Jonny Lang has announced the upcoming release of Fight For My Soul, his first studio album in seven years.

The album, the followup to 2006's Turn Around, will be released September 17 via Concord Records. The album's first single, "Blew Up (The House)," began streaming today at USAToday.com (Click on the link to take a listen).

"This particular record has taken quite a long time to finish for a lot of different reasons," Lang said. "Most of all, I started a family a few years back. Between family time and being out on the road, I really had to pick my spots to fit in recording.

"This album is something I've been wanting to do for a long time. Some of these songs may surprise people, but that's what it's all about. It keeps it fresh, and it keeps me growing. Creatively, I think there is a lot more going on inside of me than I've been sharing on record so far. Much of what I've experienced through music and life in general is in these songs."

For more information, check out jonnylang.com and Lang's Facebook page.

FIGHT FOR MY SOUL TRACKLISTING:

Blew Up (The House)
Breakin' In
We Are The Same
What You're Looking For
Not Right
The Truth
River
Fight For My Soul
All Of A Sudden
Seasons
I'll Always Be

JONNY LANG TOUR DATES

Jul-18 Spokane, Washington Bing Crosby Theatre
Jul-20 Brooks, California Cache Creek Casino
Jul-21 Saratoga, California Mountain Winery
Jul-23 San Diego, California Humphrey's Concerts By The Bay
Jul-24 San Juan Capistrano, CA Coach House
Jul-25 Agoura Hills, CA Canyon
Jul-27 Las Vegas, NV Boulder Station
Aug-02 Lockport, New York Labatt Canal Concert Series
Aug-03 Falls Church, VA State Theatre
Aug-10 Arlington, Washington Festival of The River
Aug-17 Thief River Falls, Minnesota Last Ride Blues Festival
Sep-05 Urbana, Illinois Elnora Guitar Fest @ Krannert Center
Sep-06 Bayfield, Wisconsin Big Top Chautauqua
Sep-07 St Charles, Illinois Arcada Theater
Sep-08 Des Moines, Iowa Val Air Ballroom
Sep-14 Durant, Oklahoma Choctaw Casino
Sep-15 Lincoln, NE Bourbon Theatre
Sep-17 Fargo, North Dakota Fargo Theatre
Sep-18 Minneapolis, Minnesota State Theatre
Sep-20 Rockford, Illinois Coronado PAC
Sep-21 Madison, Wisconsin Overture Center for the Arts
Sep-22 St. Louis, MO The Pageant
Sep-24 Cleveland, Ohio House Of Blues
Sep-26 Boston, Massachusetts Wilbur Theatre
Sep-27 Glenside, Pennsylvania Keswick Theatre
Sep-28 New York, New York Irving Plaza
Oct-01 Paris, FRANCE New Morning
Oct-03 London, England The Borderline
Oct-05 Avignon, France Avignon Blues Festival
Oct-06 Zurich, Switzerland X-tra
Oct-08 Hamburg, Germany Fabrik
Oct-09 Bochum, Germany Zeche Bochum
Oct-10 Munich, Germany Muffathalle
Oct-12 Nancy, France Nancy Jazz Pulsations
Oct-14 Amsterdam, Netherlands Melkweg
Oct-15 Brussels, Belgium Ancienne Belgique
Oct-18 Houston, Texas House Of Blues
Oct-19 New Orleans, Louisiana Crescent City Blues Fest
Oct-20 Dallas, Texas House Of Blues
Oct-22 Denver, Colorado Ogden Theatre
Oct-23 Durango, CO Fort Lewis College
Oct-25 Scottsdale, AZ Talking Stick
Oct-26 Beverly Hills, California Canyon Theater
Nov-05 Milwaukee, WI Potawatomi Casino
Nov-06 Milwaukee, WI Potawatomi Casino
Nov-08 Chicago, Illinois House Of Blues
Nov-09 Kalamazoo, MI State Theatre
Nov-10 Carmel, Indiana The Palladium
Nov-12 Greensburg, PA Palace Theatre
Nov-14 Westbury, NY Theatre at Westbury
Nov-15 Cranston, RI Park Theatre
Nov-16 Port Chester, New York Capitol Theatre
Nov-19 Clearwater, FL Ruth Eckerd Hall
Nov-20 West Palm Beach, FL Raymond F. Kravis PAC
Nov-21 Miami, FL Knight Concert Hall
Nov-23 Lake Buena Vista, FL House Of Blues
Nov-24 Atlanta, GA Center Stage

Some of you might remember an old Tascam print ad from the '80s or '90s.

It showed a photo of the Beatles'Sgt. Pepper's Hearts Club Band LP propped up against a shiny new Tascam four-track recorder. The witty slogan above the photo was something like "Four-Track Masterpieces."

Although its goal was to sell a ton of Tascam machines (and to lodge itself in a dusty corner of my brain for a few decades), the ad also served as a reminder to the average, non-Beatles-obsessed human that the band's game-changing 1967 masterpiece was, in fact, recorded using a mere four tracks.

Below, you can check out a handy video that demonstrates how the album's iconic title track came together. The video shows the final four-track mixdown of the song. First each track is played alone, then all at once.

It's kind of awesome.

The song was recorded February 1 and 2 and March 3 and 6, 1967, at Abbey Road Studio Two with engineer Geoff Emerick at the helm and George Martin producing.

GREEN LINE: On February 1, the band recorded nine takes of the rhythm track, although only the first and last takes were complete. They tracked drums (Ringo Starr), bass (Paul McCartney) and guitars (McCartney and George Harrison).

BLUE LINE: In early March, John Burden recorded his French horn part, and some brass parts were overdubbed. McCartney also tracked his lead guitar part (NOTE: The band's traditional roles had essentially dissolved by that point, and there really was no single lead guitarist; be sure to check out McCartney's brilliant guitar solos on "Taxman" and "Good Morning Good Morning").

RED LINE: On February 2, McCartney, who wrote the song, recorded his lead and harmony vocals, and John Lennon and Harrison added their harmony vocals.

YELLOW LINE: They also added the overdubbed crowd noises in March.

For more of this sort of thing, be sure to check out Eric Clapton's isolated lead guitar part from the Beatles'"While My Guitar Gently Weeps."

Enjoy!

A few years ago, the editors of Guitar World magazine compiled what we feel is the ultimate guide to the 100 Greatest Guitar Solos of All Time.

The list, which has been quoted by countless artists, websites and publications around the world, starts with Richie Sambora's work on Bon Jovi's “Wanted Dead or Alive” (Number 100) and builds to a truly epic finish with Jimmy Page's solo on "Stairway to Heaven" (Number 1).

To quote our "Stairway to Heaven" story that ran with the list, "If Jimmy Page is the Steven Spielberg of guitarists, then 'Stairway' is his Close Encounters."

We've kicked off a summer blockbuster of our own — a no-holds-barred six-string shootout. We're pitting Guitar World's top 64 guitar solos against each other in an NCAA-style, 64-team single-elimination tournament. Every day, we will ask you to cast your vote in a different guitar-solo matchup as dictated by the 64-team-style bracket.

You can vote only once per matchup. The voting for each matchup ends as soon as the next matchup is posted (Basically, that's one poll per day during the first round of elimination, including weekends and holidays).

In some cases, genre will clash against genre; a thrash solo might compete against a Southern rock solo, for instance. But let's get real: They're all guitar solos, played on guitars, by guitarists, most of them in some subset of the umbrella genre of rock. When choosing, it might have to come down to, "Which solo is more original and creative? Which is more iconic? or Which one kicks a larger, more impressive assemblage of asses?"

Yesterday's Results

Winner:"All Along the Watchtower" (81.03 percent)
Loser:"Zoot Allures" (18.97 percent)


Today's Round 1 Matchup (Day 27):
"Eruption" Vs. "Scar Tissue"

Today, as we draw closer to wrapping up Round 1 of our Greatest Guitar Solos of All Time readers poll, we see the biggest mismatch since the day "Stairway to Heaven" (01) faced "Little Red Corvette" (64). We find Eddie Van Halen's "Eruption" (which is ranked at Number 2 on our list of the greatest guitar solos of all time) competing against song Number 63, Red Hot Chili Peppers'"Scar Tissue," featuring a lovely slide solo by John Frusciante.

We know this is an odd matchup, but remember that Round 2, where higher-ranked solos and crowd favorites will duke it out in earnest, is right around the corner. Get busy! You'll find the poll at the bottom of the story.

02. “Eruption”
Soloist: Eddie Van Halen
Album: Van Halen—Van Halen (Warner Bros., 1978)

63. "Scar Tissue"
Soloist: John Frusciante
Album: Red Hot Chili Peppers—Californication (Warner Bros., 1999)

Cast Your Vote!

Head HERE to see today's matchup and all the matchups that have taken place so far!

A few years ago, the editors of Guitar World magazine compiled what we feel is the ultimate guide to the 100 Greatest Guitar Solos of All Time.

The list, which has been quoted by countless artists, websites and publications around the world, starts with Richie Sambora's work on Bon Jovi's “Wanted Dead or Alive” (Number 100) and builds to a truly epic finish with Jimmy Page's solo on "Stairway to Heaven" (Number 1).

To quote our "Stairway to Heaven" story that ran with the list, "If Jimmy Page is the Steven Spielberg of guitarists, then 'Stairway' is his Close Encounters."

We've kicked off a summer blockbuster of our own — a no-holds-barred six-string shootout. We're pitting Guitar World's top 64 guitar solos against each other in an NCAA-style, 64-team single-elimination tournament. Every day, we will ask you to cast your vote in a different guitar-solo matchup as dictated by the 64-team-style bracket.

You can vote only once per matchup. The voting for each matchup ends as soon as the next matchup is posted (Basically, that's one poll per day during the first round of elimination, including weekends and holidays).

In some cases, genre will clash against genre; a thrash solo might compete against a Southern rock solo, for instance. But let's get real: They're all guitar solos, played on guitars, by guitarists, most of them in some subset of the umbrella genre of rock. When choosing, it might have to come down to, "Which solo is more original and creative? Which is more iconic? or Which one kicks a larger, more impressive assemblage of asses?"

Yesterday's Results

Winner:"Eruption" (77.93 percent)
Loser:"Scar Tissue" (22.07 percent)


Today's Round 1 Matchup (Day 28):
"Hotel California" Vs. "Walk"

Today, as we draw closer to wrapping up Round 1 of our Greatest Guitar Solos of All Time readers poll, we see an unusual matchup as Dimebag Darrell squares off against Don Felder and Joe Walsh. It's the Eagles'"Hotel California" (08) Vs. Pantera's "Walk" (57). Get busy! You'll find the poll at the bottom of the story.

08. “Hotel California”
Soloist: Don Felder, Joe Walsh
Album: The Eagles—Hotel California (Asylum, 1976)

57. "Walk"
Soloist: Dimebag Darrell
Album: Pantera—Vulgar Display of Power (Elektra, 1992)

Cast Your Vote!

Head HERE to see today's matchup and all the matchups that have taken place so far!

Today, July 7, is Ringo Starr's birthday.

So I figured I'd celebrate this most joyous of occasions by gathering up five songs that feature the best guitar work to be found on Ringo's solo albums.

After all, from 1970's Sentimental Journey through 2012's Ringo 2012, Ringo's albums have featured guest appearances by several uber-talented guitarists (and bassists, singers, keyboardists and drummers), including George Harrison, Eric Clapton, David Gilmour, Joe Walsh, Stephen Stills, John Lennon, Robert Randolph, Jeff Lynne, Paul McCartney, Peter Frampton and former GuitarWorld.com blogger Laurence Juber.

So, as promised, here are five solo Ringo Starr songs with guitar work that really stands out.

05. PRIVATE PROPERTY from Stop and Smell the Roses (1981).
Guitarist: Laurence Juber.

This tune, which was written by Paul McCartney, is one of three songs McCartney and his crew (including his wife Linda, Wings guitarist Laurence Juber and pedal steel guitarist Lloyd Green) contributed to Ringo's Stop and Smell the Roses sessions.

Juber's brief but brilliant solo is near the end of the song. NOTE: The song itself doesn't start until 1:04 in the video below.

04. A DOSE OF ROCK 'N' ROLLRingo's Rotogravure (1976).
Guitarists: Peter Frampton, Jesse Ed Davis, Danny Kortchmar.

There's not much to say about the two-part guitar solo on this song (most likely played by Jesse Ed Davis and Peter Frampton), except that it's dang perfect, although a little too brief. Listen to how it starts off all friendly and happy and then heads off into a menacing place as it follows the solo's unique chord changes.

I recently spoke to Frampton about this song, and here's how it went:

GUITAR WORLD: You’re credited with playing guitar on a Ringo Starr single from 1976, “A Dose of Rock ’N’ Roll,” from Ringo’s Rotogravure. But is that you playing the actual guitar solo?

PETER FRAMPTON: I can't remember [laughs]. It was the '70s, and I know I was sober for the session, but I'm not sure about right after. I'd have to listen to it again and see. People keep coming up to me, saying, "Is this you on this?" And I have to go listen to it to find out. I did more sessions than I remember doing. There were a lot of things in the '70s that I played on that people keep reminding me about.

[I play the song to him.]

Yeah, the first part is me. I forgot all about that! That's me. And then, I forget who it is that comes in there, but that sounds like I'm playing my Gibson and then a Telecaster or a Strat comes in.

Well, Jesse Ed Davis is one of the other guitarists who plays on that track. [NOTE: Guitarist Danny Kortchmar also plays on the song.]

Oh, yeah, Jesse Ed Davis. That's probably who it is.

To read the rest of my conversation with Frampton, head here.

03. NEVER WITHOUT YOU from Ringo Rama (2003).
Guitarist: Eric Clapton.

This song, a bright spot from Ringo's way-too-freaking-long Mark Hudson era (Hudson was Ringo's producer), is Ringo's tribute to George Harrison, who had died of cancer only two years earlier.

It features some great Eric Clapton riffs, from the solo through to the end of the song. That dude playing the Strat and miming the solo in the video is not Clapton, by the way. You might want to close your eyes during the solo to avoid distraction.

02. $15 DRAW from Beaucoups of Blues (1970).
Guitarist: Jerry Reed.

This is one of the killer songs from Ringo's second solo album, 1970's Beaucoups of Blues, which he recorded in Nashville with some of the city's best studio musicians. Charlie Daniels is on this album, as are D.J. Fontana, Pete Drake and Sorrells Pickard, who wrote this song.

Anyway, "$15 Draw" sums up Jerry Reed's playing style to a T. You can hear Reed explore this same sort of picking in his song "Guitar Man." He plays on his own version of the song and on Elvis Presley's version.

I've always thought this song could be a hit for someone. It tells a great story, it takes you on an emotional roller coaster and it has a super-catchy guitar riff. It might be cool if a young female country artist were to record it. (Please credit me with the idea!)

01. BACK OFF BOOGALOO A-side of a 1972 Apple Records single, now available on Photograph: The Very Best of Ringo Starr.
Guitarist: George Harrison.

George Harrison's slide guitar playing is all over this Richard Starkey (Ringo Starr) composition, the 1972 follow-up to Ringo's first hit single, "It Don't Come Easy," which also features a great solo by Harrison.

The song also features some fine drumming by Ringo, bass playing by Klaus Voormann and piano tinkling by Gary Wright.

Harrison played several great guitar solos on Ringo's records throughout the years, including "Early 1970,""Down and Out,""Wrack My Brain" and "King of Broken Hearts."

Damian Fanelli is the online managing editor at Guitar World. He performs every year at the Fest for Beatles Fans and Abbey Road on the River, he's played on sessions and soundtracks in New York and Los Angeles, and he's tired of eating apples.

What can you buy with $89.28? That’s probably close to your monthly unlimited* smartphone bill.

In gear land, $89.28 could buy you an overdrive pedal, maybe a nice strap and a good cable — or 357 25-cent guitar picks!

But can it get you a fully functioning, brand-new guitar?

Monoprice.com recently got into guitar sales. Of course, I’m aware it's not the only online retailer offering guitars for budget-minded players, but what drew me to this company was its 30-day return policy and the claim that each guitar is set up by a tech before it is shipped out. What do I have to lose?

The California Classic series is Monoprice.com’s take on the Stat. It features 22 frets (not 21), three single-coil pickups with a familiar five-way pickup selector, a Volume/Tone/Tone setup, a three-spring tremolo bridge, a basswood body and a bolt-on maple neck with a rosewood fretboard. The California Classic series is available in red, black, white or sunburst.

So Dennis, my local UPS driver (Yeah, we’re on a first-name basis), dropped off my California Classic. First things first, it was well packed with plenty of cardboard and wrap inside the box to keep it from shifting. It was even wrapped again inside the gig bag.

Included with the guitar is a gig bag, Allen keys for adjustments, a whammy bar and a signed certificate of inspection. Right out of the box, it played great. No sharp fret edges, comfortable action, zero buzzing. It was even close to in-tune after its trek from California to Pennsylvania.

In terms of dimensions, weight and looks, it’s very comparable to the Strats I own. In person, the red is its own shade, brighter than Candy Apple but darker than Fiesta Red. I have no complaints with the stock strings, either. A big pet peeve of mine is dreadful stock strings, you know, the ones with the tension and resonance of a gummy worm. Not the case here. Along with a slew of other accessories, Monoprice.com sells its own branded strings, which you can buy separately.

If I had to gripe about one thing, it’d be the gig bag. Most guitars in its class don’t come with a gig bag, so I applaud Monoprice.com for including it. It will work great for storing purposes or “light travel," but if you plan on regularly taking this guitar to jams, gigs or lessons, I’d suggest getting something with a little more padding.

So it looks good and feels good. How does it sound? Below are two audio clips to help you decide for yourself. In my opinion, it does the Strat thing well. My recording setup was the California Classic straight into a Vox mic’d with a Shure SM57. For the dirtier clip, I cranked up the amp. For the clean clip, I just rolled back the master volume on the guitar ala Jeff Beck.

Web: monoprice.com
Price: $89.28
Optional Accessories: Headphone amp, $19.77; 12 pack of celluloid picks, $1.93; strings, $4.97; guitar stand, $6.35

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.

He’s married to Pat Benatar and has played guitar on every one of her records, but what Guitar World readers really want to know is …

Pat Benatar’s “You Better Run” was the second music video ever played on MTV. What do you remember about making it? — Ken Bower

With MTV, music went from being just an audio form of communication to a visual one too, which was great. The problem was, you could have a great hairdo—and I had a perfect greaser cut when we started shooting “You Better Run”—but it took nine hours to shoot that thing. By the time we were done my hair had frizzed out! [laughs] Another cool thing is that someone pointed out to me years later that I was the first guitar player on MTV. There was no real guitar in the previous song [The Buggles’ “Video Killed the Radio Star”]. I had no idea about that until someone mentioned it to me.

Who has been your biggest influence on guitar? — Michael Felton

Jeff Beck, purely for how he attacks the instrument. With Beck, it’s not so much the notes he plays but the impact they have. I picked up on him early on because I loved his work with the Yardbirds. He really dug in. Eric Clapton was smooth and sweet—fine, I got it. But I never really went for it. Jeff was the guy.

In the Eighties you came up with some great hard-rock riffs and leads. But you were never part of the whole guitar-god thing that dominated that era of rock. How did you feel about that? — Thom Stephenson

I didn’t mind it at all, because I always viewed myself as more of a songwriter I use the guitar as a tool to create. Also, I wasn’t a dweedler—my hands didn’t move like that—and I didn’t use Marshall stacks. I liked 2x12s. I guess I also didn’t fit into the hair-band thing because my hair didn’t look good long. I always wore it short.

Your main guitar back in the day was a B.C. Rich Eagle. How did you come to play that model? — Sid Ramos

In 1977, I joined Rick Derringer’s band and I was playing a red Gibson SG. Rick had a [B.C. Rich] Mockingbird, and the first thing he said to me was, “You’re in the band, but you gotta get a new guitar. You can’t play that SG.” Then he said, “I’ll get you a B.C. Rich, but you can’t play a Mockingbird, because I play one.” So I said, “Okay, I’ll have an Eagle.” And [B.C. Rich founder] Bernie Rico fixed me up with a couple of them. And now B.C. Rich has a Neil Giraldo Eagle model. We have a new one coming out next year called Kato 13.

What was your setup on those classic Pat Benatar records like Crimes of Passion? — Andrew Benton

For amps, I used Marshall 2x12 100-watt combos, which are pretty rare. They were 1979 JMPs. When we did the US Festival I needed more of them, so I contacted Jim Marshall, and he said, “First of all, nobody wants those things. They’re impractical. They’re too heavy.” But he told me had four left. He said, “You want ’em?” And I said, “Sure!” My usual setup was two 2x12s running in stereo, and I used an [Eventide] H949 Harmonizer as a gain input to drive the front end. Guitar-wise I had the Eagles, though on the first record [1979’s In the Heat of the Night] I used Strats and Teles, too.

I never knew until recently that you played the solo on Rick Springfield’s 1981 hit “Jessie’s Girl.” It’s awesome! How did that come about? — Marissa Fitzpatrick

Actually, I did all the guitars on “Jessie’s Girl,” and the bass, too. [Producer] Keith Olsen was working with Rick at the time and he wanted me to co-produce and arrange the record with him. Rick had a demo for “Jessie’s Girl,” and it was a very good demo, but he had some strange kind of instrumental bridge that was awkward to the song. So I said, “When we get to that section, why don’t we just give it 16 measures and I’ll put a solo in?” We actually cut the drums and rhythm guitars first, and then I put on the bass and the lead guitar. Then Rick sang it, and that was it. And it’s the only Number One record I’ve ever had!

What was it like playing the US Festival in 1982? — Phil Wallace

One thing that sticks out about it was that Bill Graham, who was the promoter, was a real nice guy but he could get really angry with people. I remember the Kinks were supposed to play before us, and it started getting later and later and they hadn’t shown up. Finally, Ray Davies comes walking in and Bill just rips him to pieces. He’s cursing at him, yelling, “How dare you! How dare you! You get onstage right now!” I thought he was gonna kill him! Then he turns around to me and says [in soft voice] “Oh, hey Neil. You okay? Can I get you anything to drink?” It was crazy. [laughs] I also remember that for our encore we did a song called “Fight It Out,” which is a pretty obscure tune in our catalog, especially to play to such a big crowd. But back then I was so brave. I would do anything. And it worked out great.

Do you have a proudest guitar moment? — Roland Gack

I’ve always liked [Pat Benatar’s] “Hell Is for Children.” I wanted to make that song an epic type of thing, with a lot of transitional parts. And I was really proud of the outcome. It starts off solemn and it ends solemn, but it goes through a whole line of emotions in between.

Is it tough being in a band with your spouse? — Daniel Rosen

It is, but there’s a mutual respect. Pat and I are partners and we’ve always been partners. It was never like I was a “guitar for hire.” I came in as a partner and we built the band from the ground up.

Your leads have always been really melodic and almost singable. Do you work them out in advance? — Timothy Brookes

The only thing that was ever really worked out was the first note. Because what I would try to do is take the same note that the vocal ended on and build the solo from that. From there, I would just go for something that would keep the listener’s interest as much as the vocal did. I never thought of a solo as a moment for guitar self-indulgence.

Are there any new guitarists you really like? — David Schmidt

I like Jack White a lot. He’s right at the top of the list. I love the ferocious attack that he has. He may not hit all those notes, and some of them may be out of tune when he does, but he just goes after them. He has his own sound. Plus, he’s a song guy. He represents everything that’s right about playing guitar, writing songs and being in a rock and roll band.

In addition to your work with Pat, you’ve produced a lot of other artists. Do you have any favorite producing experiences? — Marc Weisman

I’ve worked with a lot of people, like John Waite and Steve Forbert. But one of my favorites would have to be the two records I did for the Del-Lords. [Guitarist and founder] Scott Kempner is a good friend of mine and they were a great band. We still write songs together all the time. As a matter of fact, right now we’re working on a Christmas record. I’m producing it like a Phil Spector–type of thing, using different artists to sing and play on it. And they’re strange songs. They’re about helplessness, hopelessness, heartache. Fucked-up shit. Not the usual holiday stuff. It’ll be a good Christmas record.

Was it ever weird knowing that there were dudes in the audience who were lusting after your wife? — Patrick Lightner

No, because I was lusting after all of their girlfriends!

Since their formation in 2009, Oak Street Blues — guitarist/vocalist/founder Chris Hall, bassist Jenny Arias, keyboardist Stephanie Sheer and drummer Alejandra Arellano — have become known for their unique mix of traditional country and alternative rock combined with elements of electronic and pop.

Last year, the group released a well-received full-length album, Waiting For Something, which kept them busy with tour dates and promotion.

Chris Hall is opting for a unique follow-up: two seven-song EPs, one rock and one electronic, that he is recording with producers Warren Huart and Skip Saylor, respectively. The band members are joining him for background and harmony vocals, as well as some instrumentation.

When he’s not onstage or in the studio, Hall puts his college degrees to use in the corporate world by working for an insurance company. In this interview, he discusses the benefits of higher education, the progression of his musical education and how both come into play with Oak Street Blues.

GUITAR WORLD: You have a degree and a day job. How rock and roll is that?

I have a master’s degree — a math degree and an MBA — and I work for Anthem Blue Cross. Yes, the evil health insurance company! All pop music nowadays is so corporate, and the only way it seems anyone gets ahead is when huge record labels … I assume they drop a ton of cash to make them stars and advertise them on every facet that’s available. I know so many bands, and it seems like the majority play shows for their three friends every once in a while. It doesn’t seem like anyone goes anywhere. You have to be your own record company, make money and invest it in yourself. I decided to take that route and also have a job to fall back on if the music doesn’t work out.

Has the MBA helped in terms of running your own label?

I know it has helped me, but I always feel like when you go to school, you don’t really learn anything. The one thing you do learn — and I just contradicted myself — is the way to think. You take classes and they give you information that you’re never going to use, but they show you the way to think. In business, a lot of stuff is trial and error. You do analysis on what is and isn’t successful.

There are certain degrees of success, and you say, “This is a C+ on the success scale, so let’s continue doing it unless we have something better.” I think it taught me a better way to think and analyze different strategies to reach the market and develop more in that term.

Did music take a back seat while you completed your education?

I had a music scholarship at Cal Lutheran and I played in their jazz band. I didn’t have a band or think I was going to do music. After graduating, I ran into a few guys and they said, “Let’s start this gangsta rock group.” We promoted the hell out of it, and locally, everyone seemed to dig the fact that three white dudes were throwing down these rhymes with ’80s solos. I stuck to doing the music thing and then started my own project, Oak Street Blues.

While I was getting my MBA there wasn’t a lot of time to do the band thing, so it took a back seat for a year or two. I graduated in 2010, and it’s been pretty much full force with this band, playing two shows a week, recording, writing songs and promoting ourselves any way we can.

How did you put this project together? Is this the band you always envisioned in terms of sound and direction?

When we were doing the gangsta rock thing, the good thing is that I could crank out a song in a few hours, teach it to the band and it was ready to play. Basically, everything you want to write about is set. It could get a little boring, so I always envisioned having my own band where we could expand the topics to sing about. Most of the topics are some kind of love song, but we’re not limited to that. On the project with Warren we have a song called “Gangsta Party,” and it’s like my old songs, talking about going to a party and having a good time. With this band I’m not limited. I have more things to sing about.

You write, play guitar and sing. When did you add all the components?

I started playing guitar in junior high. I had a false start. My dad owned a guitar and he gave me a guitar in second grade. He gave me lessons and I did not want to do it. I didn’t want to practice. In junior high I knew a kid who had a guitar, and that kid, me and another kid decided to start a band. I said I would learn to play guitar. I had my acoustic, I practiced every day and I got semi-good enough. I got an electric and we started a band. That was the goal.

I don’t think there was an idea that we were doing it because we loved music so much. We just wanted to start a band. The funny thing is that the kid who owned the guitar motivated us to learn how to play instruments, and he was the only guy who didn’t learn how to play, so he was never in the band. In junior high I was in a transition phase because I was really into rap music and the classic rock thing.

The gangsta rock band was nothing new for you.

No, not at all. The other guy and I liked Eazy-E, Dr. Dre and Snoop Dogg, so anytime we could play, we were all about that.

When did you begin to hone all those skills and understand what it takes to excel in all those areas?

It took me about 10 years to get good. You start on guitar when you’re young, you try to start a band, no one wants to be a singer when you play guitar. Whoever has the most leadership abilities steps up and sings, even though they probably suck at singing. That was me. No one wanted to sing, so I did it. Usually you’re not very good at playing other people’s songs, so you write your own. It started in junior high and high school bands.

I still kind of sucked at songwriting and singing. Then a few years go by, and after all that practice, you’ve written about a hundred songs and they get better. It takes time. You realize what keys you sing better in and how you sing. I still don’t think I’m that great of a singer, but I do it because I write songs that I can sing. In our band, Jenny is probably the best singer out of all of us. I sing and she puts harmony over it and it’s awesome. So time and practice make you better.

Read more of Chris Hall’s interview right here.

— Alison Richter

Alison Richter interviews artists, producers, engineers and other music industry professionals for print and online publications. Read more of her interviews right here.

This is an excerpt from the August 2013 issue of Guitar World magazine. For the rest of this story, plus a Jeff Hanneman poster and features on Buzz Osbourne of the Melvins, Joe Bonamassa, Iggy and the Stooges, Steve Morse of Deep Purple, Eric Clapton's 2013 Crossroads Guitar Festival, the 25 Best Guitar & Music Apps and more, check out the August 2013 issue at the Guitar World Online Store.

In January 2011, an incident occurred that many would later assume was the cause of Jeff Hanneman’s death but wasn’t.

Jeff was bitten on his right arm by an insect that was carrying a flesh-eating disease called necrotizing fasciitis. Reports circulated that it was a spider that bit Jeff, but that was never confirmed. Whatever bit him, it was enough send the guitarist’s life into a tailspin.

“Jeff had been visiting a friend in the L.A. area,” says Kathryn, his wife of 24 years. “He was in the Jacuzzi one night relaxing, and he had his arm over the side, and he felt something, like a bite or a prick. But of course he didn’t think anything of it. He came home about a week later, and he was pretty well lit when he came through the front door. He wasn’t feeling well, and he just wanted to go upstairs and go to sleep.

"Before he did he said, ‘Kath, I need to show you something, even though I really don’t want to.’ And he took off his shirt, and I just freaked out when I saw his arm. It was bright red and three times the normal size. I said, ‘Jeff, we need to go now. We need to get you to the ER.’ But all he wanted to do was go to bed and sleep, and I knew that I was trying to rationalize with a very intoxicated person. So there was nothing I could do that night. But the next morning I convinced him to let me take him in. He didn’t have a lot of strength, but I was able to get him into the car.

“When we got to the hospital in Loma Linda, they took one look at him and they immediate knew what it was, so they took him right in. Jeff told me to go home because we both knew he’d be there for hours and neither of us thought it would be a life-or-death situation.

"About three or four hours later, Jeff called me and said, ‘Kath, it’s not good. They may have to amputate. I think you need to come back here.’ When I got there, Jeff was on the stretcher waiting to go into surgery, and the doctor put it in perspective for me. He said, ‘I need you to see your husband. He may not make it.’ The doctor looked at Jeff and told him, ‘First I’m going to try to save your life. Then I’m going to try to save your arm. Then I’m going to try to save your career.’ And looking at Jeff on that stretcher and possibly saying goodbye, knowing that I may never see him again…”—she pauses—“…was one of the hardest moments of my life.”

The next few days for the Hannemans could only be described as nerve-wracking. Jeff was in the ICU in an induced coma after the initial surgery and breathing through a tube, his arm, for the most part, intact. Doctors attempted to remove the breathing tube at one point, but Jeff was unable to breathe on his own. Finally, after about the fourth day, the tube was removed and Jeff was breathing again. Her husband was alive, but as soon as they removed the bandages from Jeff’s arm, Kathryn knew the road to recovery would be long.

“I’ll never forget it—I couldn’t believe what I was seeing,” she recalls. “All I could do was look up at the doctor and say, ‘How the hell do you fix this?’ And he said, ‘You know, Mrs. Hanneman, you’d be very surprised.’ And at that moment I had all the faith in the world that this doctor could fix his arm.”

Back home soon afterward, Jeff could begin the process of rehabilitating his arm in the hopes of regaining his ability to play guitar. The next few weeks saw more surgeries, staples and multiple grafts using skin from his left thigh. Wound-care suction devices were on hand to draw out the infection and help the skin grafts take. Physically, Jeff’s arm was on the mend. Emotionally, however, he was struggling. Depression was setting in.

“I couldn’t get Jeff to go to rehab or therapy,” Kathryn says. “I think he was letting the visual of his arm get to his emotions, and it was messing with his mind. It was hard to keep him upbeat at that point.

“I think he thought he could do this on his own—that he would just to go rehearsal and play, and that that would be his rehab. But I think he started to learn, once he tried rehearsing, that he wasn’t playing up to his ability and that he wasn’t able to play guitar at the speed he was used to. And I think that really hit him hard, and he started to lose hope.”

For the rest of this story, plus a Jeff Hanneman poster and features on Buzz Osbourne of the Melvins, Joe Bonamassa, Iggy and the Stooges, Steve Morse of Deep Purple, Eric Clapton's 2013 Crossroads Guitar Festival, the 25 Best Guitar & Music Apps and more, check out the August 2013 issue at the Guitar World Online Store.

A couple of weeks ago, I showed you how to play a solo I recorded for the new White Wizzard album.

In that solo, I highlighted a riff/lick where I double-picked each note with palm muting to create a staccato-style effect.

The inspiration for this lick came from former Ozzy Osbourne guitarist Jake E. Lee, who used this effect in several Osbourne songs. The pre-chorus and chorus of "Bark at the Moon" use this technique, as well as the main riff from "Waiting for Darkness."

For this lesson, I want to explore some more applications of this technique and give you some ideas of how you can use it in your own playing. The technique can be applied to virtually any single-note sequence you can come up with.

I find it best to create a simple melodic line and then apply the technique to create a riff or motif. I've found it particularly useful in my solos as a way to create dynamics.

To start, here's the lick from my previous lesson. Its just a very simple D minor pentatonic idea, which, combined with the technique, creates a much more memorable passage. This also is a good way to use pentatonics outside of the traditional rock-style licks.

Here's a riff inspired by Jake E Lee's "Waiting For Darkness." It features a simple B natural minor melody followed by descending thirds. This is taken from one of my own compositions, where I used it as the main theme within the song.

This is similar to the previous idea, but it uses A harmonic minor and a flat 5th to create a darker-style riff. This is taken from another solo I recorded. I was struggling to find something that sounded good over the backing music. There was no chord progression, rather just quick-moving power chords through a harmonic minor/diminished hybrid scale.

If you don't like to sweep pick, this technique will allow you to play arpeggios with some speed. My final example features a simple A minor to G major chord progression played as arpeggios across all six strings. This is a great application for this technique.

Hopefully you can take my examples and come up with your own ideas. It's also worth mentioning Jake E. Lee has a new album coming out sometime soon, which is a much welcomed return to the world of music for the highly influential guitarist.

Will Wallner is a guitarist from England who now lives in Los Angeles. He recently signed a solo deal with Polish record label Metal Mind Productions for the release of his debut album, which features influential musicians from hard rock and heavy metal. He also is the lead guitarist for White Wizzard (Earache Records) and toured Japan, the US and Canada in 2012. Follow Will on Facebook and Twitter.

TC Electronic has announced its new Spark Mini Booster, a booster pedal that combines the best qualities of the company's original Spark Booster with a miniature footprint.

Spark Mini Booster is the first pedal to feature PrimeTime, a feature that automatically detects whether you want the pedal to be permanently on when you hit the foot switch, or just for as long as you hold the foot switch down.

Spark Mini Booster features 20 dB of boost, and though the majority of this is a pristinely clean boost, once cranked past three-quarters, Spark Mini Booster is fully unleashed and drives amps to peak performance.

Spark Mini Booster’s small exterior ensures it fits on any pedal board, while its sound and features ensure it’ll appeal to any guitarist. First off, Spark Mini Booster is built using a Discrete Analog Circuit; every component is carefully selected and put together in order to amplify the signal in the purest way without any degradation or alteration.

The new PrimeTime feature allows guitarists to seamlessly toggle between latching (classic stompbox on/off) and momentary (effect is on while the switch is pressed down) modes, depending on how long the footswitch is held down.

Tore Mogensen, Business Manager for Guitar at TC Electronic, adds: “Spark Mini Booster is the go-to pedal whether you want a clean boost, or add some life and excitement to your gear. It’s just a stompbox-sized miracle that is sure to delight guitarists everywhere.”

US Price: $79 (available August 2013)

For more about this pedal, visit tcelectronic.com.

C.F. Martin & Co. has announced its newest Artist Signature Edition from the Custom Shop: the LX1E Ed Sheeran Signature Edition.

Designed in collaboration with the Grammy-nominated, multi-platinum singer-songwriter, the LX1E Ed Sheeran Signature Edition features Sheeran’s personal artistic details on the headstock, including his signature fluorescent orange “+” plus sign and “est. 1991," which represents the name of his platinum-selling album and year he was born, respectively. The “+” plus sign logo is laser-etched on the solid sapele top.

A portion of the proceeds from the sale of this model will be donated to East Anglia’s Children’s Hospices, a UK-based charity Sheeran supports and is passionate about. The organization, whose Royal Patron is the Duchess of Cambridge, supports families and cares for young children and young people with life-threatening conditions and provides services across several UK counties, including Suffolk, where Sheeran was raised.

“It was a huge privilege to have the opportunity to collaborate with Martin Guitar,” Sheeran said. “I have been a fan of Martin since I started playing guitar and songwriting, and I am honored to have a Signature Edition that bears my own personal imprint. All of the royalties from every purchase from my Signature Edition will go to the East Anglia Children’s Hospices. I can’t wait to get on stage and perform with it for my fans. I hope they enjoy my new Martin as much as I do!”

The LX1E has been Ed Sheeran’s guitar of choice since his early teens. In the span of just two years, Sheeran’s career has catapulted him from a rising star in the UK, where he was nominated in 2012 for multiple music awards and won two Brit awards, to global success including a massive fan base and critical acclaim in the US. Sheeran and his LX1E Martin guitar have also graced stages worldwide, from the London Summer Olympics opening ceremony in 2012 to the 2013 Grammy Awards, teaming up with Elton John.

Following an industry unveiling at Summer NAMM on July 11, Sheeran will unveil his LX1E Ed Sheeran Signature Edition to his US fan base when he performs on the Today Show Summer Concert series on July 12. Fans can catch Sheeran and his new Martin model on the road through the end of 2013 with Taylor Swift.

For more information on Ed Sheeran, visit edsheeran.com. For more about Martin, visit martinguitar.com.

According to Eagles singer/drummer Don Henley, guitarist Bernie Leadon— an original member of the Eagles — will join the band on their upcoming History of the Eagles world tour.

It will mark the first time Leadon has played with the band since 1975.

Henley, speaking to the Milwaukee Journal Sentinel, also mentioned former Eagle Randy Meisner, who will not be featured on the tour due to health issues. He reportedly suffered a choking accident and lost consciousness while eating.

In a statement, Rusty Young, who plays in a band with Meisner, said: "Things are going to be a little rough for Randy for a while, but his doctors are optimistic he'll recover from this incident. If you can, say a little prayer or just send love Randy's way."

If you're wondering if former Eagle Don Felder will be a part of this tour, don't hold your breath. The relationship between Felder and the Eagles remains pretty lousy.

"I have great relationships with Bernie Leadon and Randy Meisner," Felder told Guitar World last year. "I saw Randy about two months ago, and I just called Bernie on his birthday. Randy was a dear friend of mine during the Eagles and has remained so. Everybody else — Don Henley, Glenn Frey, Timothy B. Schmit and Joe Walsh … as much as I love Joe and think the world of him as a player and a person, we have little to no direct contact.

"Every time I communicate with them or try to reach out, the only return communication I get is from their attorney. It’s sad, but that’s the reality." To read the rest of this interview, step right this way.

There are rumors that this might be the Eagles' final major tour, but Henley estimates it'll take about two years to visit all the places they want to play.

Just a few hours ago, the very busy gang over at MetallicaTV posted a new pro-shot video.

This time it's the band's performance of "Blackened" from Orion Music + More on June 9 in Detroit.

Check out the video below — and stay tuned for the next video from the band!

Former Megadeth guitarist Marty Friedman has recorded a series of 65 guitar loops that can be used by producers, disc jockeys and other artists for various projects.

Friedman's loops, which range from high-gain leads and rhythm parts to clean-tone melodies influenced by Japanese and Middle Eastern scales, are available now as a loop library called Exotic Guitar.

The library includes:

• 24 Lead Guitar Loops
• 11 Rhythm Guitar Loops
• 10 Clean Tone Guitar Loops
• 20 Construction Guitar Loops

An audio sample (which you can check out here and in the video below) features Friedman’s guitar over a metal and dubstep drums, hinting at some unique remix possibilities.

The 65 patterns (of various lengths) were recorded and looped at 140 bpm. The Exotic Guitar loop pack costs $24.99 and is available as mp3 or WAV files. For more information, head here.

Black Label Society — who are on the road with Megadeth, Newsted, Hellyeah and Device as part of Gigantour 2013 — have released the first in a series of behind-the-scenes Gigantour webisodes.

Be sure to check out the video, which features a lengthy Zakk Wylde guitar solo that kicks off around the 1:49 mark, below.

The pro-shot video, which is subtitled "Doom Trooping with the crew on Gigantour 2013," was directed and edited by Justin Reich and produced by Blasko.

Avenged Sevenfold have posted a 30-second preview of the title track from their highly anticipated new album, Hail to the King, which will hit stores August 27.

Check it out below and let us know what you think in the comments.

Pigtronix Gatekeeper is a lightning-fast, studio-quality noise gate pedal that locks out all unwanted noise from any rig.

Sporting threshold and release time knobs, the Gatekeeper provides 100 percent attenuation with unprecedented response time, making it the most useful and effective noise gate pedal on the market.

Pigtronix Gatekeeper utilizes ultra-high speed J-FET circuitry to completely eliminate hum, hiss, buzz and any other non-musical sounds from your signal path. The wide range threshold control combines with superior headroom to deliver smooth transient response and warp speed time constants previously available only in rackmount, studio oriented noise gate processors.

These extreme-performance characteristics allow for musical gating even under the most punishing demands of high speed metal. The addition of the release time knob allows the user to control how long it takes gate to slam closed.

Mercilessly cutting out any and all sounds you don't want to hear at the very instant you stop playing, the Gatekeeper will allow players to crank up the volume without fear of hearing the annoying 60-cycle hum or white noise that plagues most high gain rigs. True bypass switching, army green color scheme and an affordable MAP price of $149 round out another piece of word-class analog engineering from Pigtronix.

Come experience the Gatekeeper for yourself at Summer NAMM in Booth 950.

For more information, visit pigtronix.com.

A few days ago, GuitarWorld.com tracked down the Motor City Madman himself — Ted Nugent — who's gearing up for a seven-week US tour that kicks off July 11 in Boise, Idaho.

We discussed the tour, his gear and a lot more in what — as is often the case — turned out to be a loose, candid exchange. Read our conversation below, and keep up with the Nuge at tednugent.com.

GUITAR WORLD: What can your fans expect from you on this tour?

Unrepentant brutality from a gang of murderous rhythm & blues maniacs. Mick Brown, Greg Smith and Derek St. Holmes create the most intense, ferocious and tightest R&B&R&R anywhere anytime. My guys are so good, it’s stupid. We are the last of James Brown's illegitimate mongrels and damn proud of it. If I wasn't me, I'd definitely go see me.

While you released a single in 2011, there hasn’t been a full-length studio album in nearly six years. Have you had a chance to focus on writing new material in recent years?

I don't necessarily "write" new music as much as I unleash it. I jam on any one of my amazing guitars every day, and wonderfully adventurous patterns come forth that are as fresh and raw and primal and fun as any from my youth. I am a very, very lucky guitar player. So yes! I have a wad of killer new songs we can't wait to capture and record ASAP, we hope in early 2014.

You’ve been a guitarist for so long — there's your solo career, the Amboy Dukes, Damn Yankees and more. Do you ever take a moment to assess your own abilities? For instance, wow does the 2013 version of guitarist Ted Nugent compare to the 1975 version?

A musician’s incremental growth factor projects musical moments with lives of their own, and I could not be more proud of all my guitar-driven music and songs. Only a punk-ass kid from Detroit could have possibly come up with the guitar solo on the classic masterpiece "Journey to the Center of the Mind" back in 1968. And the same goes for every lick, every song, every year right up to 2013, where my playing and improvisational jihads are intensely gratifying and musically inspiring beyond description.

I will never be a victim of "too many minds" [The Last Samurai] as I remain deliriously uninhibited and primal in my playing and creativity. I think it’s all the fresh venison I stalk and consume.

You are — and have always been — associated with the Gibson Byrdland, which strikes me as an odd choice for a rock guitarist. But you make it work! What drew you to that model in the first place?

His Holiness Jimmy McCarty playing uncharted shit on a Byrdland through a Fender Twin Reverb amp onstage at the Walled Lake Casino with Billy Lee and the Rivieras [who became Mitch Ryder and the Detroit Wheels] back around 1960 when my band, the Lourds, opened up for them, Martha and the Vandellas and Gene Pitney. The sounds young Jim created were inspiring and disturbing, causing me to rethink everything I knew or felt about music and guitar playing. There is simply no other guitar like the mighty Gibson Byrdland.

Have you changed anything about your rig over the years, specially recently?

I am constantly experimenting with amps, speakers and assorted gear, but I always end up with a very simple rig, which has been a Peavey 6505s for years, along with a little old rag-nasty Kustom 2x12. My tone changes people's lives.

Have you ever woken up and said to yourself, “I don’t feel like playing 'Cat Scratch Fever' tonight”?

I never, ever get tired of unleashing my masterpieces. My band will tell you there simply are no other songs that are as much fun as mine to rock out. Being so very wise to totally escape the sonic bombast of my killer music for extended hunting seasons each year forever, my soul and ears are virtually cleansed of the outrage, so when it’s time to tour each summer, I literally cannot wait to play these amazing songs.

I've been slamming "Baby Please Don't Go" and "Johnny B. Goode" for more than 50 years, "Great White Buffalo" and others for nearly that long, and every night as we prepare to attack the stage I tremble with erect enthusiasm like I'm about to pounce on my first piece of ass. Did I mention I am a very, very lucky guitar player?

Many hard-rock and metal musicians have cited you as an influence. But in your opinion, do you think of any particular musicians who you feel were strongly influenced by your style?

I hear the undeniable influence of my magical pedal tone everywhere and enjoy it. I so admire so many killer guitarists out there that I revere each of their own styles and touches. All the best guitarists that turn everybody on are influenced by everybody and everything in their lives. I certainly am.

A lot of still hope for a Damn Yankees reunion. Do you ever see that happening?

I hope to hell we can! Killer guys, killer band, killer songs, killer music, killer fun! Those guys deserve me.

Some musicians make headlines for non-musical reasons, such as their lifestyle and political inclinations, and eventually it affects their image as musicians. Do you feel that your lifestyle or political views have had a negative impact on the success of your albums and tours?

There's no question my record sales took a serious hit for my being so outspoken. So be it. I so dearly cherish this glorious experiment in self-government that I will be damned if I will ever be silenced or compromise my spiritual obligation to do my part for all things America. I turn up the heat constantly. My career is far beyond any dream I could have ever imagined. My musicians are all world class, my concerts are always packed with the ultimate music lovers on earth, and I am having the greatest tour of my life.

On the other side of the coin, do you think people who are fans of your music are correct in judging you based on the non-musical aspects of your public life?

Everyone has the right to judge as they see fit. The quality of people that stand with me are the best on earth, and I wouldn't change a thing.

When you do VIP meet-and-greets on tour, what is the "Ted Nugent backstage experience" like for those fans? Do you take time to listen to and talk to them, or is it more like a "quick autograph and photo" kind of thing?

I have been told most emphatically by many of my backstagers [Ted Nugent DangerZoners] that my meet-and-greets are the best, longest and most intimate of any they have ever experienced. So what else is new? These are people that have done the backstage thing with many bands. We do everything better. We get a killer roundtable going in the dressing room, they get to meet the band, fondle my phenomenal guitars, I show 'em some killer licks, let 'em fondle my assorted hardware, I sign all sorts of their stuff, give them all an assortment of 8x10s, guitar picks and all sorts of killer Nuge stuff.

It really is a lot of fun, and there are always heroes of the US military and children's charities in attendance to further intensify the whole gitdown.

When you’re not on tour, do you go out to see other bands' shows? If so, what's the best show you’ve seen lately?

I very rarely do because I have so much fun with my very large family. I love my sons, daughters, brothers, sister, grandkids and all my wonderful family so much, I am driven to maximize my time with all of them as much as possible. We live a very simple life of hunting, fishing, trapping, shooting, grilling and absolutely thrilling campfires every chance we get.

My musical cup runneth over with my 65 years of nonstop ultra-rockin', although I still thrill at the occasional opportunity to hang and jam with my buddies in Aerosmith, ZZ Top, Grand Funk, Sammy Hagar, Kid Rock, Joe Bonamassa and others whenever I can.

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.

Ghost B.C. have premiered a new performance video for the closing track off their latest album, Infestissumam.

Directed by Rob Semmer, the clip was shot on location at the El Rey in Los Angeles and Webster Hall in New York City.