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    These videos and audio files are bonus content related to the Holiday 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.

    Preston Reed’s career as a solo acoustic performer began much in the mold of his earliest influences: Jorma Kaukonen, Leo Kottke and John Fahey.

    But five solo albums later, and after witnessing the “two-handed” approaches of Edward Van Halen, Stanley Jordan, Jeff Healey and Michael Hedges—combined with his desire to add drum and percussion sounds to the mix—Reed began a musical transformation. By the release of Instrument Landing in 1989, he had fully reinvented himself.

    The Preston Reed we know today—the tapping, slapping, unorthodox tuning, guitar-body-beating phenom and profound influence on contemporary pickers like Andy McKee and Kaki King—is now a living acoustic-guitar legend. Let’s crack our knuckles on a mix of progressive passages from this monster axman.

    The calm before the percussive storm, “False Spring” initially appeared on Reed’s third album, 1982’s Don’t Be a Stranger, before being re-recorded two years later on Playing by Ear.

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    Led Zeppelin's debut album, Led Zeppelin, has been a source of inspiration — and challenge — for guitarists since it was originally released in early 1969.

    Now it's time to challenge you!

    Guitar World and Supro Amps have gotten together to present the Led Zeppelin Guitar Solo Video Challenge. The winner will receive a new Supro 1624T Dual-Tone guitar amp (MSRP $1,459)!

    The winner also will receive a Fender Classic Series '60s Telecaster, a copy of Guitar World Editor-in-Chief Brad Tolinski's latest book, Light & Shade: Conversations with Jimmy Page (signed by Tolinski), and the Guitar World instructional DVD, How to Play the Best of Led Zeppelin!

    You can check out photos of all the prizes in the photo gallery below.

    NOTE: This contest is open only to residents of the United States. You must submit your video to Guitar World by December 10, 2014.

    Here's what's involved:

    Film yourself playing your own version of Jimmy Page's iconic "Good Times Bad Times" guitar solo! Use the studio version of the solo as your guide (You can hear it below), but feel free to put your own spin on the solo. You might get special consideration for originality! You can hear both original solos via the YouTube players below.

    Next, upload your video to YouTube and send the link — along with your FULL NAME and COMPLETE U.S. ADDRESS— to Guitar World at Note that you will not be considered an entrant unless you include your name and U.S. address with your video.

    The videos will be viewed by members of the Guitar World staff, plus celebrity judges who will be named later. We'll pick a winner by December 25, 2014!

    Good luck!

    Additional Content

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    Reporting from the Americana Music Fest in Nashville!

    I spoke with Jonah Tolchin after his firey blues-infused explosive set outside of Grimey's Record Store.

    One of my favorite things about music is how it connects strangers in a second.

    Watch Jonah's face light up when I mention Fats Domino.

    He now knows that I know what he knows...and loves.

    Tolchin has just released his debut on the Yep Rock label and shares with me the experience and hopes that go along with the venture.

    P.S. If you're ever wondering what the best record store in the world is, it's Grimey's. Trust me

    Scot Sax knows his way around a solid pop song. The Philadelphia musician has been writing them for years, whether it was with his own bands Wanderlust and Feel, or as a purveyor of hits for singers like Faith Hill and Tim McGraw. It was Sax, in fact, who co-wrote the country duo’s Grammy-winning smash “Like We Never Loved At All.” His catchy “I Am the Summertime,” penned while with the band Bachelor Number One, was featured in the blockbuster “American Pie.” And he’s netted countless TV credits, with song placements in shows like “Ghost Whisperer,” “NCIS,” “CSI: NY” and “Keeping up with the Kardashians.” He toured as a guitarist with Sharon Little throughout North America supporting Robert Plant and Alison Krauss' Raising Sand. His filmmaking debut, the documentary "Platinum Rush," is currently being entered into film festivals worldwide and will premiere in 2015. Sax lives in Nashville with his family.

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    It's time to compare the mettle of Jim Dunlop pedals!

    In's latest readers poll — the first annual Jim Dunlop Effect Pedal Throwdown — we're pitting Dunlop, MXR and Way Huge pedals against each other in a no-holds-barred shootout.

    Yes, we're pulling out all the stomps! Thirty-two stompboxes will go head to head — or toe to toe, if you prefer — culminating with the crowning of the king of Dunlop pedals.

    You can check out the beginning bracket — with all 32 competing pedals — in the window below (Be sure to click on the "full screen" button in the lower-right-hand corner to expand the bracket).

    The bracket will be updated after every matchup, and matchups will take place pretty much every day. Each competing pedal will accompanied by a demo video created by the Jim Dunlop company, and you'll always find a photo gallery of the competing pedals at the bottom of each matchup.

    Today's Matchup

    In today's matchup, the Way Huge WHE202 Green Rhino Overdrive goes foot to foot against the Way Huge WHE203 Red Llama Overdrive. Start voting below!

    YESTERDAY'S RESULTS: Yesterday, the Way Huge Echo-Puss Delay (53.02 percent) edged past the Way Huge Aqua-Puss Delay (46.98 percent) in a vote-filled shootout, advancing to the next round! To see all the matchups that have taken place so far, head HERE. Thanks for voting!

    Meet the Combatants

    Way Huge WHE202 Green Rhino Overdrive

    The legendary Way Huge Green Rhino has returned! The Mk II has all the gorgeous classic overdrive that you crave but it has evolved to include cool new features that make it even more rhinoceriffic.

    In addition to the Volume, Tone, and Drive controls, you get a 100Hz EQ knob to cut or boost your low end by 12dB. Your low notes can either shake the ground like a stampede across the savannah or cut through the mix like a charging rhino’s horn. This pachyderm of a pedal also sports a Curve control to fine-tune the corner frequencies of your tone. All this amazing tone shaping makes other overdrives seem boring and one-dimensional by comparison. In front of a clean amp, with the Volume and Drive set at noon, you can go from pristine purity to a punchy, dynamic rhythm tone.

    Set the Drive low and crank the Volume and add tons of boost to wallop the input of any amp. Turn up the Drive control with the Rhino in front of a distorted channel and hear more gain and sustain than you ever thought your amp was capable of. And no matter how you use it, the Green Rhino Mk II will deliver clean operation, quiet relay-based true-bypass switching, and the rock-solid construction that Way Huge is famous for.

    Way Huge WHE203 Red Llama Overdrive

    The often imitated but never duplicated thunder of the Red Llama is back! This is not a reproduction, but a continuation of where the groundbreaking archetype left off in 1999. Every single feature that made the Red Llama so mighty is still in place, right where Mr. Huge left them.

    Season to taste any amp, big or small, clean or dirty the Llama is the perfect compliment to them all, with a rich harmonic palette available on the austere control panel. Spin the drive knob and go from a gentle grind all the way up to massive distortion. Use lower settings for defined open chording or juiced clean tones.

    Go a little higher for crunchy power fifths, and crank it up for buttery lead tones and tight, bottom-heavy riffage. The volume control sets the desired amount of overall level, but be forewarned: The output capabilities of the Red Llama are legendary, with more than enough gain to force even the cleanest, most stubborn amps to submit their headroom.

    Vote Now!

    Clarence White is Underappreciated Sheet1

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    Today, presents the exclusive premiere of "Start Again," the new music video by Canada's Striker.

    The track is from the band's latest album, City of Gold, which was released in September via Napalm Records.

    Check out the clip—which has the feel of an action-packed silent film (with an awesome soundtrack)—and tell us what you think of it in the comments below or on Facebook!

    On City of Gold, the Canadian rockers pay homage to classic speed metal but also work with Iron Maiden-style twin-guitar harmonies.

    "It's about heavy metal and a good time," says singer Dan Cleary of the band’s philosophy. "If you’re having a party at your house, then put our CD into the player and drink some beer. This music is exactly made for such moments.” City of Gold was produced by Fredrik Nordström.

    For more about Striker, visit their official website and follow them on Facebook.

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    Guitar World recently caught up with Megadeth's Dave Mustaine and hit him with these seven questions.

    What inspired you to pick up a guitar?

    My sister sucked at piano, so I just did it to drown her out. It’s the truth. My ex-brother-in-law had a guitar and loaned it to me one day, and I knew that’s what I wanted to do.

    What was your first guitar?

    It was a very cheap SG copy that I got for 80 dollars. The next guitar I got through less-than-desirable means. It was a Gibson copy, so I bought a Gibson sticker for five bucks and stuck it on the guitar. And I paid off my less-than-desirable debt with it.

    What was the first song you learned?

    One of the first songs I learned on electric guitar was David Bowie’s “Panic in Detroit.” Another was “All the Young Dudes” by Mott the Hoople. And of course “Stairway to Heaven.” After that, it was the obligatory Kiss songs, because they were so huge at the time.

    What do you recall about your first gig?

    Well, there was a talent show where they told us we were too loud and kicked us out, but my first gig was with Panic at Huntington Beach. Although the sex, the girls and the drugs were rampant, it was marred by the death of two friends: the guy who did our sound and our drummer at the time. We were all partying, and I decided to spend the night. I stayed behind and these two guys went home. They were driving down the Pacific Coast Highway, south of the pier, by the Jack in the Box, and crashed.

    The driver was able to get out of the car, but he died because he’d broken his neck. The drummer was asleep in the back, and he, unfortunately, died in the fire. Yeah, Panic had a very painful beginning; our other guitar player also died in a car crash. It was kind of a very painful, dark period when I started playing.

    Ever had an embarrassing onstage moment or disaster show?

    I have a recurring nightmare where I go onstage and pick up my guitar and it’s strung upside-down; I have to play left-handed. Or—and this is the big kahuna of bad dreams—I dream that I’m playing and the end of the world happens right there. As for anything that has actually happened, some people were crushed to death at a show at Castle Donington, and some people died at a show we did in Brazil. Obviously, those are much more disastrous and sacred.

    What’s your favorite guitar or piece of gear?

    I love my guitar-and-amp configuration and everything, but probably one of the most underrated products is the guitar pick. I use Dunlop .73mm Tortex picks. I used to use hard-plastic jazz picks and Fender picks and all kinds of others, but Tortex really opened my playing to a new dimension. The material, the rigidity, the really unique texture. They’re almost absorbent. They just don’t slip.

    Got any advice for younger players?

    Pick your influences well. If you like bands like Avenged Sevenfold or Trivium or bands like that, instead of getting influenced by them, go to their influences. They listened to Metallica, Megadeth, Slayer, Anthrax—the Big Four influenced a lot of these bands. If you go farther back, you can beat your influences at their own game. There’s nothing better than when the student beats the master.

    Photo: Travis Shinn

    Additional Content

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    The “Bad to the Bone” blues rocker has sold more than 15 million albums worldwide. But what Guitar World readers really want to know is…

    You’ve just released the Live at Montreux DVD and Icon record, and you’re doing a 40th anniversary tour. You look like you’re in amazing shape! What’s your secret to finding the fountain of youth? — Kristine

    I have never underestimated the value of a good night’s sleep. You never hear a doctor say, “You’re getting too much sleep.”

    I have to ask: What kind of Scotch do you drink? — Perry Scott Baker

    I don’t drink Scotch. [laughs] I can’t stand the stuff. It smells bad.

    You’ve had a long, successful career. What’s the one piece of advice you wish someone would have told you when you were first starting out? — Jacob Udin

    I didn’t get good advice when I started, but I got a lot of good feedback. But I guess the one thing I wish I was told was, “Don’t play on that street corner. Come into this studio and record something now.” I wish that would have happened sooner.

    I don’t want to sound arrogant or bigheaded or anything, but I didn’t need any advice. I knew what I was doing. I wasn’t a kid when I started. I had a focus on what I wanted to do. And when I first started playing guitar, I got an immediate reaction just from people and audiences. As soon as [blues-harp player] Sonny Terry and [blues guitarist] “Brownie” McGhee heard me, they took a shine to me immediately. There was no turning back once I started on guitar.

    If aliens came to the earth and you had to pick one album that would perfectly explain the blues to them, what album would you pick and why? — Andy Stark

    Both Robert Johnson albums [King of the Delta Blues Singers, Vol. I and Vol. II]. You don’t have to go any farther than that. He’s not the source, but he’s the peak. There were people before Robert Johnson. You have to understand that, with the exception of a song like “Love in Vain,” what Robert Johnson was doing at the time was a very contemporary style. It’s just that he did it better than anybody. Not unlike Jimi Hendrix. That was the style of that time—Hendrix was just the best at it. And the Beatles weren’t the source, but they were the best.

    Someone told me you were almost a professional baseball player but you gave it up for music. Is that true? Do you still play at all? — Ian St. Martin

    Yeah. And three things kept me out of the big leagues: I couldn’t hit, run or throw. [laughs] I looked good in the uniform. That was about it. But I gave all that up a long time ago.

    I love your cover of Bo Diddley’s “Who Do You Love.” I think he is one of the greatest. Is it true you were also friends with him? What’s your fondest memory of him? — Jerry O’Donnell

    Um, friendly, yeah, but I don’t know about friends. Bo was kinda a tough guy to reach. If I can say anybody had the good fortune to be on good terms with Bo, I was one of them. I have to say my meetings with Bo all went well. I couldn’t pick just one out. They were all great.

    You’ve been long associated with the Gibson ES-125, which is not a common guitar. What makes that guitar so special and right for you? — Andy Clayson

    I’m not a common guitar player. I have an unorthodox style. You know Earl Anthony had an unorthodox style, and he’s the biggest moneymaker in bowling of all time. So that’s like me. I have an unorthodox guitar because I have an unorthodox style. And I have an unorthodox style because I have an unorthodox personality.

    I think you’re one of the best storytellers around. I was wondering, where do you start when you sit down to write a song and where do you look for inspiration when it comes to writing lyrics? — Jake Whittaker

    I write songs 100 percent for entertainment purposes. I write or find songs that will cater to the taste of our audience and that I know they will enjoy hearing. It’s hard as time goes on. Look how many great songs have been written before I even picked up a guitar. Look at Hank Williams’ catalog by 1951. Then look at Chuck Berry, Bob Dylan and the Beatles. And you’re like, Holy shit! Why bother! [laughs]

    So to sit down and write something unique and different is getting harder all the time, because there’s been so much done already and only 88 notes on the piano. There’s only so many melodies. That’s why the oldies keep getting played over and over again. It’s tough to measure up. So when I’m writing a song, it caters to our audience’s taste, not mine. But I will never record a song that I dislike myself. It’s a business. You sit down and go, “Oh, I like this, but this one will knock our audiences out. It’ll knock ’em silly.”

    I love your cover of Hank Williams’ “Move It On Over.” Was traditional country important to your musical upbringing? — George Knight

    You know, Hank Williams died in 1951, and the term country-and-western music wasn’t even coined until, like, 20 years later. Hillbillies were attracted to him, but Hank Williams was more of a pop artist. His tunes were in the pop charts. Tony Bennett did “Cold, Cold Heart” and it was a big hit. Hank Williams had his own hits in the charts along with guys like Bing Crosby and Frank Sinatra and everyone who was contemporary at the time.

    And Hank was from the city, Montgomery, Alabama. So he was a city boy. It was years later that they had to categorize music so they could sell things. They had to say, Bonnie Raitt is rock; Tom Waits is rock. Well they’re not rock—they’re unique artists that the labels had to put in some category. Hank Williams was a brilliant songwriter and had a brilliant catalog of music. It was only later, because he had a certain twang to his voice, that people called it country. I just call it Hank Williams. And he’s not just one of the best; he is the best.

    What record in your youth changed your life and inspired you to become a musician? — Peter Gaines

    The first two Rolling Stones albums I got: 12 X 5 and The Rolling Stones, Now! I bought them both on the same day. I listened to those albums over and over again. At that time, the Beatles and Bob Dylan were the big things, but they both wrote their own songs.

    The Rolling Stones were on the eve of coming out with “Satisfaction,” and writing great originals. But at the time they were doing very obscure blues covers. I listened to those two albums and thought, There’s a chance for a guy like me. I’d never be able to write something like “Day Tripper,” “Yesterday” or “Strawberry Fields Forever.” I’m never gonna be able to play the guitar like Jimi Hendrix or do what Dylan’s done. No one’s gonna do what Dylan’s done. Forget it! But when I heard the Stones do “Little Red Rooster” I thought, This is what I can do. So I did it the best that I could. And that was that.

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    After 40 years of dormancy, Magnatone amplifiers, one of the great names in guitar amplification has returned—and not in name only.

    While the front end and power sections of the new Magnatones have been modernized and vastly improved, the company’s engineers have faithfully recreated their legendary patented vibrato circuit from 1958, which is nothing short of heaven for true aficionados of classic guitar sounds.

    Among those who are cheering the boutique company’s return is Billy Gibbons. “We’re pleasantly amazed that the mythic Magnatone has resurfaced in such a big way,” Gibbons says. “This is nothing short of a rockin’ resurrection, and the sound is every bit as great as the look.”

    Acknowledged as one of rock’s most discriminating tone freaks, the ZZ Top guitarist is currently using the company’s Super Fifty-Nine head in his live rig and in the studio.

    “The Super Fifty-Nine specializes in delivering a very open sound,” he says. “It doesn't require an array of pedals to get great sound, and the master volume feature is one of the best I've heard. It's a lot of loud, and it's the good loud!"

    Magnatone president and CEO Ted Kornblum says his focus is on making high-end, American-made products that a musician will want to use for a lifetime. His entire line, he explains, is 100 percent tube powered, crafted using point-to-point wiring and top-notch quality control. “I’m not interested in making thousands of amps,” he says. “ I’m interested in making great amps.”

    The product line is currently divided into three groups: the Traditional Collection, the Studio Collection and the Master Collection. The Traditional amps (Twilighter, Stereo Twilighter and Single V) are built in the style of the American combos of the Sixties and feature true pitch-shifting vibrato using silicon-carbide varistors, American-inspired 6V6 and 6L6 tube circuitry, a tube-driven spring reverb, custom-designed ceramic speakers made by Warehouse Guitar Speakers, and gold and brown aesthetics that are based on the original Magnatone amps.

    The Studio Collection (Lyric and Varsity) models are built in the tradition of the smaller amps of the Fifties and Sixties and offers those vintage tones but with improved power for the modern player. Visually stunning, compact in size and offering tons of headroom, all of the amps in this line are offered in TV and Cathedral cabinet designs.

    For those looking to make a bigger noise à la Mr. Gibbons, the Master Collection (Super Fifteen, Super Thirty and Super Fifty-Nine) features EL84 and EL34 British-inspired tube circuitry, master volume, custom British-style speakers made by Warehouse Guitar Speakers and the company’s patented pitch-shifting vibrato.

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    Brendon Small, creator and primary musician behind Adult Swim's Metalocalypse, and producer Ulrich Wild (Pantera, White Zombie, Slipknot, Deftones) are hosting a two-day CreativeLive course today and tomorrow, November 5 and 6.

    You can watch all of “Toontrack Presents: Studio Pass” noon to 7 p.m. EST (both days) via the video player below.

    Small and Wild will show how they engineer and mix the music of Metalocalypse, explaining the recording techniques used for the drums, bass, guitars, vocals and effects of the fictional show’s real-life band, Dethklok.

    “Toontrack Presents: Studio Pass” will live stream for free; enroll at (or just watch below!)

    Wild is a Grammy-nominated producer, mixer, engineer and songwriter specializing in rock and metal. Born and raised in Switzerland, he immigrated to the U.S., where he now lives as a naturalized citizen in Los Angeles. Wild worked with Pantera, White Zombie, Deftones, Staind, Static-X, Powerman 5000, Breaking Benjamin and Strung Out.

    Over the past few years, Wild’s productions have included widely diverse acts from Dethklok and Otep to Stolen Babies and Emilie Autumn.

    Small is best known as the co-creator of the 1999 animated series “Home Movies” (along with Loren Bouchard) and Metalocalypse (along with Tommy Blacha) and as the creator of the virtual death metal band Dethklok.

    Stay tuned to CreativeLive’s ‘Music & Audio’ channel right here.

    Broadcast live streaming video on Ustream

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    In this episode of Monster Lick Unleashed, I'm incorporating the diminished 7th scale in the key of E minor.

    Don’t be fooled by the way I'm playing this lick. I'm targeting a heavy sound and style, but you can just as easily use this combination for blues or jazz. You should be able to hear these qualities in the lick when you watch the slow demonstration in the video below.

    Although I'm using the diminished 7th scale, I'm constantly thinking of the pentatonic scale. This might sound a little strange, but for me, the key to developing a fluent style is to be aware of all the pentatonic boxes or notes other scales use and cross.

    I found early on that I could learn a lot of different scales with no problem, as I'm sure you can too. The issue was is that when I would try to incorporate them into my improvising or soloing, I'd get lost or trapped in that scale. It was through listening to players like Robben Ford and Scott Henderson that I started to hear how they'd morph licks out of the pentatonic scale.

    This is, in no way, a jazz or fusion lick; what I'm hoping to do with the above explanation is help you to understand how players incorporate different scales into their playing somewhat effortlessly. This is the approach I use, and I'm sure it will work for you.

    There's no use learning anything you can't use for soloing or to help with your songwriting, etc. These licks aren't just exercises; they are potentially the basis for a lot of ways to solo. All of these techniques obviously create different sounds and also will make you play differently.

    This is very important! After all, we have only 12 different tones we can use. So techniques and and tonal combinations are key to creating different sounding solos.

    The Lick:

    The opening of this lick will take a little practice to get used to. It involves string skipping along with tapping and wide stretches—a real recipe for a lot of practice!

    Make sure the transitions from string to string are even. This is particularly tricky as you are going to have to hammer the note with your index finger quite hard to sound the note. Hammering with the index finger isn't something we tend to do a lot of on the guitar without picking the note first. So be sure to focus on it and get it sounding right.

    Also, if the stretches are a little to wide for you or making your hand uncomfortable, simply move the idea further up the fretboard to a position you feel more comfortable with. Like all of these licks, the idea is is that you understand the techniques and adapt them to your own sound a style of playing.

    I hope you enjoy this Monster Lick Unleashed! Join me on YouTube right here! Contact me through or my Facebook page.

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    Australia's Glenn Proudfoot has played and toured with major signed bands and artists in Europe and Australia, including progressive rockers Prazsky Vyber. Glenn released his first instrumental solo album, Lick Em, in 2010. It is available on iTunes and at His latest album — Ineffable— will be out soon and is available for pre-order through and iTunes.

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    Smashing Pumpkins have premiered their new single, "One and All," and you can check it out below.

    The guitar-heavy new track, which features the drumming of Mötley Crüe's Tommy Lee, is from the Billy Corgan-fronted band's new album, Monuments to an Elegy.

    "I basically sang the whole song the first time I wrote it," Corgan told HuffPost Entertainment. "It had written itself."

    As always, be sure to tell us what you think of the song in the comments below or on Facebook!

    Monuments to an Elegy is slated to be released December 9.

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    Periphery have announced the release date of their dual albums, Juggernaut: Alpha and Juggernaut: Omega, as January 27 via Sumerian Records.

    Juggernaut is a story that is told through our music, and we want our audience to fully digest the whole experience," said drummer Matt Halpern.

    "Because Juggernaut is very detailed and dense in terms of character development, peaks and valleys, climaxes and resolutions, we've divided the story and music in two, in the form of two separate albums.

    "Juggernaut: Alpha, the first part of the story, focuses on the back story and character development, while part two/album two, Juggernaut: Omega, focuses on some pretty serious and gut-wrenching events, taking you for a thrill ride along the main character's complex journey.

    "Although the albums are split in two physically, the story is only complete when the albums are digested consecutively, allowing the listener to recognize and hear the lyrical and musical overlapping themes, foreshadowing and connected ideas.”

    The band also will hit the road early next year with Nothing More, Wovenwar and Thank You Scientist.

    “We are ecstatic to be out of the studio and touring on Juggernaut,” said vocalist Spencer Sotelo. “The band is planning on performing a good amount of tracks from that record on this tour and we are beyond excited to share this experience with all of our fans. It’s going to be a killer tour and we feel very strongly about the diverse line-up of bands that we were able to bring together for this.”

    2015 Tour Dates:

    January 10 Carrboro, NC Cat’s Cradle
    January 11 Charlotte, NC The Fillmore
    January 12 Atlanta, GA Masquerade
    January 13 Tampa, FL Orpheum
    January 14 Ft. Lauderdale, FL Revolution Live
    January 16 New Orleans, LA House of Blues
    January 17 Houston, TX House of Blues
    January 18 Dallas, TX House of Blues
    January 20 Albuquerque, NM Sunshine Theatre
    January 21 Phoenix, AZ Club Red
    January 22 Los Angeles, CA House of Blues
    January 23 Anaheim, CA Yost Theater
    January 26 San Francisco, CA The Fillmore
    January 27 Portland, OR Hawthorne Theater
    January 28 Seattle, WA El Corazon
    January 31 Denver, CO Summit Music Hall
    February 2 Minneapolis, MN Varsity Theater
    February 3 Chicago, IL House of Blues
    February 4 Detroit, MI St. Andrew’s Hall
    February 6 Toronto, ON Opera House
    February 7 Montreal, QC Corona Theatre
    February 8 Albany, NY Upstate Concert Hall
    February 9 Rochester, NY Water Street Music Hall
    February 11 Boston, MA Paradise Rock Club
    February 12 New York, NY Irving Plaza
    February 13 Silver Spring, MD The Fillmore
    February 14 Philadelphia, PA District N9ne

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    Phil Rudd, AC/DC's 60-year-old drummer, has reportedly been charged by New Zealand police with "procuring a murder."

    According to, which reports that Rudd allegedly tried to have two men killed, the charges were brought after police raided Rudd’s home in Mauta, New Zealand, this morning (Wednesday).

    The drummer has been in custody since 7 a.m. local time. He also has been charged for possession of methamphetamine, possession of cannabis and "threatening to kill."

    Rudd said nothing during his brief appearance in Tauranga District Court earlier today, after which he was released on bail. He entered no plea to the charges and will reappear in court in three weeks.

    According to, one of the alleged victims said he didn't want to comment before speaking to his lawyer; he was with his children and "not in a position to speak."

    A police official quoted by said the information that led to the raid on Rudd's home was provided by a member of the public.

    Rudd was missing during the filming of two music videos for songs from AC/DC’s upcoming studio album, Rock or Bust, and from a press photo the band recently posted on its Facebook page. At the time, the drummer's absence was attributed to a “family emergency” by vocalist Brian Johnson. Rock or Bust will be released December 2.

    Rudd is the only Australian-born member of AC/DC. He moved to New Zealand in 1983 after he was kicked out of the band. He re-joined the band in 1994 and has been with them ever since.

    AC/DC is already reeling from with the recent departure of rhythm guitarist Malcolm Young, who was diagnosed with dementia.

    Stay tuned for more details on this story, which we will relay as they become available.

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    When it comes to shred, few guitarists can rip like Paul Gilbert. As the driving force behind shred-progenitors Racer X and the chart-topping late-Eighties outfit Mr. Big, Gilbert dazzled with his unhuman fretboard range that included wide stretches and intervallic leaps.

    But he was a reluctant guitar hero.

    When he went solo in 1996, Gilbert shied from the shred spotlight and pursued a pop vocal direction. It took more than 10 years, but in 2007, he returned to the land of big guitar chops with his solo debut, Get Out of My Yard, an album that represents the perfect meld of his amazing technique, harmonic gifts and off-the-wall sense of humor.

    As anyone who has seen him on a G3 tour with Joe Satriani and John Petrucci can tell you, Gilbert’s talent for ripping guitar lines has only grown stronger.

    An articulate and effective teacher, Gilbert presents an insightful multipart lesson in which he breaks down the mechanics of his various playing techniques and his conceptual approaches to the instrument.

    Rhythmic Ideas

    As Gilbert explains in this first section of the lesson, a great way to generate ideas for melodic and rhythmically grooving solo licks is to play a simple rhythmic vamp made up of a few notes and some “scratch” strums, then use it as a springboard for improvising melodic ideas. This is easier said than done, especially for shredders who are used to tearing up and down the fretboard with little consideration for rhythm and playing “in the pocket.”

    Gilbert suggests starting out with simple ideas that are rhythmically interesting but don’t have a lot of notes, such as the funky A minor pentatonic-based vamp shown in FIGURE 1. By thinking like a drummer and focusing on playing something that really grooves, you’ll pay more attention to playing with feeling and soul. When playing this vamp, pick aggressively and try to get the most out of each note, and be sure to tap your foot in steady quarter notes to really get into the groove.


    Once you get used to this approach, you can start to introduce more notes, and that’s where the fun really begins. As Gilbert demonstrates, you can use a simple vamp as a launch pad for improvising more ambitious, note-inclusive licks and fills, like those shown in FIGURES 2 to 4. Gilbert advises that it’s very helpful to think of each of these phrases as being played as a drum solo, something that inspires him creatively and helps him remember ideas.

    The fret-by-fret chromatic movement in FIGURE 2 shouldn’t be too difficult to master. When playing it, use whatever fingering you like; make sure to mute the lower strings to suppress unwanted noise and to count and perform the rhythms correctly.


    FIGURE 3, while based on the harmonically straightforward A minor pentatonic scale, is a more challenging fill, as it involves some string skipping. As when learning any new piece of music, start out slowly and gradually increase the tempo while streamlining and economizing your movements.


    The lick in FIGURE 4 doesn’t follow a set pattern but uses ideas similar to those in the three previous examples. The muted notes will help you maintain your groove throughout, so concentrate on making the pick hand comfortable before targeting all the notes.


    “Reverse” String Bends

    FIGURE 5 is an example of a slick, country pedal-steel-style bending technique Gilbert demonstrates whereby he picks a fretted note on the B string, bends the string with his ring finger (supported by the middle finger) and simultaneously bends the G string at the same fret with the tips of the same fingers. Upon completing the B-string bend, he picks the G string for the first time and releases the bend, creating a drop in pitch on that string (from Eb to D). This cool-sounding move is often called a “pre-bend and release” or a “reverse bend.”

    Most of your practice should be centered on executing the half-step bends in tune. You can reference the target pitches of the bends by playing the unbent notes one fret higher. Once you get the techniques under your fingers, move the lick around the neck in different positions and keys. The technique also works quite well on the first and second strings.

    In true Gilbert style, our maestro demonstrates the lick in a fast blues context at the end of a blazing run in A (see FIGURE 6).

     5 6 .png

    Fast, Repeating Blues Licks

    Gilbert plays many note patterns that are familiar to most rock guitarists, but there is always more than meets the eye when one attempts to play any of his licks. The resourceful guitarist often begins a fast run with an upstroke.

    This may seem unusual, but it allows Gilbert to maintain an outside picking motion as he moves from the second string to the third, as he demonstrates with the repeating A minor blues scale lick shown in FIGURE 7. This kind of economical picking movement becomes even more important when string skipping, as the guitarist goes on to demonstrate in FIGURES 8 and 9.

    7 8 9 .png

    In FIGURE 10, Gilbert performs a double pull-off on the third string, changing the rhythm from three- note groups to four-note groups. When playing all four of these examples, keep your fret-hand index finger barred at the fifth fret.


    [[ 'Shred Alert' DVD: Let Paul Gilbert Teach You How to Shred ]]

    Blazing Pentatonics

    Many of Gilbert’s licks are based on patterns that he moves around the fretboard, as he demonstrates with the climbing A minor pentatonic legato run in FIGURE 11. The initial melodic pattern is eight notes long and is repeated with different notes across the remaining strings.

    Although Gilbert has long fingers, he uses his fret-hand pinkie a lot. It’s a point worth noting, because you might think that he would rely on his extended reach and not use his pinkie much at all. Gilbert advises students with similarly endowed hands to develop the use if their pinkie because it will pay off in the long run.

    The earlier you build its strength, the sooner it can become useful. Be sure to use the pinkie to finger all the eighth-fret notes in FIGURE 11.


    When playing this example, it’s easy to start thinking in triplets, as the grouping of the first three notes suggests. Keep in mind that you’re playing 16th notes; tapping your foot, or at least nodding your head on each downbeat as Gilbert does in the video, will help you feel the 16th-note subdivision.

    FIGURE 12 is a descending, pattern based A minor pentatonic lick that Gilbert demonstrates, this one incorporating more hammer-ons than pull-offs. Notice the wide interval jump between the fifth and sixth notes (C down to E). Gilbert begins this lick with a downstroke and alternate picks the notes that aren’t slurred, avoiding the use of two consecutive downstrokes or upstrokes, which in this case would slow him down. Try moving this lick to other areas of the neck and repeating it in different octaves, as Gilbert often does.


    Natural Harmonics

    In FIGURE 13, Gilbert demonstrates how a scale, in this case C major, may be played melodically in diatonic thirds. The pattern is “down one note, up two notes,” and it stays within the scale. Gilbert does something similar in FIGURE 14. Here, he uses a symmetrical fingering pattern across the strings, but the notes don’t comprise any particular scale.

    Players like Eddie Van Halen and Dimebag Darrell have used symmetrical patterns like this in their lead playing. Be sure to concentrate on the fingering pattern used in this example and notice how it’s similar to the first example, in terms of contour.


    Gilbert then takes the same fingering pattern from FIGURE 14 and plays natural harmonics (N.H.) instead of fretted notes, creating a very cool and unusual note sequence with lots of wide intervals. When executing each natural harmonic, be sure to lightly touch the string with the fret-hand finger directly over the fret rather than press the string down to the neck behind the fret. The harmonics at the fourth fret are a little more challenging to nail and must be performed accurately. Otherwise you’ll just produce a dull mute.


    Piano-Style Licks

    FIGURE 16 is a cool piano-style lick that Gilbert plays, and it’s a pointed example of his efficient picking technique. As in FIGURES 7 to 10, the guitarist begins with an upstroke to economize the movement from the high E string to the lower strings.


    16 17.png

    A lot of Gilbert’s super-fast alternate picking is based around this principle. When playing this example, keep the alternating notes on the high E and B strings separate so that they don’t bleed into each other. You can do this by releasing each fretting finger’s pressure against the string immediately after the note is picked. Also, avoid moving your fret hand excessively; it should move very little, in fact, so work on keeping the movement as efficient as possible.

    Three-Octave Licks

    Gilbert points out that a 24-fret guitar has a four-octave range (not including harmonics) and that the fretboard’s layout lends itself well to repeating note sequences in different octaves up and down the neck using the same fingering shape. A cool technique the guitarist likes to use is to take a short melodic idea and transpose it up and down and across the neck in octaves, as he demonstrates with the three-note A major arpeggio shape in FIGURE 17.

    This technique helps develop your skill at shifting positions quickly and offers a great way of extending a short lick into a mammoth one. Notice that the initial three-note sequence is repeated on the next two higher strings using the same pattern, two frets higher and then on the top two strings, three frets higher.

    This two-string concept is particularly useful for guitarists since it relies on each pair of adjacent strings, except the G and B, being tuned the same way, in fourths. FIGURE 18 is another example of this technique that Gilbert offers, this based on a more interesting six-note pattern in the A Mixolydian mode (A B C# D E F# G), which works well over an A7 chord.


    To help switch from his fourth finger to his second finger between each six-note group, Gilbert uses a subtle finger slide, which is easier than trying to perfectly nail each position shift “from the air” and sounds very cool. You’ll find it helpful to first practice each six-note group separately before stringing them together. Also, keep your fret hand arched high, be- cause flattening your fingers will cause noise and slow you down.

    Untranscribable Lick

    “Here’s my secret lick that’s been impossible to transcribe,” says Gilbert. “I know the mental process involved and can teach your brain how to get it. There’s this kid in Japan who’s apparently an expert on my style. He plays all the stuff that I’ve done, which is kind of frightening for me! Every time I see him play, I’m like, ‘I’ve gotta learn something new!’ And so I came up with a seemingly untranscribable, lightning-fast legato lick that I’m hoping even he can’t play!”

    Not letting Gilbert’s “untranscribable” tag deter us, we’ve tabbed out the lick he plays on the video in FIGURE 19. The best approach is to start with you fret hand only, which maps out the initial 11-note pattern upon which the lick is based. Gilbert uses this pattern all the time, so it’s worth getting to grips with it before adding the tapped notes.


    The general principal behind the taps can be a little bit confusing at first, because Gilbert doesn’t quite do exactly what he thinks he does; even though he starts of by tapping the B note at the D string’s ninth fret on the video, when the lick is in full swing he begins taps the E note at the same fret on the G string instead. When he moves to other positions and strings, he then alternates the tapping between the two strings, but for our main lick, stick to tapping the ninth fret E on the G string.

    This tap will serve as your “pulse” as you ramp the lick up to speed. Paul demonstrates this on the video, alternating between the original legato lick and the tapped lick. Listen for the rhythmic accents of each tap in the lick. This is the key to working with the odd set of notes and making the lick flow.

    We can see why this lick has never been transcribed before, but it’s reassuring to see that even a player as precise and technically accomplished as Gilbert finds the lick so intuitive that it’s hard to explain.

    One of the trickiest parts of playing FIGURE 19 is executing the fret-hand tap with the pinkie. This needs to be done quickly and firmly in order to generate sufficient volume for the note to be heard in balance with the other notes. Try practicing the first eight notes as a separate lick, aiming for even volume and tone between the notes. This will help with the transition between the third and fourth strings.

    [[ 'Shred Alert' DVD: Let Paul Gilbert Teach You How to Shred ]]

    Tapping Licks

    Gilbert prefers to use his index finger to tap, favoring an upward flick to produce the initial pull-off. Experiment with your index or middle finger, using either an upward or downward flick. Your tapping hand will experience more up-and-down movement than usual, so try to avoid looking at your fretting hand at all, if possible.

    FIGURE 20 is a tapping lick that incorporates both an ascending and descending arpeggio shape. In FIGURE 21, the guitarist introduces his unique “Gilbertism” of tapping and hammering on at the same fret, in this case the fourth. The effect created in this example is a double effect on the B note. Gilbert uses this technique to great effect in many of his blazing solos. As he breaks it down in the video, you can see that it’s more a matter of coordination than hand speed.

    20 21.png

    Notice in both figures that Gilbert uses the same pattern on each three-note shape. You should see the potential of using this idea on different strings and scales. In FIGURE 22, Gilbert takes this idea up the neck on the G string, staying within the A natural minor scale (A B C D E F G). The main difficulty here is getting the tapping finger out of the way of the fret hand’s third finger as both hands move up the string. Strangely, you may find this lick slightly easier to coordinate than the previous one, even though it looks more difficult!

    In FIGURE 23, Gilbert applies the same idea to the A minor pentatonic sale to make it sound more “rock.” Since the shapes are bigger, with the notes being spread further apart, there will be more movement between both hands, so start off by learning two or three shapes at a time and at a slower speed, then connect them and crank up the tempo. You’ll find it helpful to first get acquainted with the fret-hand shapes before adding the tapped notes. This will make it easier to work out the most comfortable fingering patterns for each. Try moving this idea onto other strings, and introduce new scales for variety.

    22 23.png

    23 more.png

    To make your fret-hand shifts easy, use your index finger to slide to the note you have just vacated. You should be able to see this from the side without looking away from your tapping finger. Similarly, your fretting hand doesn’t move as soon as you change shape; it simply taps the same fret as the highest note in the previous shape.

    [[ 'Shred Alert' DVD: Let Paul Gilbert Teach You How to Shred ]]

    Additional Content

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    Below, check out the latest photo gallery of Guitar World magazine covers. This time, we "cover" 2008 through the present — 2014.

    Because we're in a "completist" mood, this photo gallery also includes all the different variations of certain covers, including four different versions of an Eddie Van Halen cover from 2009.

    We hope you enjoy this trip through GW's recent history. Because this gallery will go through 2014, you'll have to wait till 2015 for the next one!

    If you're in the mood for more, be sure to check out our photo gallery of every Guitar World magazine cover from 1980 to 1986, from 1987 to 1993, from 1994 to 2000 and from 2001 to 2007.

    NOTE: Remember, you can click on each photo to take a closer look.

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    Ozzy Osbourne guitarist Gus G recently released his first solo album, I Am the Fire.

    Today, he has teamed up with the gang over at Revolver to premiere a new music video, "Long Way Down," which features Alexia Rodriguez of Eyes Set to Kill. Check it out below and let us know what you think in the comments or on Facebook!

    "I worked on this track with producer Kevin Churko (Ozzy, 5FDP, etc.), his son Kane and Alexia Rodriguez from Eyes Set to Kill," Gus G said. "Once we finished it, we knew we had a special song in our hands. [The] ‘Long Way Down’ lyrics were inspired by a scene I witnessed many years ago, when I briefly lived in Sweden. What I saw, is the exact storyline with the girl in this video.

    "We hear about suicides all the time in the news, it's always shocking. Hundreds of thousands of people deal with depression every day. They're brave.

    "If there is one message we'd like to pass out with this song & video, it is that suicide can be prevented. If you need help, or know someone who does, reach out to any of the following organizations: (US) (International)

    "Many thanks to Patric Ullaeus for your belief, your dedication and always-awesome videos!”

    To get I Am the Fire, visit Century Media's webstore or iTunes.

    For more on Gus G, follow him on Facebook and Twitter.

    Additional Content

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    Below, check out a new demo video for Seymour Duncan's 805 Overdrive pedal. The video features—and was posted by—guitarist Keith Merrow of Conquering Dystopia.

    "A lot of people have been asking me about this new 805 OD pedal," Merrow says. "I put together a quick video so you can hear it. I think it really does a lot to tighten up a high gain tone. It's similar to your familiar 'green' OD pedal, but it has a much better EQ section and a more transparent gain curve."

    Signal chain: Schecter KM6, 805 OD, Kemper (5150), UA Apollo Quad, Studio One Pro

    From the company:

    The Seymour Duncan 805 Overdrive is designed using the legendary 808 chip, but with an expanded gain range and an active 3-band EQ that isn't common on overdrives. It's so versatile that you can use it for a smooth, lyrical bluesy overdrive one minute and a modern metal crunch the next.

    We started with the classic overdrive tones we all know and love but we tightened up the bottom end and added more sparkle in the highs as well as more detailed note articulation. Whether you're after ringing cleans, a subtle boost, fat crunch, or even screaming sustaining solo tones, it's all in there. And unlike other overdrives that become thin when you refine the gain, the 805's 3-band active EQ lets you take back control over the low end while also fine-tuning the mids and highs.

    The 805 Overdrive can be used to give your sound a boost with full overtones or to provide harmonically rich heavy gain with warm tube character.

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    Today, presents the exclusive premiere of the official "Rockin' Down the Highway" lyric video by the Doobie Brothers featuring Brad Paisley.

    The recording, a reworking of a classic 1972 tune by the Doobie Brothers, is from their new studio album, Southbound, which was released November 4. The album features an impressive list of country-music guest stars, including Paisley, the Zac Brown Band, Black Shelton, Vince Gill, Toby Keith and more. You can see the complete track list below.

    As always, be sure to let us know what you think of the song in the comments or on Facebook!

    You can get the album now on Amazon. For more information on Southbound, visit

    In other Doobies news, the band took the stage last night to perform "Listen to the Music" with Hillary Scott of Lady Antebellum, Jennifer Nettles of Sugarland and Hunter Hayes. They took the stage once again for CMA's encore performance, bringing out Michael McDonald to perform "Takin’ It to the Streets" as Nettles, Hayes and Scott contributed background vocals. Paisley even jumped in on guitar!

    Southbound Track List:

    "Black Water" with Zac Brown Band
    "China Grove" with Chris Young
    "Jesus Is Just Alright" with Casey James
    "Listen to the Music" with Blake Shelton with Hunter Hayes on guitar
    "Long Train Runnin'" with Toby Keith
    "Nobody" with Charlie Worsham
    "Rockin’ Down the Highway" with Brad Paisley
    "South City Midnight Lady" with Jerrod Niemann
    "Take Me in Your Arms (Rock Me a Little While)" with Tyler Farr
    "Takin’ It to the Streets" with Love and Theft
    "What a Fool Believes" with Sara Evans
    "You Belong to Me" with Amanda Sudano Ramirez of the band Johnnyswim with Vince Gill on guitar

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    Arch Enemy have released a pro-shot clip of "As The Pages Burn" as performed at the Masters Of Rock festival July 12 in Vizovice, Czech Republic.

    Arch Enemy played their first show with singer Alissa White-Gluz May 23 at Turbohalle in Bucharest, Romania. Angela Gossow, who joined the band in 2000 and made her debut on 2001's Wages Of Sin, has stepped down as frontwoman and will focus on management, while Alissa takes her place.

    Anyway, check out the clip and let us know what you think of it in the comments or on Facebook!

    ARCH ENEMY: live in North America with KREATOR, HUNTRESS, STARKILL

    Nov. 6, 2014 - Commodore Ballroom - Vancouver, BC *
    Nov. 7, 2014 - Studio Seven - Seattle, WA *
    Nov. 8, 2014 - Hawthorne Theater - Portland, OR *
    Nov. 10, 2014 - Regency Center - San Francisco, CA
    Nov. 11, 2014 - House of Blues - West Hollywood, CA
    Nov. 12, 2014 - House of Blues - Anaheim, CA
    Nov. 14, 2014 - The Marquee - Tempe, AZ
    Nov. 15, 2014 - Sunshine Theater - Albuquerque, NM *
    Nov. 16, 2014 - Ogden Theatre - Denver, CO
    Nov. 18, 2014 - Mill City Nights - Minneapolis, MN *
    Nov. 19, 2014 - Mojoes - Joliet, IL
    Nov. 20, 2014 - The Intersection - Grand Rapids, MI
    Nov. 21, 2014 - Majestic Theatre - Detroit, MI
    Nov. 22, 2014 - Bogarts - Cincinnati, OH
    Nov. 23, 2014 - House of Blues - Cleveland, OH
    *=without STARKILL

    Additional Content

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