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    To celebrate the release of Jimmy Page’s lavish new photo book, Jimmy Page by Jimmy Page, the guitar legend appeared with Chris Cornell, guitarist and singer for Soundgarden, at the Theater at Ace Hotel in downtown Los Angeles for a relaxed question-and-answer session that spanned the entirety of Page’s 50-year career.

    Sponsored by Genesis Publications, Guitar World and Guitar Aficionado, the hour-and-a-half event enthralled a packed house of 1,400 fans as Cornell quizzed Page about the rare photos and memorabilia—many drawn from Page’s personal archives—which were projected on an enormous screen hovering above both men.

    The 70-year-old Page, with his silver hair, scarf and black leather jacket, looked as sharp as a James Bond super villain, while Cornell, in thick-rimmed glasses, evoked a hipster newsman. The subject matter ran the gamut from extremely light and frothy to the serious matter of drummer John Bonham’s untimely death, of which Page commented, “when we lost 25 percent of the band, we really lost the whole thing.”

    Among the more humorous moments was when Cornell took note of a photo of Page wearing a bright—but very tight—red sweater emblazoned with his “Zoso” symbol. Page explained that a friend’s girlfriend had knit it for him, but when he sweated onstage, it immediately started to shrink.

    During another point in the conversation, as a July 1986 cover of Guitar World featuring Page on the cover (See the photo gallery below) was projected on the screen, Cornell flat-out declared Page to be the greatest guitarist in rock history, eliciting an extended standing ovation from the audience. In response, Page buried his head in his hands and declared his embarrassment, but a smile betrayed his appreciation.

    Talking about future plans, Page expressed hope to be touring within the next year.

    “The most important part is to be seen playing,” he told the delighted audience, which included such special guests as Metallica’s Kirk Hammett, Zakk Wylde and Edgar Winter. “It doesn’t matter what I do at home!”

    The entire evening was professionally video taped by Guitar World, so stay tuned for highlights on!

    Page appears on the cover of the all-new Holiday 2014 issue of Guitar World magazine. This time around, Page discusses the new versions of Led Zeppelin IV and Houses of the Holy, both of which were released late last month and are climbing the charts. You can check out the new issue of GW right here.

    Additional Content

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    This month’s column focuses on an original composition of mine that acknowledges the influence of classical pianists on my playing style, specifically the way in which pianists will play arpeggios across several octaves very quickly (see FIGURE 1).

    In order to emulate that sound on the guitar, I’ve devised a few fretboard tapping techniques. In fact, much of my two-hand tapping technique is based on that goal and approach.

    The idea is to break down the arpeggios into different sequences, such as four-note groups, and play them in a way that would be quite difficult, if not impossible, to play conventionally. This example is also cool because it has some unusual, “advanced classical” chords in it, such as a Neapolitan chord, an augmented III (three) chord, and some diminished seventh chords.

    Let’s examine the first half of FIGURE 1. I start with a second-inversion G minor arpeggio (G Bb D). “Second inversion” means the arpeggio begins (and ends) on the fifth, which in this case is D (see bar 1, beats one through five). On beat six, I switch to a root-position G minor arpeggio, which means that it starts (and ends) on the G root note.

    All of the phrases in bar 1 are executed with sweep picking. On beat one, I begin with a pull-off from the pinkie to the index finger, and then I reverse rake (or reverse sweep) by dragging the pick in a continuous upstroke across the top five strings through beat two. Beat three begins with a hammer-on and is followed by a forward rake (or downsweep) as the pick is dragged in a continuous downstroke across the strings. The same sweeping techniques are utilized throughout the remainder of the bar.

    In bar 2, I begin with a G natural minor (G A Bb C D Eb F) legato scalar run across beats one and two, then switch to down-up alternate picking, using notes from the G harmonic minor scale (G A Bb C D Eb F#). Bar 3 features a reference to the VI (six) chord, Eb, and then the II (two major) chord, A, followed in bar 4 with a first inversion (third “in the bass,” or positioned as the lowest note in the chord voicing) Gm/Bb voicing and a second inversion (fifth in the bass) D7/A chord.

    Bar 5 initiates the section of the piece wherein all of the phrases are executed with tapping, hammer-ons and pull-offs. One can analyze the rhythmic subdivisions of these phrases in a variety of ways, but the prevailing sound is that of an eighth-note triplet feel, with a 16th-note triplet played on each (or the majority of) the eighth notes. In other words, the overall feel is “ONE-trip-let, TWO-trip-let, THREE-trip-let,” etc. This triplet rhythm disguises the fact that the notes are actually phrased in four-note groups, in terms of the line’s melodic contour.

    The highest note in each four-note melodic group is tapped. This results in two tapped notes per octave, which is a little different than the tapped arpeggios played later in the piece, which include only one tapped note per octave.

    Beats one and two of bar 5 cover the first octave, and starting on beat three the pattern is repeated an octave higher. Once we reach the highest note in the phrase—D, first string, 22nd fret—at the beginning of bar 6, we descend through G harmonic minor on beat one and then shift to the Neapolitan chord, Ebmaj7, and descend through a series of four-note arpeggios based on the chord tones Eb G Bb D. We then ascend back through the same arpeggiated shapes. This phrase can also be analyzed as G natural minor because these notes all live within the G natural minor scale.

    This is definitely a complex piece that will require a great amount of practice to get a handle on. The hardest thing of all when playing a piece like this is to keep the idle open strings from ringing. The best advice I can give is use the palm of your pick hand to mute the strings as much as possible, keeping it over the strings that aren’t being played as consistently as you can.

    Additional Content

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    Guitar World's 2015 Guitar Review Guide is available now for $7.99!

    The 2015 review guide includes the top picks of the year's best gear, modeled by Playboy Playmates Jaclyn Swedberg, Raquel Pomplun and Pamela Horton. The issue also features the hottest new gear for this holiday season: electrics, recording gear, acoustics, basses, effects, amps, holiday gift ideas, stocking stuffers and more! Plus a special 2015 sneak preview to help you stay current.

    Sections Include:

    Electric Guitars - Whether you like them curvy, slim, big or thick, you'll find just the thing to keep you performing all night long.
    Acoustic Guitars - If you like your tone au naturel, you'll love this collection of flattops, archtops and acoustic electrics.
    Bass Guitars - Lift up the low end with big-bottom beauties in every shape and style.
    Amplifiers - Our combos and stacks have all the knobs and inputs you could possibly want. Plug in and make your main ax scream.
    Effects - Like to get weird? We've got a throng of boosters, boxes, plug-ins and more that will surely tickle your fancy.
    Recording & Accessories - Time to freshen up your bag of tricks? Mix things up with some leather straps, a wang bar or maybe even a perky pair of knobs.

    The 2015 Review Guide is available now at the Guitar World Online Store.

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    A talented YouTube user known as larzgallows on YouTube creates and posts what he calls "One Man Zepp" videos.

    Although it's hard to be sure, we're assuming he's playing all the instruments in the videos, all of which feature impressive, spot-on covers of classic Led Zeppelin songs.

    We've included five of them below — "The Song Remains the Same,""Since I've Been Loving You," the abbreviated The Song Remains the Same version of "Black Dog,""Whole Lotta Love" and "Going to California" (which features a guest vocalist).

    Guitarists who appreciate Jimmy Page and John Paul Jones will dig the super-up-close instrument-neck shots as larzgallows plays the guitar and bass parts on (mostly) session- and/or venue-accurate instruments. Enjoy!

    P.S.: If you visit his YouTube page (See the link above), you'll notice he also records "One Man" covers of a few Van Halen tunes.

    Jimmy Page appears on the cover of the all-new Holiday 2014 issue of Guitar World magazine. This time around, Page discusses the new versions of Led Zeppelin IV and Houses of the Holy, both of which were released late last month and are climbing the charts. You can check out the new issue of GW right here.

    Additional Content

    0 0's latest readers poll—the first annual Jim Dunlop Effect Pedal Throwdown—has reached Round 2!

    For the past month, we've been pitting Dunlop, MXR and Way Huge pedals against each other in a no-holds-barred shootout. Now the competition is guaranteed to get even tougher.

    Therefore, we're pulling out all the stomps! Sixteen stompboxes will go head to head — or toe to toe, if you prefer — leading up to the king of Dunlop/MXR/Way Huge pedals.

    You can check out the current bracket — with all 32 competing pedals that starting things off in Round 1 — 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 is updated after (almost) every matchup, and matchups will take place pretty much every day, excluding weekends. 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 MXR M68 Uni-Vibe Chorus/Vibrato goes foot to foot against the MXR M101 Phase 90. Start voting below!

    YESTERDAY'S RESULTS: Yesterday, the Way Huge WHE202 Green Rhino Overdrive (57.5 percent) just barely defeated the Way Huge WHE301 Fat Sandwich Distortion (42.5 percent) to advance to the next round! To see all the matchups that have taken place so far, head HERE. Thanks for voting!

    Meet the Combatants

    MXR M68 Uni-Vibe Chorus/Vibrato

    The Uni-Vibe Chorus/Vibrato is one of the most iconic effects in music history. Since the late ’60s, groundbreaking guitar players have used it to expand the tonal and textural palette of the electric guitar. The MXR team has just remastered the classic effect for modern players. The MXR Chorus/Vibrato delivers the same chewy, Leslie-sounding goodness with a smaller footprint.

    With its simple three-knob interface, you can dial up the iconic effect to your taste in short order. First, use the VIBE switch to select either Chorus Mode—dry signal mixed with pitch-shifted signal—or Vibrato Mode—only pitch-shifted signal. Then, use the LEVEL control to set the effect volume, the SPEED control to set the sweep rate, and the DEPTH control to set overall intensity. The MXR Uni-Vibe Chorus/Vibrato comes in a Phase 90-sized housing—a fraction of the size and weight of the original Uni-Vibe pedal—and features true bypass switching. Perfect for taking this lush, swirly pedal out on the road.

    MXR M101 Phase 90

    This device has found its way into many of Eddie Van Halen's recordings, adding a shimmery velocity to lead passages or a more dramatic swoosh to muted strumming. Not just for guitars; it works well with bass, keyboards and even vocals. Vary the speed from a subtle, long cycle to a fast, watery warble...and myriad vintage vibrations in between.

    Vote Now!

    Gomez Addams Sheet1

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    As you advance in your guitar studies, you'll surely come across the term "arpeggio."

    Arpeggios are a great way to add color and complexity to your playing. You can make riffs out of them, use them in solos or even create melody lines with their fluid sound.

    Nearly all of the greats use arpeggios. Yet, if you're like a lot of guitarists, you might be shying away from them because you fear being overwhelmed by the "Twin Ts": theory and technique. If you have a basic understanding of how chords work, though, it's high time to get your feet wet.

    Here are eight things you need to know to help demystify the arpeggio.

    01. What an arpeggio is exactly The word arpeggio (ar-peh-jee-oh) comes from the Italian word arpeggiare, which means "to play a harp." (If you can visualize harpists, they often articulate notes by plucking the strings one at a time.) Arpeggios, often called broken chords, are simply notes from a chord played individually instead of strummed together.

    02. What arpeggios can do for you. Arpeggios create a fast, flowing sound. Besides using them for speed in playing, arpeggios add a kick to improvisation skills. Because an arpeggio contains all the notes of its chord, you can use them in your solos and link them to what's going on in the chord structure beneath you to create cool sounding licks. Arpeggios always sound good over their matching chord in a progression, therefore, they generally form the melodic home bases and safe notes for improvising guitarists. This guitar chord chart will help visualize the notes of each arpeggio on the guitar neck.

    03. Scales vs. arpeggios. Let's clear up any confusion you might have between scales and arpeggios. Scales are a series of notes played one by one that fit sonically within a particular key signature (e.g., G major scale would be G, A, B, C, D, E, F#). Arpeggios, on the other hand, are a series of notes played one by one that consists of the notes within a particular chord (e.g., G major arpeggio would be G, B, D). Like a scale, an arpeggio is linear: it's a set of notes you play one at a time. Unlike scales that contain some extra notes not always played in chords, arpeggios use only the notes found in a single chord. Both scales and arpeggios can be played in ascending, descending or random order.

    04. Arpeggio shapes. As with scales, there are a variety of shapes to learn when playing arpeggios. There are generally five CAGED shapes for each arpeggio, except the diminished 7th, for which there is just one. Learn arpeggios in different positions on the neck so you become familiar with the shape of the arpeggio rather than concentrating on which frets to put your fingers in. Learn the shapes one at a time. Although you need to get all five of the shapes down—eventually—it's far better to be able to play one perfectly than five poorly. Practice moving from one arpeggio shape to another, back and forth and back and forth.

    05. Which arpeggios to learn first. The best guitar arpeggios to learn first are the major triad (1, 3, 5) and the minor triad (1, b3, 5). The major and minor triads are the most common and most used guitar arpeggios in all of music. While a triad contains only three notes, an arpeggio can be extended with chords like a major seventh, a 9th, 11th, 13th, etc., giving you endless possibilities.

    06. Different picking styles. There are several ways you can play arpeggios—alternate picking, legato, hammer-ons and pull-offs, sweep picking and tapping are among them. (For the more experienced player, there also are lead techniques you should be confident with for playing arpeggios at higher speeds, such as string skipping and finger rolling.) Experiment with each way of playing these arpeggios to see which one works best for you and your particular style.

    A note here about fingerpicking: While fingerpicked chords are technically arpeggios since the chords are broken up, the individual notes aren't typically muted after they're played and thus ring together. The listener can literally hear the entire chord from the vibrations of each individual note. Arpeggios typically only have one note playing at any given time and are a slightly different idea from broken chords.

    07. Grab the arpeggio by the "root." When you're brand new to arpeggios, you always want to start and end on a root note (the note upon which a chord is built. Literally, the root of the chord.) This will help train your ears to hear the sound of the scale. Start on the lowest pitched root note, play up as far as you can, then go back down as low as you can, and then back up to the root note.

    08. Form and speed. To play arpeggios, you should mute each note immediately after picking it by lifting the fretting finger. This will keep the notes from "bleeding" into one another and sounding like a strummed chord. Every note needs to sound individually. Start off slowly. Perfect your form before you add speed to the mix. You don't want to develop bad habits that you will have to correct later.

    For more on playing arpeggios, give some of these "how to play arpeggios" guitar lessons a try, as well as Ben Lindholm's "10 Ways to Play Arpeggios."

    Kathy Dickson writes for the online guitar lesson site Guitar Tricks.

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    Toronto-based rockers Secret Broadcast have released a new music video for a song called "Killing Time."

    You can check it out below. If you do, stick around for the unplanned ending ... the part where their moving vehicle is pulled over by the police.

    In the video, which was shot with three GoPro cameras, the band is seen performing "Killing Time" in a van. Lead singer Matt Lightstone drives while drummer Keith Heppler plays a kids' drum kit. The guitar and bass amps are battery powered.

    All goes well for about three minutes, but they bungle the end of the song when they get pulled over by the cops. By the way, the band assures us the ending is not staged. It's just a shame we can't see the aftermath ... or the cop, for that matter.

    Anyway, not that we're suggesting you should skip through the video, but the first police siren is heard at 3:05. The inevitable "Oh, shit" moment arrives at 3:26.

    For more about Secret Broadcast, visit

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    One of the most enjoyable things when learning to play the guitar can be writing your own music. This was the case for me when I first learned to play, and many of my students love to write their own music as well.

    The difficulty in writing music as a beginner (or sometimes even as an experienced player) can lie in having a limited knowledge of chords and how they function within a key, or what a key even is.

    What frequently happens for electric guitar players is that their chord progressions consist only of root-position power chords. This is not necessarily a bad thing, but understanding keys, scales and chords can make your writing much more intricate.

    This riff-writing exercise will demonstrate how to create diatonic and borrowed chords based on a chromatic bass line while staying in key. For this example, I’m going to use the key of A minor and the harmonic minor scale as my guide for chord construction.


    Here’s my bass line:


    If I take each note of the bass line and create a root-position power chord, here’s what I’ll end up with: Besides having all parallel fifths, there are problems with the chords B5, C♯5 and D♯5. These all contain notes that don’t fit in the key of A minor with the root of the chord given.

    But how do we know what chords fit? This diagram shows the diatonic chords within the key of A minor.


    Notice all of the chords are built off of the A minor scale. Using just power chords, the fifth will be out of place in several instances. The B5 does not exist in this key, because B5 contains an F♯. C♯5 is incorrect as well, as the G♯ will only be used for the E (V) chord. With D♯5, the A♯ is also outside of the scale. This will very be problematic if you’re writing a melodic line in the key of A minor, as notes are going to clash with these three chords.

    In the audio file, I’ve recorded a solo in A minor, and you can hear how notes will clash using all root-position power chords:

    A simple way to make the appropriate chord move with the bass is to use an alternation of fifths and sixths:


    Using this type of chord alternation with the chromatic bass line creates a very musical progression as several different types of chords are used (or implied). Obviously, the A5 fits. Creating an inverted G chord fits, and it makes a perfect transition to C5.

    The A7 chord built off of C♯ is a borrowed chord called a secondary dominant. As it doesn’t fit in the key of A minor, if you look to the next chord of D5 and use that key for just that one chord, A7 becomes the dominant (V) chord in the key of D minor.

    The exact same thing occurs with the B7 chord. The following chord is an E, so by borrowing that key temporarily, the dominant becomes B7. The final two chords are simply creating a suspension with the interval of a fourth resolving to a third (Esus to E) that can then be resolved back to an A5 chord.

    Using the same solo as before, I’ve combined it with the proper chords for an A minor chromatic progression. Listen to the difference:

    Having a working knowledge of music theory can make your musical canvas much easier to paint. It simply gives you a starting point from which to experiment.

    Check out my last column — "Are You Learning to Play Songs or Learning to Play Guitar?"— here.

    Matthias Young teaches online guitar lessons at and is the Head of Guitar at Callanwolde Fine Arts Center in Atlanta, Georgia. His book, Metal Guitar Method, has sold thousands since its publication in 2012. Young, who has a bachelor's degree in music from Georgia State University, is pursuing a master of music degree at Boston University. If you’d like to study with Matthias over Skype, visit

    You can follow Matthias on Facebook, Twitter, YouTube and Google+.

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    Here's a cool tapping run that starts on the high E string and moves across the neck to the A string.

    It’s based around the A minor pentatonic box at the fifth fret and includes a couple of color tones added on the D and A strings, namely B and F#.

    I tap with my middle finger and begin this lick by lightly flicking the string with the finger to get the sound going, basically doing a "phantom" pull-off to the A note at the fifth fret.

    I then play a sequence that goes "hammer, tap, pull" and repeats as I move across the strings, initiating the first note on each lower string with a "hammer-on from nowhere" with my fret-hand ring finger. I do this a lot in my tapping forays.

    You’ll notice I backtrack at a couple of points in bars 1 and 2 and move back to the previous string, which I do to extend the run. When doing this, I’ll tap the first note on the higher string.

    I finish the lick by pulling off to the open A string, which I then lightly touch directly over the fifth fret to produce a high A natural harmonic, two octaves above the fundamental. I then decorate this final note with a whammy bar dip, shake and dive.

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    It’s always fun to hear fresh acoustic interpretations of songs.

    But there’s something about covering Iron Maiden acoustically that just seems to work.

    Take this classical guitar version of “Fear of the Dark” by Thomas Zwijsen.

    Best known for his arrangements of famous rock, metal and pop songs for classical solo guitar, his interpretation of this Iron Maiden standard is a standout.

    Even as the sole performer on stage, his fluid chops take the song to new heights. (And the video is pretty hilarious too.)

    Zwijsen’s Maiden pieces work so well that he's even released an album full of them, the cleverly titled Nylon Maiden.

    Check out his rendition of “Fear of the Dark” below, and find out more at

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    Today, presents the premiere of "Fractals"—the song and the music video—by guitarist and frequent Guitar World contributor Glenn Proudfoot.

    The song is from his new album, Ineffable, which is available through and iTunes.

    "Experimenting with chordal shapes can really take your music to another place," says Proudfoot about the brief, tapping-filled track. "I don’t have any rules when it comes to writing or creating, and neither should you. Just keep searching until you find the sound you're after.

    "I knew the soundscape I wanted to express here. My focus was to maintain space with this piece while keeping the flow and technicality. This is achieved by the wide intervalic chords and the tapped notes/melody higher up the scale. It creates a real piano-style sound with an ethereal flavor.

    "This song was recorded with the Victory 30-watt 'The Countess’ head into a 4x12 box. The amp has such a beautiful, clean sound for such a small wattage. It's incredibly articulate, and the notes just jump out."

    The video and track were recorded and produced by Peter "Reggie" Bowman at Screamlouder Productions in Melbourne, Australia.

    You can follow Proudfoot on YouTube or Facebook.

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    It’s hard to believe it’s been 15 years since Dennis DeYoung’s acrimonious split from Styx.

    But one thing’s for sure: DeYoung’s contributions to the success of that band run much deeper than his role as the band's keyboardist.

    Together with a new band dedicated to preserving the legacy of his old one, DeYoung’s new DVD/Blu-ray package, Dennis DeYoung and the Music of Styx: Live In Los Angeles, quickly dispels any notion that he wasn’t a "rock guy" in Styx.

    Filmed with eight high-definition cameras in front of an enthusiastic audience at the intimate El Rey Theatre in Los Angeles, DeYoung performs the catalog of Styx hits that have become staples of classic rock radio, including “Lady,” “Blue Collar Man,” “Show Me The Way,” “Mr. Roboto,” “Babe,” “Best Of Times” and “Come Sail Away."

    Guitarists Jimmy Leahey and August Zadra perform regularly with DeYoung. I recently caught up with DeYoung, Leahey and Zadra to ask them about this new live package and more.

    GUITAR WORLD: Dennis, how did this project come about?

    DeYoung: Originally, AXS TV came to me last year and asked me if I’d be interested in doing an acoustic "Live from the Grammy Museum" performance. But I was bound and determined to do an electric show with this great band to dispel any notion that I wasn’t a "rock guy" in Styx. So they suggested we go to the El Rey Theatre, because that's where they did shows with John Fogerty and Ringo Starr. That’s when Frontiers Records got involved and said they wanted to make the performance into a CD/DVD/Blu-ray. That's how it all began.

    Was there any sense of added pressure going in with this being a one-shot, live performance?

    DeYoung: When you do a show like this, you have to accept the responsibility that you have to be good, right then and there. There's always a certain amount of pressure when you know it's live and going to be recorded. But having said that, I wasn't really nervous because I had great belief in this band. They did so admirably that all I can say is, "fantastic!"

    A few of the songs on this collection are ones the current version of Styx no longer includes in their repertoire. Was there a reason for adding them?

    DeYoung: I knew that if it was going to be a true greatest-hits package, then those songs had to be on there. The fact is, for the first 10 years I toured as a solo artist, I wasn't playing any of the songs I didn't write or sing. And my former bandmates [Tommy Shaw and James "JY" Young] still don't play "Babe,""Best of Times,""Show Me the Way,""Don't Let It End" and "Mr. Roboto." Those were all Top 5 singles. So I thought, I know what Styx audiences want. They want to hear all of the songs, for goodness sakes!

    Jimmy and August, how did the two of you hook up with Dennis?

    Leahey: I had been working with John Waite, and the two of us had opened two summers in a row with Dennis as an acoustic duo. At the time, Dennis was in the process of recording his album, One Hundred Years from Now, and he asked me if I'd be interested in playing some acoustic on the album. It was an incredible experience that just took off from there.

    Zadra: The story goes that Dennis' son Matt saw a video of me singing and performing in a Styx tribute band. He then called Dennis in the middle of the night and told him to turn on his computer and check it out. A few months later, I got a call from Dennis’ manager and then from Dennis. I couldn’t believe it! Everything happened pretty quickly after that.

    What's it like working with him?

    Leahey: To actually stand on stage and play with the guy who penned all of those classic songs is just amazing. Then to get to know him personally as a friend has been awesome. He's such a great guy to work with.

    Zadra: Dennis is a very intelligent guy with a great sense of humor. He’s a great boss who treats everyone in the band really well. To put it back on a guitar slant, he gives Jimmy and me a lot of latitude in our approach to the crafting of tones.

    What’s your favorite Styx song to play live?

    Leahey: I have to say I probably teared up the first time I played “Come Sail Away." I know that’s the obvious choice, but when we’re out there, everyone is standing up singing and holding up their camera phone "lighters." It was a magical moment for me.

    Zadra: I really enjoy playing “Fooling Yourself." That’s a fun song to do. I also like playing “Blue Collar Man” as one of the more “aggressive” songs.

    What can you tell me about your musical upbringing?

    Zadra: I grew up in Alaska and as a young teenager was very fixated on playing baseball. I wound up hurting my arm, though, and couldn't pitch anymore. That's when I started playing guitar. I remember I used to go out into the garage in 40-below weather with nothing more than a space heater, record player and amp and would spend four to eight hours a day, every day, practicing.

    Leahey: I knew I wanted to be a guitarist from an early age. My father was a touring guitarist and teacher in the area. He was a jazz guitarist who played with guys like Phil Woods, Gerry Mulligan, Chet Baker and Al Cohn. I studied with him and followed in his footsteps. He was a brilliant man and a great guy.

    Tell me a little about your current setup.

    Zadra: About 10 years ago I stumbled upon an Ernie Ball Music Man Axis guitar. The second my hands touched that neck, it just felt like home, and it's been my main guitar ever since. I'm also currently using Blackstar Series One 100 heads. I'm really happy with those. There's also an amp I run at home and locally that’s made by Splawn, a small company based in North Carolina. It’s basically the ideal "hot rod" Marshall with three channels or gears. They've got a Hot Rod Plexi, a Hot Rod JCM800 and a Super-Hot Rod JCM800. It's more for a hard-rock show, but it really kicks ass.

    Leahey: I love Fender amps. I have a '59 reissue Bassman I use mostly along with bucket loads of pedals [laughs]. Guitar-wise, I have a few Strats and Teles, depending on the gig. Through August, I recently hooked up with Music Man and have been using the Albert Lee model, which sounds incredible.

    Are there any other projects you’re working on?

    Zadra: I've accumulated a lot of guitar riffs and chord structures over the years and have been focusing on getting together some rough demos of complete material and plan to have something out next year.

    What excites you the most about the future?

    Leahey: I never thought in my wildest dreams I'd be up there doing the robot dance with Dennis [laughs]. I'm not sure where the future leads, but I've been so fortunate to find myself in this situation. I love working with Dennis and the rest of this band. These are all great songs and each show we do has something unique and special to say.

    Zadra: This whole experience has been a thrill for me, and not a day goes by where I don’t say to myself, "Wow! I get to be on stage with Dennis DeYoung!"

    For more information, visit, and

    James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, His articles and interviews are written on a variety of topics with passion and humor. You can follow him on Twitter @JimEWood.

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    The Living Kills bring all the fun of garage psychedelia–instrumental freak-outs, creepy organ, 12-string guitar, light shows and lots of noise, but with a decidedly modern sensibility.

    Unlike a lot of their peers, they aren’t trying to emulate the past, but instead recreate a vision of the 1960s that didn’t happen.

    Today (November 14), they released a new EP, Odd Fellows Hall, that will usher in a full-length LP in early 2015. There's a new video for the single “It Ain’t Easy” on the way, as well as tour dates.

    The brainchild of songwriter, vocalist and guitar player Merrill Sherman, a Brooklyn transplant from Chicago and Alabama, the band was originally conceived as a meld of Paisley Underground and Jesus & Mary Chain, but instead, anchored by Sherman’s storyteller lyrics and the addition of Jennifer Bassett on organ and Moog, approached something more akin to the darker trips of Roky Erickson or the Pretty Things.

    They wear their love of creepy B-movies, horror and spooky thrillers on their collective sleeves, but chills generated are reversed by the dance-party music lovers cannot refuse.

    Sherman and Bassett are joined by Ross Fisher on bass (the Brides, the Zodiac Killers), Western-hailed Heron Furtwangler on guitar (GoatRopers, Whiskey Dick Mountain, LEX LOSEr) and the Tri-State area’s very own Brian Del Guercio on drums.

    For more about the Living Kills, visit

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    This November we’re giving you the chance to win the ultimate performer’s companion — the BOSS VE-2 Vocal Harmonist Pedal.

    Open to residents of North America only. All entries must be submitted by November 30, 2014.


    Combining sophisticated sound with simple operation, the VE-2 delivers a complete effects solution for all singers, particularly those that perform with guitar.

    This portable, battery-powered stompbox has everything you need to create polished, studio-quality sounds everywhere you sing, from concert stages and street performances to practicing and having fun at home.

    The VE-2 magically creates beautiful harmonized vocals that follow your singing, with pitch that automatically tracks the chords played on a connected guitar, a preset key, or a combination of the two. Using one of these three operation modes, it’s easy to create perfect real-time harmonies in any key, even if you have no experience with gear or music theory.

    In addition to harmony, the VE-2 provides essential effects to enhance your voice, such as high-quality reverb/delay and an enhancer with real-time pitch correction. Also included is a USB audio function that allows you to connect to your computer and easily capture impressive VE-2 vocal sounds for music recordings, social media videos, and more. CLICK HERE TO ENTER NOW>>

    Watch it in action right here:

    Find out more from BOSS at

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    Fretboard Freedom is now available at the Guitar World Online Store.

    This revolutionary approach to chord-tone soloing features a 52-week, one-lick-per-day method for visualizing and navigating the neck of the guitar. Rock, metal, blues, jazz, country, R&B and funk are covered.

    Topics include: all 12 major, minor and dominant key centers; 12 popular chord progressions; half-diminished and diminished scales; harmonic minor and whole-tone scales; and much more.

    The accompanying CD contains demonstrations of all 365 licks!

    For more information, head to the Guitar World Online Store now.

    0 0's latest readers poll—the first annual Jim Dunlop Effect Pedal Throwdown—has reached Round 2!

    For the past month, we've been pitting Dunlop, MXR and Way Huge pedals against each other in a no-holds-barred shootout. Now the competition is guaranteed to get even tougher.

    Therefore, we're pulling out all the stomps! Sixteen stompboxes will go head to head — or toe to toe, if you prefer — leading up to the king of Dunlop/MXR/Way Huge pedals.

    You can check out the current bracket — with all 32 competing pedals that starting things off in Round 1 — 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 is updated after (almost) every matchup, and matchups will take place pretty much every day, excluding weekends. 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 WHE 101 Angry Troll Boost goes foot to foot against the Dunlop FFM1 Fuzz Face Mini Silicon. Start voting below!

    YESTERDAY'S RESULTS: Yesterday, the MXR M101 Phase 90 (60.68 percent) destroyed the MXR M68 Uni-Vibe Chorus/Vibrato (39.32 percent) to advance 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 Angry Troll Boost

    The mighty Angry Troll from Way Huge Electronics serves up gorgeous portions of volume and gain to pummel the input of your amp with up to +50dB of gain. It adds bite and punch while transforming your mild mannered tone into a beastly sonic onslaught! The Angry Troll’s two controls interact like a vintage mic pre amp.

    The Anger knob—a rotary switch with six Fists of Fury positions—adjusts the amount of gain created by the Troll’s op-amp, while the Volume knob regulates the overall output level. High grade components are used for a precisely tuned circuit that works like an extension of your amp. Another tone monster from the mind of Mr. Huge! · Delivers up to +50dB of boost · Precisely tuned to work like an extension of your amp · Adds a little dirt at higher settings · Heavy duty foot switch with quiet relay based true bypass · High grade components for low noise operation

    Dunlop FFM1 Fuzz Face Mini Silicon

    The Fuzz Face Mini Distortion line features legendary Fuzz Face tones in smaller, more pedalboard-friendly housings with several modern appointments: a bright status LED, an AC power jack and a convenient battery door. As with the original models, Fuzz Face Minis feature true bypass switching.

    The FFM1 Silicon Fuzz Face Mini Distortion is spec’d from a 1970 Fuzz Face in our own collection prized for its bright and aggressive Fuzz Face sound delivered by its matched BC108 silicon transistors.

    Vote Now!

    iPhone 5S Sheet1

    0 0

    AC/DC have released "Rock or Bust," the latest single (and title track) from their new album, which will be released December 2.

    The track is available immediately on all album pre-orders, along with another track, "Play Ball."

    Rock or Bust, the band's first studio album in six years, was recorded in the spring at Warehouse Studio in Vancouver . It finds AC/DC once again working with producer Brendan O'Brien and mixer Mike Fraser.

    Check out the song below and let us know what you think!

    Additional Content

    0 0

    Today the Women’s International Music Network (The WiMN) announced that it will honor Grammy award-winning, multi-platinum artist Colbie Caillat with a Video of the Year award for her song “Try” at the 2015 She Rocks Awards.

    Recognizing women who stand out as role models in the music industry, the live awards event takes place on January 23, 2015 at the Anaheim Hilton Hotel during the NAMM Show.

    Colbie Caillat is a two time Grammy Award winning singer-songwriter who has sold over six million albums and ten million singles worldwide. Her breakthrough hit "Bubbly" remains "one of the best-selling digital tracks in history" and her multi-platinum debut COCO hit #5 on the Billboard Top 200 Albums chart upon release, while her sophomore set Breakthrough landed at #1.

    From 2011's All of You, "Brighter Than The Sun" went platinum and enjoyed over twenty film and television placements. She's also played sold out venues everywhere alongside iconic artists from John Mayer to Sheryl Crow. Beyond music, she's an avowed spokesperson and supporter for ASPCA, the Surfrider Foundation, Save The Music, Farm Sanctuary, and The Humane Society of the United States.

    Most recently, Caillat released her fourth studio album Gypsy Heart, which features her hit single "Try." Co-written by legendary producer and singer-songwriter, Babyface, "Try" has become one of the biggest performing songs featured as iTunes "Single Of The Week." What's more, the companion video for the song has become an online phenomenon, quickly amassing 30 million views. For additional information visit

    “The first time I watched Colbie Caillat’s video for ‘Try,’ I was moved to tears. It is such a special video, and very empowering both visually and lyrically. I am delighted and proud to honor her with a She Rocks Award,” commented Laura B. Whitmore, founder of the Women’s International Music Network.

    Watch Caillat's award-winning video here:

    The WiMN recently announced additional 2015 She Rocks Awards honorees. Grammy award-nominated saxophone player and singer/songwriter Mindi Abair; iconic, platinum-selling all-female pop band The Bangles; as well as industry leaders Gayle Beacock, Debbie Cavalier, Amani Duncan, Katie Kailus, Paula Salvatore and Craigie Zildjian will be recognized at this year’s event. Americana band SHEL will open the show.

    The 2015 She Rocks Awards will be co-hosted by platinum-selling guitarist and solo artist Orianthi and the Women’s International Music Network founder and writer/editor Laura B. Whitmore. Now in its third year, the event pays tribute to women who display leadership and stand out within the music industry, and has become a standard at the NAMM Show.

    With featured performances, food and beverages, giveaways, a silent auction, networking opportunities and more, the She Rocks Awards brings together industry professionals, music icons, artists, fans, and media to celebrate women in music. A portion of the proceeds of the event will go to benefit the Girls Rock Camp Alliance.

    This event has sold out for the past two years and does not require a NAMM badge to attend. The She Rocks Awards will take place on January 23, 2015 from 6:00pm to 8:30pm in the Pacific Ballroom at the Anaheim Hilton Hotel. Tickets are on sale now here>>

    The She Rocks Awards is sponsored by The Gretsch Company, Guitar Center, The Avedis Zildjian Company, C.F. Martin & Co, Weber Mandolins, Fishman, Casio, PRS Guitars, Berklee Online, Roland, LAWIM, International Musician, Making Music Magazine, 95.5 KLOS, as well as NewBay Media, and their publications Guitar World, Guitar Player, Acoustic Nation, Bass Player, Electronic Musician and Keyboard Magazine.

    Purchase tickets and find out more about the She Rocks Awards at

    Photo by Kurt Iswarienko

    0 0

    Here's a brand-new edition of Betcha Can't Play This featuring New York City guitarist Elliott Klein.

    Try your hand at his "Frantic Lydian Arpeggios" (our title) lick below!

    As with the other new-for-2014 "Betcha Can't Play This" videos, this is an expanded version of the usually brief "Betcha" videos on

    Also, note that there are no tabs, since Klein explains key left- and right-hand techniques in the clip.

    For other recent Betcha Can't Play This columns, check out Betcha Can't Play This: Guitarist Ethan Brosh Lays Down the Challenge and Betcha Can't Play This: Diminished Madness with Guitarist Ethan Brosh. You'll find more by Klein under RELATED CONTENT, just below the photo.

    For more from Klein, check out his lessons on

    As always, good luck! We have more on the way!

    0 0

    Below, check out an overview of Boss' new products for 2014.

    From the company:

    Boss has always been about helping musicians make killer music. But stability is overrated, and brand boredom is the kiss of death. That's why we're completely revamping our game, never resting on our laurels or rehashing old ideas.

    We're pouring our insatiable musical curiosity and the expertise we've honed since launching our first product in 1976 into becoming a company that continuously creates innovative sounds. All so that musicians can express themselves more freely through that life-changing medium of music.

    At Boss, we don't fear failure. We fear standing still. We're breaking through to recreate ourselves.

    Follow along with #BOSSbreakthrough on Facebook and Twitter and tell us how Boss pedals inspire you to unleash your creativity!


    The addictive fun of looping for all guitarists/bassists.

    • The easiest looper with proven quality and reliability of Boss
    • Newly designed loop indicator displays Rec/Overdub/Play at a glance
    • Battery operation and 12 minutes of stereo recording time for unbridled creativity

    For more information, head here and check out a demo of the RC-1 Loop Station by guitarist Joe Robinson.


    A compact, tough and versatile dual footswitch designed for your pedal board.

    Head here for more information.


    Responsiveness out-shined with a modernized vintage vibe.

    • Classic Blues Driver grit taken to a new level with all-analog discrete circuit
    • Standard mode captures the classic BD-2 sound
    • Custom mode offers a premium stomp experience with new body and sustain

    Head here for more information, and watch this demo video featuring Kaleb Rose:


    The sweet overdrive tone has a prime redesign.

    • Legendary Overdrive highly refined with all-analog discrete circuit
    • Standard mode captures the classic SD-1 sound
    • Custom mode delivers the ultimate tone experience with new tonal range and gain

    For more information, head here and check out the video below featuring Kaleb Rose:


    The legendary analog delay is back with a modern edge.

    • Premium all-analog circuit with BBD (bucket brigade device) for the true reproduction of the vintage DM-2 Delay sound
    • Standard mode for authentic DM-2 tone with 20-300 ms delay time
    • Custom mode provides warm-yet-clear delay sound and over twice the delay time

    For more information, head here and watch the demo video below.


    Authentic tube tone and response for top gigs.

    • Roland’s Tube Logic design delivers the interactive tonal behaviors of fine tuned vintage tube amplifiers
    • Independent Clean and Crunch channels plus unique Dual Tone mode to expand tonal possibilities
    • Classic open-back design with stylish, modern look and a vintage vibe

    For more information, head here and watch the video below.


    Customizable tones for jamming and practice.

    • Compact 10W guitar amp with custom-designed 8-inch speaker
    • 3 COSM amp types: Clean, Crunch, and Lead
    • Extra COSM amps via the free CUBE KIT app for iOS and Android
    • Chorus, delay,reverb and 3-band EQ onboard

    For more information, head here.

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