killer light show, and we’re as loud as your favorite rock band. It’s not easy to make five acoustic instruments sound like this – it’s something we’ve spent years working on.”
Watch the band’s video for “Burn Them” here:
The five members of Greensky Bluegrass have forged a defiant, powerful sound that, while rooted in classic stringband Americana, extends outwards with a fearless, exploratory zeal. The tension and release between these components – tradition and innovation, prearranged songs and improvisation, acoustic tones and electric volume – is what makes them so thrillingly dynamic, in concert and on record. “In theory,” Hoffman explains, “greensky is the complete opposite of bluegrass. So, by definition, we are contrasting everything that isn’t bluegrass with everything that is.”
Here’s some quirky fun from New York’s Emilyn Brodsky. It’s “Scaffolding” from her new album Emilyn Brodsky Eats Her Feelings, which releases tomorrow, September 23, 2014.
This rhythmic tune showcases her introspective lyrics and starkly croonalicious vocals.
Is that an accordion I hear? Brodsky’s usual ukulele strum is absent here, but instead is replaced by a mélange of piano, tambourine, shaker and a few other items thrown in for good measure, so to speak. And yet the song feels somehow vulnerable and naked, in a good way, of course!
Brodsky shares, “In New York City scaffolding goes up and down around us constantly. Scaffolding protects buildings as they are fixed, built, or torn down. This song is about being scaffolding for another person. It's about how important it is to have that support and protection during times of change. And it's secretly about how offering support can be code for asking for support. IT IS A CONFUSING SONG BUT IT SEEMS SO SIMPLE. That's how I like to write 'em, deceptive and catchy! Have I mentioned I love a metaphor? Especially ones about buildings!"
Listen here:
Emilyn Brodsky was born the night of hurricane Gloria in the suburbs of New York City. She plays the ukulele and writes simple songs about complicated feelings. She has been called ‘charmingly aggressive’, ‘the love of my life’ and ‘a jerk’.
She has had the good fortune to play with some seriously amazing people, including: The Magnetic Fields, Pete Seeger, The Gossip, Against Me!, The Decemberists, The Hold Steady, TV on the Radio, Amanda Palmer, and Kimya Dawson. Most recently, her songs have been featured on HBO’s Girls, The Chris Gethard Show, The Rumpus, and Autostraddle.
Emilyn has a self-released album of home recordings, a split 7-inch with Mirah on Third Story Records, a full-length studio album (Emilyn Brodsky’s Greatest Tits) from Third Story Records. And on September 23rd you will have, in your hot little hands, her newest full-length, Emilyn Brodsky Eats Her Feelings, from Dead Stare.
The Women’s International Music Network (the WiMN) is thrilled to announce that Orianthi will co-host the 2015 She Rocks Awards.
Honoring women who stand out as role models in the music industry, the She Rocks Awards is slated to take place Friday evening, January 23, 2015 in Anaheim, Calif., during the NAMM Show.
“The She Rocks Awards does so much for women in music and I’m excited to be a part of it,” shares Orianthi. “This event recognizes women who truly rock, and it will be my honor to be there to congratulate them!” A 2013 She Rocks Awards honoree, Orianthi is a platinum-selling solo artist and known the world-over as a masterful guitar player, having performed with artists such as Michael Jackson, Alice Cooper, Carrie Underwood, and more.
Hosting duties will be shared between Orianthi and the WiMN founder Laura B. Whitmore. “Orianthi is such an amazing role model for female musicians all over the world,” Whitmore comments. “I can’t think of a better partner for leading the She Rocks Awards!”
The She Rocks Awards pays tribute to women who display leadership and stand out within the music industry, and has become a standard at the NAMM Show. Previous award recipients include female industry leaders such as Orianthi, Sheila E, Gaby Moreno, Malina Moye, Dinah Gretsch, Janie L. Hendrix, Mary Peavey, and more. The event brings together industry professionals, music icons, artists, educators, fans and media to celebrate women in music.
The WiMN also recently announced its first honoree for the 2015 award show; Grammy-nomiated saxophonist, singer and songwriter Mindi Abair. One of the most dynamic and accomplished performers in music today, her latest album Wild Heart debuted at #1 on the Billboard Jazz and Contemporary Jazz chart. Abair was a featured saxophonist on the Late Show with David Letterman and American Idol, and has toured with rock legends Aerosmith. Additional award honorees will be announced soon.
The She Rocks Awards was previously held on Friday morning, but for 2015 it is moving to an evening event and will take place from 6:00pm to 8:30pm in the Pacific Ballroom at the Anaheim Hilton Hotel. The event has sold out for the past two years.
The She Rocks Awards would like to recognize media sponsors NewBay Media, and their publications Guitar World, Guitar Player, Acoustic Nation, Bass Player, Electronic Musician and Keyboard.
Tickets for the 2015 She Rocks Awards go on sale October 15, 2014. To find out more, please visit www.thewimn.com
We don't know about you, but around here, September brings to mind tours and massive live shows — probably because it's the only month where summer and fall, the two biggest rock touring seasons, collide.
So, as our thoughts turn to the gigs we've reported on, witnessed and celebrated this year, we thought we'd get our readers — as in, you guys! — involved as we attempt to pinpoint rock's greatest live band or artist!
Welcome to Guitar World's official readers poll for September (It's the first readers poll we've conducted since November 2013, all you poll haters out there), the Battle of the Greatest Live Bands. It kicked off Wednesday, September 3.
Although we (obviously) had thousands of artists and/or bands to choose from, we decided to narrow things down to a mere 32 names, which is perfect for a month's worth of intense — and fun (it's supposed to be fun, people!) matchups. All the artists were carefully selected by Guitar World's entire editorial staff.
Most importantly, note that this poll involves ONLY still-existing bands, so you won't get to watch the Doors duke it out with Led Zeppelin! Pantera will not go head to head with Cream. The Jimi Hendrix Experience will not compete with ... you get the idea.
Here are our 32 artists, in alphabetical order, and you can check also out the entire bracket of matchups at the end of this page.
AC/DC, Aerosmith, Alice Cooper, the Allman Brothers Band, Black Sabbath, Dillinger Escape Plan, Eagles, Foo Fighters, Guns N’ Roses, Iron Maiden, Jack White, Kiss, Korn, Metallica, Muse, Nine Inch Nails, Paul McCartney, Pearl Jam, Phish, Queen, Radiohead, Rammstein, Red Hot Chili Peppers, the Rolling Stones, Rush, Slayer, Slipknot, Soundgarden, Tool, U2, Van Halen and ZZ Top.
Today's Matchup: Vote Now!
RUSH go head to head with MUSE. We don't need to tell you about these bands. We'll let the recently shot videos below do the talking! Vote now; you have one full day!
Let's Go to the Video!
Yesterday's Winners
Iron Maiden (77.92 percent) defeated Guns N' Roses (22.08 percent). Thanks for voting! Head HERE to see every matchup so far.
Here's how the bracket was — very unscientifically — compiled.
We drew the artists' names out of a hat (It was, in fact, a Quebec Nordiques baseball-style cap) to help us create our bracket, which is available for your viewing pleasure below. Obviously, none of these of bands are ranked or come from a previously compiled list, so we chose purely random matchups to have as little impact as possible on the final outcome. We're actually pretty pleased with the way the bracket turned out!
Remember that, as with any poll, genre might occasionally clash against genre, so you'll just need to decide which artist has (or has had) the most to offer within his/their genre, perhaps which one has or had more natural talent or technical skill, which one had the biggest influence on other live acts, etc.
Let's get started! As always, you can vote only once per matchup (once per device, that is), and we'll be posting match-ups pretty much every day of the month, sometimes more than once per day, just to give you an early warning!
Details about The Endless River, the new Pink Floyd album from David Gilmour, Rick Wright and Nick Mason, were revealed today as the album artwork appeared on buildings in ten International cities, including New York and Los Angeles. The album will be released on Columbia Records on Monday, November 10, 2014, and is produced by David Gilmour, Phil Manzanera, Youth and Andy Jackson.
David Gilmour said: “The Endless River has as its starting point the music that came from the 1993 Division Bell sessions. We listened to over 20 hours of the three of us playing together and selected the music we wanted to work on for the new album. Over the last year we've added new parts, re-recorded others and generally harnessed studio technology to make a 21st century Pink Floyd album. With Rick gone, and with him the chance of ever doing it again, it feels right that these revisited and reworked tracks should be made available as part of our repertoire.”
Nick Mason said: “The Endless River is a tribute to Rick. I think this record is a good way of recognizing a lot of what he does and how his playing was at the heart of the Pink Floyd sound. Listening back to the sessions, it really brought home to me what a special player he was.”
The Endless River is mainly a four-sided instrumental album with one song, “Louder Than Words," with new lyrics by Polly Samson.The concept for the powerful imagery of a man rowing on a “river” of clouds was created by Ahmed Emad Eldin, an 18-year-old Egyptian digital artist. Ahmed’s image was then re-created by Stylorouge, award-winning UK design agency. Pink Floyd’s album artwork, mostly created by Storm Thorgerson of Hipgnosis, is as legendary as the band’s music. With Storm’s passing in 2013, the task of finding an image that carried on Storm’s legacy passed to Aubrey ‘Po’ Powell, Storm’s original partner in Hipgnosis. Po said: “When we saw Ahmed’s image it had an instant Floydian resonance. It’s enigmatic and open to interpretation, and is the cover that works so well for The Endless River.”
The Endless River’s track listing runs across four sides, to invoke the album listening experience:
The Endless River
SIDE 1
Things Left Unsaid
It’s What We Do
Ebb And Flow
SIDE 2
Sum
Skins
Unsung
Anisina
SIDE 3
The Lost Art of Conversation
On Noodle Street
Night Light
Allons-y (1)
Autumn’68
Allons-y (2)
Talkin’ Hawkin’
SIDE 4
Calling
Eyes To Pearls
Surfacing
Louder Than Words
Flying Colors will stage three appearances in North America to celebrate the release of the band's second studio album Second Nature. The quintet will perform on October 2nd in Los Angeles at the James Armstrong Theater, the 3rd in Chicago at the Arcada Theater and then in Philadelphia on the 4th at the Keswick.
Music Theories Recordings / Mascot Label Group and Flying Colors will issue the new release on September 29th overseas and then on the 30th in North America. Critics were united in acknowledging the eponymously titled debut album from Flying Colors among the most fascinating releases of 2012, teaming the talents of such heavyweight names as Deep Purple/Dixie Dregs/ex-Kansas guitarist Steve Morse, drummer Mike Portnoy (Transatlantic, Winery Dogs, ex-Dream Theater), Neal Morse (Transatlantic, Spock’s Beard and a prolific solo artist), bass player Dave LaRue (Dixie Dregs, Joe Satriani, Steve Vai and more) with a comparatively new talent, pop singer/songwriter Casey McPherson.
Guitar World is proud to present the entire stream of Second Nature:
Drummer Mike Portnoy shares, "Direction was never even discussed. We just did what we do. I think perhaps not having a producer to ‘trim the fat’ possibly led to the songs breathing and expanding a bit more.” Steve Morse offers, "This is an album full of many layers. The more you listen, the more you can hear. It’s an album to keep listening to.”
The complete track listing is:
"Open Up Your Eyes" "Mask Machine" "Bombs Away" "The Fury Of My Love" "A Place In Your World" "Lost Without You" "One Love Forever" "Peaceful Harbor" "Cosmic Symphony - I. Still Life Of The World; II. Searching For The Air; III. Pound For Pound"
The band's complete itinerary includes appearances in:
10/02 Los Angeles, CA James Armstrong Theater
10/03 Chicago, IL Arcada Theater
10/04 Philadelphia, PA Keswick Theater
10/07 Barcelona, Spain Razzmatazz 2
10/08 Milan, Italy Milan Live Club
10/09 Tilburg, Netherlands 013
10/11 Frankfurt, Germany Batschkapp
10/12 Pratteln, Switzerland Z7
10/13 London, U.K. Islington Assembly Hall
10/14 Paris, France Alhambra
This is an excerpt from the all-new November 2014 issue of Guitar World. For the rest of this story, plus our cover feature on Jeff Beck and ZZ Top's Billy Gibbons, not to mention features on Weezer, George Thorogood, the guitar pick revolution, Nita Strauss and Black Veil Brides, plus gear reviews (Epiphone, Zoom, Gretsch, TC-Helicon, Mesa and more) and lessons by Marty Friedman and Steel Panther's Satchel, check out the November 2014 issue of Guitar World!
Earlier this year, in preparation for the 40th anniversary of MXR, its parent company, Dunlop Manufacturing, took a survey to learn how guitarists perceive the pedal maker.
One of the questions asked was, “Which player do you associate the most with the MXR brand?” The respondents chose Eddie Van Halen more than 60 percent of the time. Notably, the runner-up received fewer than half as many mentions.
That result is, in part, due to MXR’s EVH Signature Series pedals, the EVH90 Phase 90 and the EVH117 Flanger, which became perennial best-selling MXR products upon their introductions in 2004 and 2007, respectively. But MXR pedals have remained an essential element of Van Halen’s sound since his band’s debut album was released in 1978.
The swirling textures of a Phase 90 are heard on classic tunes like “Eruption,” “Atomic Punk,” “Ain’t Talkin’ ’Bout Love,” “Everybody Wants Some!!” and “Drop Dead Legs” as well as new songs like “Outta Space” and “Stay Frosty,” and Van Halen’s distinctive and innovative use of the Flanger made an indelible impression on guitarists through songs like “Unchained,” “And the Cradle Will Rock…” and “Hear About It Later.” In addition to those two tone-enhancing mainstays, Ed has also relied upon pro-quality MXR tools like the Six-Band Graphic Equalizer and Smart Gate to keep his onstage tone full, aggressive and noise-free. His current onstage pedal board even includes an MXR Analog Chorus, which he uses for songs like “Pretty Woman” and “Little Guitars.”
In celebration of MXR’s 40th anniversary milestone, it made perfect sense for Guitar World to talk with the company’s most influential player about how his MXR pedals have influenced him throughout the last four decades.
GUITAR WORLD: Did you use any pedals when you were a kid and learning to play?
A wah-wah was probably the first pedal that I ever tried. I probably borrowed it from a buddy. But I was from the school of plugging the guitar straight into the amp, so I didn’t use any pedals at first.
How did you discover MXR pedals?
A really good friend of mine named Terry Kilgore and I were the so-called gunslingers in Pasadena back in the mid Seventies. We jammed together and would trade licks and have a lot of fun. We weren’t competitive at all. I went to one of his band rehearsals once, and that was when I first saw a Phase 90.
He used to play a lot of Robin Trower stuff. He used the Phase 90 with the speed control set around the 2 o’clock setting to get more of that fast, swirling sound. I decided to pick one up for myself. I was into Robin Trower too, but we didn’t play any of his songs, so I used it with the control set between 9 and 10 o’clock. I still use it the same way today. I just locked into that one setting, and I’ve used it ever since.
Why do you prefer the slower speed setting?
I thought it sounded unique. I never heard that before. It didn’t sound like the phase shifters made by other companies, where the phase sweep is more heavy and pronounced, almost more like a flanger. The Phase 90 produces a very light change of the sound. It’s not an over-the-top effect. It’s very subtle.
You tended to kick on the Phase 90 during your solos.
I did that in the early days because it would make the solo pop. Suddenly it became a different sound, which helped me stand out in the mix, because back then, in the club days, we usually had lousy P.A. systems and lousy sound guys. It didn’t boost the signal, but it made it pop out so the solo was more audible. It enhanced the tone.
What led you to the MXR Flanger?
Obviously, I liked the Phase 90, so when MXR came out with the Flanger, I said, What the hell? I loved their stuff. Their pedals are built like a brick shit house, and they make great sounds, so I started putzing around with the Flanger too. I always use the same setting for everything, from the intro to “And the Cradle Will Rock…” to “Unchained,” with the exception of the setting I used on the intro to “Outta Love Again” and “Bullethead.”
I set the three knobs on the left between 11 o’clock or 11:30, and the last knob on the right [regeneration] is all the way up. I might fine-tune the speed a little to match it to the tempo of the song, like on “Unchained” where the sweep goes perfectly with the riff. I was just goofing off and experimenting. It wouldn’t have sounded good to use the flanger all the way through. The riff just needed a little bit here and there. It’s a cool, tasty little tidbit that I threw in there to draw attention to the riff.
How did you decide to place the Flanger in front of the Phase 90 in your signal chain?
I have no idea! I think I just liked having the Phase 90 in the middle between the Flanger and the microphone on the stage.
How did these pedals influence your songwriting?
One good example is “And the Cradle Will Rock…” I had written that intro riff on the electric piano, and the guys thought that it needed something. I just hooked up the Flanger and pounded on the low keys. It was a great sound, and it worked. There wasn’t any rocket science to it. Even the Flanger on “Unchained” was totally by accident.
For some reason I just thought that the Flanger sounded good there. The way it goes from the sweep up to the sweep down wasn’t planned. My normal setting just happened to fit the tempo of the song. I kicked it in and out, and when I heard the way the Flanger swept up and then down, I thought it sounded cool. Nothing I’ve ever done is really all that thought out. I’d just wing stuff, and if it sounded cool I would do it again.
Do you remember how you came up with the intro to “Atomic Punk”?
That basic idea for that sound originally came from “Light Up the Sky,” which I had written before “Atomic Punk,” even though “Light Up the Sky” appeared on our second record. After the guitar solo there is a drum break, and you can hear me rubbing my palm on the low E string. One day I decided to try that with the Phase 90. It was an interesting sound, and it turned into a cool song. I’ve never really ever heard that sound from anyone else, neither before nor after I did that. After the solo, I actually also used the Flanger for a quick bit.
How did those pedals become an essential part of your sound?
They enhance the sound of what I’m playing. In certain spots I would use them if I needed them. It wasn’t a set thing; I’d just wing it, and nine times out of 10 it would work. I have to have an idea for a song first, then I’ll putz around and add or take away things. It’s like making a steak: you have to have the steak first, then you can make it better by adding a little seasoning, but not too much because you want to taste the steak, not the seasoning.
This is an excerpt from the all-new November 2014 issue of Guitar World. For the rest of this story, plus our cover feature on Jeff Beck and ZZ Top's Billy Gibbons, not to mention features on Weezer, George Thorogood, the guitar pick revolution, Nita Strauss and Black Veil Brides, plus gear reviews (Epiphone, Zoom, Gretsch, TC-Helicon, Mesa and more) and lessons by Marty Friedman and Steel Panther's Satchel, check out the November 2014 issue of Guitar World!
Last night, Beck got Conan's George Harrison Week off to a rousing start with his quick and to-the-point cover of Harrison's 1970 album track, "Wah-Wah."
This week's Harrison-themed festivities over at Conan are in celebration of a comprehensive new eight-disc box set, George Harrison: The Apple Years 1968-75, which compiles the guitarist's first six solo albums. The box set came out today.
"Wah-Wah" originally appeared on Harrison's celebrated All Things Must Pass Album, which some people (me, perhaps?) consider the greatest solo Beatles album — ever.
We've included Harrison's original version of the song below — for your listening pleasure!
Former Kiss guitarist Ace Frehley recently dropped by the very-fun-to-visit Vintage Room at Guitar Center Hollywood.
While he was there, he chatted (on camera) about what it feels like to play music, his musical beginnings and his relationship with Gibson, the Les Paul and a whole lot more.
Below, you can check out the video that chronicles his visit.
Frehley's new solo album, Space Invader, was released last month.
If you're into this sort of thing, check out these three official Guitar Center clips, all of which were posted earlier this year:
In the just-posted video below, the guys (and girls) in Tedeschi Trucks Band give their fans a unique look at a backstage rehearsal following a pair of weekend shows, the first of four this month at New York City’s Beacon Theatre.
Tedeschi Trucks Band — which includes Derek Trucks and Susan Tedeschi — once again put out the welcome mat, this time inviting Jerry Douglas, Taj Mahal and Jaimoe on Friday and Jimmy Herring and Duane Trucks on Saturday to join the band on stage.
In the clip, Taj leads TTB and Jerry Douglas through a rollicking version of "Leaving Trunk."
Two more scheduled shows at the Beacon, September 26 and 27, offer more opportunities for can’t-miss moments that have become synonymous with the group’s annual residency at the venue.
Tedeschi Trucks Band have released three albums, starting with Revelator, followed by the live Everybody’s Talkin’ and 2013’s Made Up Mind. With Trucks recently announcing his impending departure from the Allman Brothers Band at year’s end, it’s evident the guitarist has made TTB his top priority.
In the new issue, we feature Jeff Beck and Billy Gibbons. As they prepare to hit the road together for a summer tour, the two guitar legends wax philosophical on the rock and roll relationship between guitars, cars and everything in between. Like their music, Billy and Jeff’s insights are entertaining, surprising and, yes, surreal.
Then, Guitar World focuses on Crown the Empire. They've managed to set themselves apart by infusing their aggressive sound with orchestral elements, spoken-word pieces, sonic collages, samples, glitch electronics and souring arena-rock choruses, among other things. After a stellar debut with The Fallout, they return as metalcore superstars with their epic follow-up, The Resistance: Rise of the Runaways.
Next, unfazed by perennial reports of rock’s death, Weezer carry on with Everything Will Be Alright in the End, their ninth, and latest, studio album
Later, we talk about Brian Bell. As Rivers Cuomo’s sonically savvy guitar partner, he gets plenty of chances to shine.
Finally, as MXR celebrates its 40th anniversary, Eddie Van Halen tells us how he created his signature sound with help from two of the company’s most popular pedals: the Phase 90 and Flanger. Also, how Eddie’s MXR stomp boxes came into existence.
PLUS: Progressive picks, Tune-ups for Black Veil Brides, Avenged Sevenfold, Yellowcard, Nita Strauss, Epiphone Pro-1 acoustic and Les Paul Classic-T with Min-ETune electric guitars, Dunlop Uni-Vibe pedal, Man of Steel, Maestro AG's Gibson 18-string harp guitar and much more!
Five Songs with Tabs for Guitar and Bass
• Van Halen - “Ain’t Talkin’‘Bout Love” • Jeff Beck - “You Know What I Mean” • Darkest Hour - “The Misery We Make” • ZZ Top - “Legs” • Weezer - “Buddy Holly”
Knowing your way around a guitar setup can save you time, money and stress (when those at-the-gig emergencies strike).
Changing strings, setting the intonation and basic soldering/electronics knowledge are all things you can learn through trial and error. But frets? No one ever talks about frets!
Guitar builder J.S. Bogdanovich has released something called Buzz-Off. Besides having a great name, the product is an easy-to-use kit that helps you eliminate fret buzz caused by high frets. Everything is included — tools, sandpaper, steel wool and instructions. If you can use a level and sandpaper (and have some patience), you can do it all yourself.
Before getting started, make sure your guitar's neck is straight. This kit levels frets; it doesn't repair fret buzz caused by a warped neck.
The first step is to measure the frets with the supplied three steel dowels. Lay a dowel across three frets and try to rock the dowel back and forth. If it doesn’t move, the frets are level. If it moves and makes a clicking sound, you’ve found a high fret. (The large dowel is for the frets closest to the nut. Switch to the smaller dowels as you work your way down the fretboard.)
The next step is to take the sanding block with the 220-grit sandpaper and lower the fret. Before that, I suggest taping off your fretboard with painter’s tape to avoid marking up the fretboard. I also marked the high frets with a highlighter to avoid confusion. Can’t find painter’s tape? I’ve used Post-it notes in a pinch.
After you take the fret down a little, switch to the 400-grit sandpaper to smooth it out and the steel wool to polish up the fret.
Finally, measure again with the steel dowels. Repeat the process if necessary. Go slow. You can always repeat the process a third or fourth time, as opposed to taking off too much. Remember we’re dealing with thousandths of an inch here!
I recorded before-and-after clips for a Strat and a P-bass, both of which got the Buzz-Off treatment. Check out the website link below for a video demo of Buzz-Off as well as other guitar-building information.
You can't believe everything you read on the Internet, but Billy Voight is a gear reviewer, bassist and guitarist from Pennsylvania. He has Hartke bass amps and Walden acoustic guitars to thank for supplying some of the finest gear on his musical journey. Need Billy's help in creating noise for your next project? Drop him a line at thisguyonbass@gmail.com.
Flyleaf have consistently dominated the active, alternative and mainstream rock charts since their eponymous, self-titled debut was released in 2005.
With the arrival of new vocalist Kristen May and the band’s new album, Between the Stars, which was released September 16, that trend is continuing.
Produced by Don Gilmore (Pearl Jam, Linkin Park and Avril Lavigne), Between the Stars is Flyleaf’s fourth studio album. It delivers 12 hook-laden tracks that are deeply rooted in guitar-based rock.
Guitarist Jared Hartmann’s hypnotic riffs are tastefully executed, creating a surreal landscape of infectious melody that takes the listener on a sonic journey. Flyleaf is Kristen May (vocals), Jared Hartmann (guitars), Sameer Bhattacharya (guitars), Pat Seals (bass) and James Culpepper (drums).
I recently spoke with Hartmann about the new album and his musical upbringing.
GUITAR WORLD: How would you describe the sound of Between the Stars as compared to previous Flyleaf albums?
It's going to be a little different than some of the other Flyleaf records. Obviously, it will be different because we have a new singer [Lacey Sturm amicably left the band in 2012], but it’s also going to be a bit different musically as well.
We used a lot of keyboards on this album to add some interesting elements to a few of the songs. We'll see what people think! There’s something that's similar to our previous albums but it’s also going in a new direction.
How did you connect with Kristen?
After Lacey decided to leave the band, we started looking for singers and someone suggested that we check out Kristen. Her band, Vedera, had recently broken up, so the timing was perfect. So Kristen came in, knew all of the songs and was cool to hang out with. She’s the perfect fit.
What was the writing process like for this album?
We were just getting to know Kristen and decided to do a few writing sessions where we all got together for a week and wrote songs. The more we wrote together, the better those sessions became. These songs are from those writing sessions.
How does a Flyleaf song usually begin?
It depends. Songs can come out from a bunch of different ways. Sometimes I'll come up with a riff or a few heavy guitar ideas and sometimes it might be a near finished song. Sameer pretty much had “City Kids” written and Pat pretty much had “Blue Roses” complete before we went in. There are so many writers in this band with so many different ideas. Every song has its own unique story
What was it like working with Don Gilmore?
It was a great, collaborative experience. Don’s really hands-on and was a natural part of the process. He’s very laid back but is really into the music.
What’s your setup like these days?
I use Paul Reed Smith McCarty guitars that I run through a modded Marshall JCM800 and a Diezel Einstein.
Did you always know music would be your calling?
Growing up, I was around music a lot, but it wasn’t something I originally had a passion for. All I wanted to do was play video games [laughs]. But once I got to middle school, my parents wanted me to play an instrument. I remember going to the signups for band wanting to play drums — because I thought it was the coolest thing there. That didn’t work out so I moved on to the sax, trumpet and then clarinet, but nothing seemed to fit.
Finally, my mom said, “Well, why don’t you play guitar?” I decided to give it a try and took a few lessons. It was around the same time Sameer and I became friends. Once we hit high school, we started getting music into more and going to see bands. That’s what inspired me and made me realize that music was something I could do. I started playing all the time and it quickly turned into a passion.
Can you tell me the origin of Flyleaf?
Coming up, we were all in different bands. Sameer and I were in a local band together, Lacey was playing acoustic in coffee shops and James used to play keyboards in a band and then switched over to drums. We all knew of each other and at different times our bands broke up. That was when Lacey and James got together and started writing. Then Lacey called me and invited me to come in and play guitar with them. I brought Sameer along and everything just clicked. A few months later we got Pat and from there, we hit the road.
What excites you the most about this next chapter of Flyleaf?
Completing the new album is great but I’m also looking forward to getting back out there to interact and connect with people again. That’s the most exciting part of it.
FRI 10/3 Lubbock, TX Jake's Backroom
SAT 10/4 San Antonio, TX 210 Kapones Live
SUN 10/5 Corpus Christi, TX House of Rock
TUE 10/7 Houston, TX Scout Bar
WED 10/8 Baton Rouge, LA Varsity Theatre
THU 10/9 Atlanta, GA The Loft @ Center Stage
SAT 10/11 Carrboro, NC Cats Cradle
MON 10/13 Washington, DC Rock & Roll Hotel
TUE 10/14 Cambridge, MA TT the Bears
THU 10/16 New York, NY Gramercy Theatre
FRI 10/17 Philadelphia, PA District N9ne
SAT 10/18 Portland, ME Asylum
MON 10/20 Pontiac, MI The Crofoot
TUE 10/21 Chicago, IL Subterranean
WED 10/22 Milwaukee, WI Rave Bar
FRI 10/24 Lawrence, KS Granada Theater
SAT 10/25 Colorado Springs, CO Black Sheep
SUN 10/26 Denver, CO The Summit Music Hall
TUE 10/28 Salt Lake City, UT The Complex
THU 10/30 Seattle, WA El Corazon
FRI 10/31 Portland, OR Hawthorne Theatre
SAT 11/1 San Francisco, CA Slims
TUE 11/4 Los Angeles, CA House of Blues
THU 11/6 Anaheim, CA House of Blues
FRI 11/7 San Diego, CA House of Blues
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.
Throughout many years years of teaching guitar, I've learned how to pick up on behavioral patterns in my students.
Depending on the student’s age, experience and commitment, some of the patterns are pretty typical — such as expecting the teacher to magically do all the practicing for them, not bringing in ideas as to what they would love to learn next, being late for lessons, etc. You get the idea.
Today I want to talk about one of the biggest self-sabotaging mistakes many students make. This silent assassin applies even to some of my most committed students.
It goes something like this:
I show my student an example. Before I am done with it, he or she student starts to try to play it immediately. This happens more often than not while I’m in the middle of showing them "how to play it." Get it?
I have no idea why students do this. Sometimes it drives me bonkers. It must be a human-nature thing. But, as you can imagine, there's a huge disconnect here. How can a student play something correctly when he or she doesn’t know fully how it's supposed to be executed in the first place?
I don't know why this happens. Maybe they're anxious to see if they can do it, or they're impatient. I don’t think people are even aware of it. But "why" isn't really the point.
Here's a tip: If you're a taking a lesson, remember to listen till the teacher is done explaining something to you. It will make it much easier for you to learn. And then you'll still have the rest of the day to practice it. You'll make your teacher much happier!
Hope this helps!
Polish-born Metal Mike Chlasciak has recorded or performed with heavy metal greats Rob Halford, Sebastian Bach, Bruce Dickinson and Axl Rose. Mike is the long-time guitarist for Judas Priest frontman Rob Halford's solo endeavor, Halford. Mike's new album, The Metalworker, is available at metalmike.net. For more info, check out his official website and visit him on Twitter.
Here’s the duo of Orianthi and Richie Sambora performing an acoustic rendition of the Bon Jovi classic, “Livin’ on a Prayer.”
The acoustic guitars give the song a laid back vibe, while Orianthi and Sambora trade lead vocals.
The two also deliver some fine acoustic lead work.
“Livin’ on a Prayer” was the second single from Bon Jovi’s 1986 album, Slippery When Wet. The single became the band’s second consecutive #1 Billboard Hot 100 hit.
Having toured together this summer, Sambora and Orianthi are reportedly working on a collaborative album.
Dear Acoustic Nation: My bridge looks like its pulling off. It’s tilting forward to such a degree that I can slip a piece of paper under the back edge. In addition, the top of the guitar behind the bridge is rising a little. What should I do? In the meantime I’ve tuned my strings down a whole tone —two frets—to reduce the tension on the bridge.
- Charles L, Brooklyn, NY
Dear Charles:
Tuning down your strings was a smart idea. But you’d be really smart if you’d tune your strings all the way down, until they’re completely slack, and do it now! Then finish reading the rest of this article to see what the urgency is all about.
Let’s begin by looking at what may be causing your problem, and then see what may be done to help.
String tension is the culprit. Steel strings pull up against the top of the guitar with 125 to 175 pounds of tension, depending on the gauge. This is the big problem that faces guitar makers: strings want to pull those lovely bodies apart.
To fight back manufacturers rely on a system of supports, which we’ll get to in a moment, to help the top withstand the force of the strings. Unfortunately if this system is too heavy, weight wise, it can deaden the guitar’s sound. Building with a thicker top also can add strength, but again, to the detriment of the sound.
The goal is to find the perfect balance—to build a guitar that’s light enough to sound good, and heavy enough to withstand strong tension. Our problem is a result of the fact that guitars are built right on this edge.
Fortunately guitar makers know what they’re doing so it doesn’t happen often. But if some weakness develops in any part of the system, it can bring the whole system down with it.
The bridge is only the first line of defense against the relentless pull of the strings. It’s a big block of glued-on wood that helps reinforce the guitar top and diffuse the force of the strings, as well as distribute the string vibrations to the top. But it doesn’t fight that battle alone.
Glued inside the guitar body beneath the bridge is a heavy reinforcing hardwood strip called the bridgeplate. Additional support for the top comes from the interior bracing, which in most recent modern designs passes over or alongside the bridge plate. Like the bridge, the bracing also serves the function of distributing string vibrations across the top.
This means that the bridge is only one element in a system of functionally integrated structures devoted to withstanding string tension.
A top that pulls up (this is called “bellying” by the way, and a little bit of it is normal) is a sign that the whole system may be at risk. The bridge plate may be defective. Braces may have cracked or come loose. Bridge and bracing joints, particularly on older guitars built with older glues may fail due to heat and humidity. Bridge or brace work may have shrunk—again, more likely in an older guitar.
Whatever is the case, it’s something that can be fixed, though it may not be cheap. Sometimes an inexpensive guitar that falls apart may not be worth fixing.
Now lets consider what you can do to avoid such problems in the future. First and foremost don’t overstring your guitar. Overstringing, of course, means habitually using strings that are too heavy for your guitar.
Most high end guitars are made to withstand a lifetime’s worth of tension typically engendered by medium (.012-.056) strings, but their warrantees become voice if heavy (.014 - .058) strings are used instead.
Just about no one uses heavy-gauge strings any more, although in pre-amplifier days big-band rhythm guitars used them to maximize the volume of their archtops. Today they’re generally found on heavily built resonator guitars. Both archtops and resonator guitars, it should be noted, use tailpieces designed to help keep the tension of heavy strings from pulling directly on the top.
Some vintage, lightly braced or just plain cheap guitars will live longer when fitted with light strings. In particular some of the inexpensive beginner-quality acoustic-electric guitars now on the market seem to me to be geared towards players comfortable with electric guitar gauges (starting at .010 or so).
Some acoustic-electric guitarists—especially beginners who don’t have a solidbody yet, like to string these guitars very lightly so they can mic solidbody-style string bending.
Secondly, observe all the normal precautions recommended to minimize trauma and excessive heat and humidity. A sharp blow can loosen or crack a brace. Climatic conditions can cause a brace to shrink loose, or its glue joint to fail. If you’re lucky it’ll rattle enough to notice and you’ll get it fixed sooner. If it stays silent, you might not notice until too late, after further symptoms of a more terminal nature manifests themselves.
In any case, pulled-up bridges and bellies are a potential condition that all guitarists face sooner or later, because guitars are essentially fragile instruments caught in a delicate balance between the conflicting demands of lightness and durability.
Got a burning question about acoustic guitar? Post it on our Facebook at www.facebook.com/acousticnationnews
A few more facts about AC/DC's next album — their first in six years — have been released by the band.
The disc will be called Rock Or Bust. It will feature 11 songs and will be released November 28 in Australia and December 2 in North America.
Luckily, fans won't have to wait too long to hear a taste of the new album. On September 27, Turner Sports (yes, Turner Sports) will premiere a new song, "Play Ball," as part of its 2014 Major League Baseball Postseason campaign.
Sadly, AC/DC also have revealed that founding guitarist Malcolm Young will not be returning to the band due to his poor health.
"Unfortunately due to the nature of Malcolm's illness, he will not be rejoining the band," reads a statement issued by the band's labels.
The band will embark on a world tour in to promote Rock Or Bust and celebrate their 40th anniversary, with Angus and Malcolm Young's nephew Stevie stepping in for Malcolm on rhythm guitar. Stevie played on the new CD, which was recorded at the Warehouse Studio in Vancouver, British Columbia, Canada, with producer Brendan O’Brien and mixer Mike Fraser.
While promoting his debut solo album last month, AC/DC drummer Phil Rudd dismissed reports that AC/DC had considered calling it quits after Malcolm's illness was made public.
"Angus Young will never retire," Rudd said. "We were never going to retire. It'll never happen. Angus will never retire and as long as Angus never retires, I won't fucking retire either."
