Electra Mustaine, daughter of Megadeth mainman Dave Mustaine, recently appeared on a TV show to perform one of her father's tunes, "A Tout le Monde" off 1994's Youthanasia.
The story, which can be found on the King 5 website, describes the performance:
"Electra and Jason have teamed up for a special concert to benefit Operation Ward 57, a nonprofit organization that helps wounded service members and their families. Electra and Jason performed their version of the Megadeth song, 'A Tout le Monde,"' then joined Margaret to talk about their families' respective musical legacies and why it's important for them to respect and support the military. Brittney Hamilton, founder of Operation Ward 57, shared more about the work the group does and praised Electra, Jason and other young people who take such an active role to salute and support the military."
Watch the performance below and let us know what you think in the comments.
In this lick, I'm using the blues scale in the key of E.
When used in the right fashion, this scale can sound incredibly dark and even a little evil!
It is the dissonant sound of the flat 5 that creates the dark feeling. In the traditional blues format, the flat 5 is used as a passing note. This creates the intensity and gives tremendous feeling to the lines or licks.
My approach is a little different. I intentionally land on this note to create a heavier, darker sound. You'll notice how I shape the arpeggios around the flat 5 note to create this intensity.
I was after a way of getting a heavier-sounding solo without shifting from the pentatonic tonality too much. Although I admire players who use other scales, the tonality of the harmonic minor or modal playing is not my thing. For me, it is too dramatic when adapted to rock — hence my reason for playing and creating licks like this.
There are two main parts to this lick. First there's the arpeggio starting on the A-string, moving down to the high E. You will notice that by adding the flat 5 it creates a diminished-type arpeggio. It's like that broken power chord you will sometimes hear in songs. The first five notes of the arpeggio are picked with a down-sweep stroke with the last note (the 10th fret on the high E) is picked with an up-stroke.
You should focus on this part of the lick first, as the whole lick is based around this arpeggio shape. The rest will follow once you are comfortable with this.
From the up-stoke on the 10th fret, I slide up to the 19th fret on the high E. The note on the 19th fret is not picked again. The next two notes we pick are with up-strokes on the B and G strings.
From this point, we simply take the same approach and play it in reverse.
This is a really fun lick to play, as the shapes are repeated. It is a fantastic way to push your speed.
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 glennproudfoot.com.
The following content is related to the October 2013 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.
In the February 2013 issue, I mentioned that the chord progression to the jazz standard “Autumn Leaves” is structurally identical to that used in “Still Got the Blues (For You)” and the instrumental “Europa (Earth’s Cry Heaven’s Smile),” two classic rock guitar ballads penned by the great Gary Moore and Carlos Santana, respectively.
Following on the heels of last month’s tribute to jazz sax legend Michael Brecker, I got to thinking, What if Brecker took a sax solo on this same chord progression, played over Santana’s slow 4/4 groove and in Moore’s guitar-friendly key of A minor? I ended up composing a tasty little original solo that I titled “Americana.” (“Europa,” incidentally, was covered in the mid-Seventies by another fine tenor saxophonist, Gato Barbieri, and that arrangement of the tune has become a favorite showcase piece for jazz saxophonists.)
I recently completed a brief West Coast tour and thought it would be a good idea to share some tips I've picked up during my time on the road.
I have a long European tour coming up in September and wanted to prepare these tips — even if only for myself — to help minimize my stress levels while out on the road.
For many young musicians, going out on tour is an early goal we set for ourselves. We read stories of legendary bands on tour, and we dream of the fun times that come from being out on the road. The reality is far different. Most likely, your first experiences on tour will be with your band as you begin to outgrow your local scene. Especially if you come from a small city like me (Portsmouth, England).
You'll most likely play all your local music venues multiple times before thinking about expanding your live markets. You'll probably book a short tour (about a week) of small music clubs and bars. You might not even have to go out of state.
The level of your band will determine the size and scope of your tours as well as the level of comfort you are likely to experience. For this blog post, I'm really focusing on independent bands or newly signed bands. All the points I'm about to give you could really fall under the same category: planning. The more you plan, the less likely things will go wrong.
It's important to plan every stage of the tour and maximize the benefits of touring. The main reasons for touring are to build your fan base and, ideally, make some money. For small bands that are new to touring, you can forget the money. If you break even, you should be happy.
Here are my tips to help make your tours successful.
Figure out the costs of being on the road. Before going on tour, you should figure out exactly what the costs are going to be and whether you can really afford to be on tour. Costs will include gas, food, accommodation, transportation and even "buy on" fees if you're opening for more established bands. You should figure out what is going to be your touring vehicle, and if you don't already own one, research the costs of renting. Make sure you understand everything involved in renting a vehicle and the additional costs.
Make sure you find out about mileage limits, insurance and restrictions on going to out of state. When your vehicle is sorted, you should budget your gas by routing each show and estimating total fuel costs. All hotels should be included in the routing. You should consider booking hotels just outside of major cities as you will usually get a much cheaper rate. For all hotels, flights and rentals, the earlier you book, the cheaper they will be. When you have your total costs, you will be able to make a better decision about whether you can support yourself out on tour. If you are not getting paid for shows, you need to figure out where the money will come from. Don't rely on merch sales!
Make an itinerary. In addition to financial planning, time management is a must. You need to make sure you have enough time to drive from one show to the next — and make sure you leave the previous city at the correct time. There is no worse feeling than knowing you are running late to the next show. This may seem obvious, but you should also give consideration to things like traffic and "city driving" when planning. Give yourself at least two extra hours for each trip in case you encounter problems while traveling. If you own your touring vehicle, make sure you get it checked by a mechanic before you leave. I've seen many tours cancelled because of vans breaking down.
Invest in a good looking merchandise booth. Merch sales can be the difference between life and death for a tour. Many bands rely on these sales to cover their costs, especially if they aren't getting any guarantees for shows. If you are going on tour, you must have merch for sale. The bare minimum would be a T-shirt and CD. If you are signed, your label may help with you, but if you are independent you need to make sure you are getting the best possible "price per unit" for each item you produce.
If you are printing T-shirts don't print equal amounts of each size otherwise you will end up with a box full of 'small' at the end of the tour. Make sure you also have a good way to display the merch at your shows. I've seen local bands outsell touring acts because they had a good-looking merch booth. Don't just lay shirts on an unused table. Invest in a metal frame and hangers to display shirts. Buy a cheap lamp and extension chord to make sure your display is always well lit. This small investment will draw people to your booth like moths to a flame.
Obviously, you (or someone) could write a book about this subject, but hopefully these tips will help you in some way.
Cheers!
Will Wallner is a guitarist from England who now lives in Los Angeles. He recently signed a solo deal with Polish record label Metal Mind Productions for the release of his debut album, which features influential musicians from hard rock and heavy metal. He also is the lead guitarist for White Wizzard (Earache Records) and toured Japan, the US and Canada in 2012. Follow Will on Facebook and Twitter.
The Ibanez Electric Guitar Book from Backbeat Books tells the story of Ibanez's electric guitars, tracking the fortunes of this impressive brand from its origins to today.
The reader is hooked after first paragraph:
“How on earth were they going to sell all these mad-looking guitars? Would they prompt Ibanez’s final plunge into guitar-making oblivion?” We all know the story has a different ending, and Tony Bacon tells it in a fascinating and captivating fashion.
The Ibanez Electric Guitar Book leads us from the early years, through the decades and on to today, from the first cheap and basic models, to the copies of leading Gibson instruments, such as the Les Pauls, SGs, and Explorers, to Steve Vai’s impressive and spectacular JEM signature models in the late ‘80s, and on to the international success of Ibanez original designs.
Exclusive interviews with Vai, Joe Satriani, George Benson, Mick Thomson and others illustrate Ibanez’s leading role among guitarists of many styles, from metal to pop to jazz and alternative rock. The book hinges on the game-changing development of Vai’s JEM model and its important related design, the RG, and explains the intriguing ups and downs in the history of this great modern guitar brand.
The Ibanez Electric Guitar Book is a veritable treasure: a thoroughly researched story, exclusive interviews with some of the best guitar players of our time, and a useful reference section detailing production years and specifications of all Ibanez’s electric models. The amazing gallery showing virtually every Ibanez model ever made, as well as vintage posters and pictures of famous players makes this book a must-have for any guitar enthusiast.
About the Author: Tony Bacon (Bristol, England) writes about music, musicians, and musical instruments. He is a cofounder of Backbeat UK and Jawbone Press. His many best-selling books include Million Dollar Les Paul, Totally Guitar, London Live and The Ultimate Guitar Book.
The Ibanez Electric Guitar Book $24.99 (US) Inventory #HL 00333185, ISBN: 9781617134531 Width: 8.5", length: 11.0," Paperback with color and black/white photos throughout Available at amazon.com.
In the video below, Guitar World's Paul Riario demos the Guitar Jam Tracks app by Ninebuzz.
From Ninebuzz:
Practice jamming, learning the pentatonic scale and soloing to five great-sounding jam tracks in the keys of A, B, C, D, E, F and G — right from your iPhone or iPad!
The easy-to-read scale charts show you exactly where to put your fingers to start sounding like a pro. See for yourself why thousands of guitarists love jam tracks!
A 2-DVD set, Ozzy Osbourne, The Randy Rhoads Years: A Step-by-Step Breakdown of Randy Rhoads' Guitar Styles and Techniques, is available now at the Guitar World Online Store.
Learn the guitar styles and techniques Randy Rhoads made famous with Ozzy Osbourne. Each part is played up to speed, then broken down note-by-note to provide an in-depth analysis of eight songs.
Disc 1
• Mr. Crowley • Crazy Train • Revelation (Mother Earth) • I Don't Know
Disc 2
• Diary of a Madman • You Can't Kill Rock and Roll • Flying High Again • Little Dolls
Got a question for your favorite guitarist? Let us be your go-between. The concept is easy — you submit your queries and we pass them on to some of the world's greatest guitarists. Only the sharpest and funniest questions will be used.
This month, we're giving you the chance to ask Megadeth's lead guitarist Chris Broderick anything you want! No part of his career is off limits!
Just email your questions to dearguitarhero@guitarworld.com and put "Chris Broderick" in the subject line. Remember to include your name in the email body, so you can get credited in the magazine, and impress and annoy your jealous friends!
Vivid is an excellent representation of Vernon Reid's distinct, versatile style.
He unleashes "power rhythm" and a blues·drenched solo on "Middle Man," the band's first single, while the "Funny Vibe" showcases his clean rhythm playing and screaming urban lead style. His alternately subtle and savage whammy bar technique is an LP highlight.
The riff rockers "Desperate People" and "Cult Of Personality" differ in solo approach; on "People," Vernon roams the stratosphere, searching out each soulful note. "Cult" is wall-to-wall notes, a sixty-second journey through a musician's mind. On the Mick Jagger-produced "Which Way To America," rude whammy whacks and acid/punk sheets of sound create a wall of wail, while answering the musical question, "What sort of overtones can you get from an overdriven thirteenth chord?" Overall, fellow guitarists are sure to give Reid an HTFF (How The Fuck Factor) of 10!
GUITAR WORLD: How were your solos recorded, and is there a personal favorite?
VERNON REID: "Cult Of Personality" was a first take, as was "Funny Vibe.""Desperate People" wasn't a first take, but none of the solos were stitched together. I purposely had our producer turn off my rhythm tracks and just send bass and drums when I recorded my solos. I wanted to keep a raw edge. I like the "Cult" solo because I felt I was able to connect with the lyrics and feel of the song. I like "Funny Vibe,""Memories Can't Wait" and "Which Way To America" because there's something out of control about them. I'm not an every-hair-in-place kind of player.
How have non-guitar influences like Eric Dolphy affected your style?
Well, I don't play like Eric Dolphy, but technically, his incredible use of interval skips is something I try to apply, specifically in the "Cult Of Personality" solo. I have a book by Joe Diorio called Intervallic Design which addresses how to use interval skips smoothly.
When I studied with Rodney Jones, Bruce Johnson and Ted Dunbar, they had me play with a metronome on 2 and 4, which exposed me to the concept of swinging. I still practice with a metronome. Right now, a lot of people are playing very diatonically and modally. Even the arpeggios sound diatonic. I incorporate that, as well as pentatonic, chromatic and whole-tone ideas, and I like to experiment with moving tonal centers which I learned about while working with the Decoding Society.
How do you approach soloing?
My best solos come when I get into a stream of consciousness and there are no stylistic considerations like, "Now I'm going to use some two-handed tapping technique or play a hip bebop phrase."
There are times when you can feel yourself thinking things out, but for the most part, if you're in touch with your capabilities, ideas will begin to flow. What musicians don't realize is that as you play over a long period of time, you pick up a lot of things. If you could unlock what you've learned from the time you started playing, you would be amazed.
How do you unlock that knowledge?
When you practice, you should touch on different things: chords, arpeggios, linear things, diatonic and chromatic ideas, rhythm playing, melodies, the blues. Then, when you let yourself go in performance, you'll be cross-referencing and referring back to those things unconsciously. Once you do the conscious work, you just have to let the sub- or unconscious take hold. Therefore, it's important to immerse yourself in as many different styles of music as possible. If a young player wants to dig deeply into the classical music approach to metal guitar, that's fine — it's great music. What I question are guitarists who use technique to make themselves invincible — an "I'm gonna blow you away with my chops" attitude. The real battles are within yourself, not in impressing others.
Listen to people who use space in their solos, like Wayne Shorter and Sonny Rollins, who are two of our greatest living improvisers. And after you check out their use of space, phrasing and note selection, try and capture their overall feeling and spirit. Too often the term "playing with feel" means playing without technique, but that's a misconception. Take Allan Holdsworth, for example. I get such an emotional lift from his work because I can feel him searching and reaching out. There is a bridge between technique and emotional commitment.
Often, people refer to their solos as having a beginning, middle and end, typically starting off slowly and building to a peak, perhaps with a downside after the climax.
I view a solo as a conversation during which I strive to make interesting statements. I dread moments when I fall back on rote licks — and in rock there are plenty of them — but when you use those same licks on an unconscious level, they work.
I've always believed that extremely gifted people use a little more of their head and heart than the average person. As a soloist and a musician, that's something to keep in mind.
I get emails daily from readers who ask the same question: "How do I become a session guitarist?"
It's time I went into some detail on the topic and addressed the issue as honestly as I can. You might not like the answer.
First you will need a time machine! The days of running from studio to studio and doing sessions are not completely over, but they are in the rear-view mirror (and getting further behind). Sure, there are guys who still do it, but it's a job that no longer really exists and is as likely to create as becoming a very famous rock star. Fuhgedaboudit!
Today's session player works mainly at home and alone in the confines of his/her own studio. Occasionally you'll venture out to a nice big room and might even be lucky enough to play with other live musicians! But to sustain yourself in the latter scenario is bleak. I'm painting a pretty bleak picture, right? Fear not! The good news is that the entire planet becomes a potential client!
What I am saying to you right now is, you need a home studio. It can be simple, but it must be effective. You must be able to download and upload and monitor and playback whatever is thrown at you. Then you'd better be able to get the job done professionally, on time, in time and sounding correct.
So you have your studio and gear together. We've gone into this before. Now about the work. How do you get enough work to fill your days with endless guitar heaven? Aaahh ... now we're getting to the real fun.
My first recommendation is simple: Get a job, or at least a partner with a job to support you. An understanding spouse, perhaps. Why? Because this isn't going to happen overnight! No way, no how. It will take months if you are very lucky. Years in most cases.
My second recommendation is to get in your studio and record yourself playing over tracks and on songs in as many styles as you can imagine. Make a demo reel. This takes time, energy and creativity. You are only as good as your last job. If you have no last job, give yourself one. Or 100. And while we are on the subject: Do you truly enjoy most forms of music? Ask yourself this question, and be honest. Do I understand the fine points of playing country, blues, polkas, jazz, big band, pseudo-metal and anything else?
If you think you'll be soloing all day, once again ... fuhgedaboudit! If you're lucky enough to be a Tim Pierce and do countless sessions on top 10 songs, well, you can watch your chops go away if you're not careful! Playing guitar solos all day is not part of today's job description.
Now you have your demos. You have your studio tweeked and you're ready. Let's get some people to hear you! Guess what? There's no shortage of seriously incredible guitarists. Maybe you've noticed! So what makes you stand out from the herd? How about making sure you're playing for the song and not yourself on those demos you just made. Want to know the most important things you need to have in your playing to be chosen for sessions? Killer tone. Impeccably deep groove. Smooth vibrato. Respect for other instruments on a track. And finally, a melodic sense. None of these are more important than the other. They are all equal. Read this again and then move on.
So let's try this again. You've redone your demo with the right playing and sound and styles in mind. You have a website. Now put your playing up on EVERY social media site, from ReverbNation to SoundcCloud to YouTube to ... . These are the new calling cards. Just direct potential clients to your sites. "Now who are these potential clients you speak of, Ron?" That's all you people care about! Greedy SOB's! Well OK, here we go!
Here are two places to probably avoid as potential clients. Guitarists and recording studios. Why? Another guitarist does not need you, and work is so hard to come by they will not pass it off to you unless you are a very close friend. Studios more than likely have their own players or, also more than likely, are owned by guitarists. Don't believe me? Try it!
You should be offering your services to people who need you in all facets of the arts! Approach drummers and bassists and keyboardists. Vocalists. How about songwriters? Those talented ones who play five chords but write such incredible songs. They need you. College students who are making indie films. They need music. High-visibility places of wWorship. People who create internet commercials as well as TV jingles.
Make a few 30-second spots featuring your guitar playing. They may just use it as is. Teach guitar. Write songs. Keep creative and as busy as you can. Play on that rap guy's music down the street. Or that kid creating beats and selling them online. He/she might get that elusive hit. And who are they going to call when shit gets real?
I got my start doing all I just mentioned. And guess what? There is one more thing I will recommend when you are starting out: DO IT ALL FOR FREE. No charge! The importance of the experience and networking potential can not be emphasized enough! The money will come in. If you are good enough. And can hang in there. That's the hard part. You can not give up. Ever.
Till next time …
Ron Zabrocki on Ron Zabrocki: I’m a session guitarist from New York, now living in Connecticut. I started playing at age 6, sight reading right off the bat. That’s how I was taught, so I just believed everyone started that way! I could pretty much sight read anything within a few years, and that aided me in becoming a session guy later in life. I took lessons from anyone I could and was fortunate enough to have some wonderful instructors, including John Scofield, Joe Pass and Alan DeMausse. I’ve played many jingle sessions, and even now I not only play them but have written a few. I’ve “ghosted” for a few people that shall remain nameless, but they get the credit and I got the money! I’ve played sessions in every style, from pop to jazz.
The following content is related to the October 2013 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.
Continuing with last month’s topic, I’ve always been fascinated and intrigued by the way pedal-steel players tend to compile notes differently than electric guitarists. Whereas the electric guitar kind of technically limits—or should I say more narrowly influences—how you form chords and craft licks, the pedal steel offers the player a lot of neat options, what with all those crazy pedals and knee-operated levers, additional strings, open tunings and, of course, the slide.
Some pedal-steel techniques adapt well to the guitar, provided you’re willing to put in some time and effort to figure out how to recreate steel licks that appeal to you. In addition, steel players are very inventive and adventurous in their approach to the instrument, and that approach should be adopted by any guitar player who wishes to expand his/her musical horizons and learn some rich country and western swing–style licks and sophisticated chord-playing moves and voicings.
Enter Kamelot's Fantasy Guitar Giveaway and Win an ESP/LTD Eclipse Guitar Signed by the Band! Be sure to enter by August 31! For all the prizes, check out the story!
Here's your chance to win an ESP/LTD Eclipse Guitar Signed by Kamelot! All of the details are in the poster below. You must enter by August 31, 2013, and you'll find the entry form at the bottom of this story. For more about Kamelot, visit kamelot.com.
For today's Flashback Friday video, we're dropping in on a young Yngwie Malmsteen, circa-1984.
Fans who got to see the Graham Bonnet-led Alcatrazz perform in the early to mid-'80s were treated to bits and pieces of Malmsteen's mastery in pretty much every song — but especially when he took his extended solo breaks.
Below, you can check out one such break, recorded during Alcatrazz's 1984 tour of Japan.
After some mind-blowing, scalloped-fretboard hijinx, Malmsteen launches into his interpretation of Bach's "Bouree."
A fan threw a bottle at the Melvins' Buzz Osborne during the band's August 19 show in Vancouver, Canada.
A few seconds later, Osborne unplugged his guitar, delivered a few choice words to the audience — and that was that. Show over.
A fan who was at the show told Alternative Nation: "Towards the end of the show, someone threw a bottle that reportedly hit Buzzo in the chest. The music stopped, he said 'Fuck you, guys' and walked off. Dale [Crover, drums] came up and demanded to know who had thrown it. When no one owned up, he said 'See ya' and the roadies proceeded to take down gear.
"One roadie collected all the setlists and put them in his pocket. However, the perpetrator had been apprehended by some of the crowd members and handed over to security. He was brought outside and identified by Buzzo himself who proceeded to get into a vehicle and leave, ignoring everyone but the authorities. The bottle thrower was arrested."
You can see a fan-filmed clip of the incident below.
Heaven & Earth's new album, Dig, celebrates the sound of iconic '70s rock music, a time when rock was at what some consider its purist, most accessible form.
Originally an all-star project for guitarist Stuart Smith, Heaven & Earth has since evolved into a full band that includes Joe Retta (vocals), Chuck Wright (bass), Richie Onori (drums) and Arlan Schierbaum (keyboards).
Picking up where iconic bands like Deep Purple and Bad Company left off, Heaven & Earth are on a mission to resurrect the sanctity — or lat least the sound — of classic rock.
I recently spoke with Smith and Wright about the new album, their gear and more.
GUITAR WORLD: How did this album come together?
WRIGHT: Stuart called me and told me he was doing a new Heaven & Earth record and asked if I wanted to take part. I had played on the other Heaven & Earth albums, but those were more like solo records for Stuart, with a lot of guest stars on them. For this one, he wanted us all to get together in a room and hash things out. Get a real band sound going and do it for real. So we partnered up and came together as a band.
SMITH: Joe Retta [vocals] and I have been playing in Sweet for a while. He has such an amazing voice and reminds me of a young Paul Rodgers. Chuck is such a great bassist and also an amazing writer.
How would you describe the sound of Dig?
SMITH: It's a very '70s-sounding album; it's a period we all came from and can relate to. We really spent a lot of time crafting the songs to bring some of the "new" classic rock sound back to the forefront. It's become our mission statement. Chuck was the one who said it best: "It's something that has been buried for far too long!"
Let's discuss the origin of the song "No Money, No Love."
SMITH: I had just gone through a breakup in a relationship and remember having all of these emotions when I came up with the title and riff. It was from personal experience.
How did you come up with the concept for the video?
WRIGHT: We all got together with our creative director, Glen Wexler (Michael Jackson, Van Halen, Black Sabbath). He's known for creating situations that are both unusual and wonderful. That's how we came up with the album cover and the idea of a Stratocaster being pulled out of the ground. It really represented bringing back rock and roll to us.
For the video, Glen brought in the idea after we had discussed a few others. It takes place in a Victorian bordello where the female character has to choose between love and money. In the end, she chooses money and winds up being suffocated by it. It’s a storyline we'll be keeping throughout our videos; a couple that can never connect, through time.
When did you both start playing?
SMITH: My father was a jet fighter pilot who lived on the base. When I was 7, someone he knew was being transferred overseas and had a Spanish guitar hanging on their wall. He asked my dad if he thought I'd like it. So my father got me the guitar and gave me classical lessons. I played for several years, never really having any interest in rock music.
Then one night, I got dragged by some friends of my parents to a Deep Purple concert. Suddenly, I saw this guy all dressed in black come running up to the end of the stage and start tearing up these incredible classical runs with such emotion and volume that it just blew me away. I instantly became a huge fan, and that was what turned me on to rock music and bands like Free and Black Sabbath. Years later, I met Ritchie [Blackmore], and we became friends and he mentored me. I couldn't have asked for a better teacher. He's the best in the world.
WRIGHT: I started when I was 14. I was in military school for almost nine years, and my first gig was at a fraternity party. I made $75 that night, drank my first beer and remember all the girls said I was cute. That was when I told my mom, "I think I want to do this instead of military school!" [laughs].
Stuart, what's your current setup like?
SMITH I like to use old '70s Strats with the big headstocks. I modify them quite a bit including having the necks slightly scalped, which is Richie's idea. I've also been using a Marshall Major, which is one of Richie's old amps he gave me.
What satisfies you the most about Dig and Heaven & Earth?
SMITH: The biggest satisfaction for me is that it’s a band, and I’m really looking forward to getting this group out on the road and touring.
WRIGHT: We tried to go for a very analog, '70s rock sound with polish. It's definitely an old-school record. I like to say it's one of those albums you'd discover deep within the vaults at Atlantic Records. One that was recorded way back then that no one had ever had a chance to listen to, until now!
James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, GoJimmyGo.net. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on Twitter @JimEWood.
Jeff Pilson is a busy man. In addition to his regular role as Foreigner's bassist, he's also been dividing his time with a host of other projects.
He's working with other former Dokken members George Lynch and Mick Brown on the next T&N album, and he's just finished producing the upcoming Kill Devil Hill album and Loveless Fascination, the first new Starship album featuring Mickey Thomas in almost 25 years.
Below, we discuss all the projects mentioned above and a whole lot more.
GUITAR WORLD: How did you get involved with Mickey Thomas' new Starship project?
It started off from a songwriting angle. I was working with another producer on a project, and he ended up hearing a bunch of my songs. He also was working with Mickey Thomas at the time and said, "What would you think if I worked these songs with Mickey Thomas, who's planning on doing another Starship record?" I loved Mickey and already had the songs available, so I said, "Sure, why not?" He started working with Mickey on the album, but things just didn't work out. That's when I got involved as the producer as well.
What's your approach to producing a Starship album as opposed to something by Foreigner, T&N or Dokken?
For every project you do, you have to respect it as its own entity. You just use your experience to go in and decide what's the best way to approach every aspect of making the album. From the songwriting and rehearsing, to the pre-production and recording. Each project has its own unique character, and it's one of the things that makes producing so fun. With Starship, it was a little different because they were using mostly my songs, so I had a clue ahead of time. I just needed to find out where Mickey wanted to go with them and then make it happen.
What was it like working with Mickey?
It was an easy, smooth working relationship. It was also very inspired, and as a result, it's very uncluttered.
Tell me a little about how you wrote the song "Loveless Fascination."
It started off in a hotel room a few years ago. I was just playing around and the opening riff came to me. I remember I was using a John Bonham drum loop to get me started [laughs]. A lot of the music I had worked out in my hotel room and then when I got home, I started working on vocal melodies. Lyrically, I always try to be honest with what I'm feeling. A lot of what I write is what's going through my mind at the time. Sometimes I'll try to get into a storytelling state of mind, and other times it's more social consciousness. I see what's going on around me and I react to it.
Can you give us an update on T&N?
George [Lynch] and I are planning to start writing again sometime in the fall. We've already completed recording the basic tracks for seven more Dokken songs [along with drummer Mick Brown]. We really have to write only half a record, but when George and I get together, we tend to write a lot. So we'll see what happens. The plan is to write half new stuff and then bring in more guest vocalists for the Dokken material with the goal of having it out by the fall of 2014. Touring-wise, it's difficult to commit right now, but we'd love to figure out a way to make it happen sometime at the end of next year.
What other projects are you working on?
I've just finished producing an album for Kill Devil Hill [Rex Brown, Vinny Appice, Mark Zavon and Dewey Bragg]. We just finished a few weeks ago, and that will be coming out sometime late fall. I'm very excited about that one as well. It's great music, songwriting and playing.
Have you always been a bassist?
The very first thing I learned was the cello when I was 11. It wasn't until the following year that I started playing bass. When I was 13, I moved from the Midwest to a little town on the West Coast, and it was there that I fell in love with playing. It became my outlet. That's when I really started to get serious about it. From that point on, I knew it was what I wanted to do.
Tell me a little about your current setup.
I’ve got a '73 P-Bass with '66 pickups that I run through an Ampeg SVT (AV, a limited model from a few years ago). In the studio, I use all my basses through Ampeg SVTs, and I also use the Ampeg SVX plug-in from IK Multimedia. It's by far the best bass amp plug-in out there.
Do you see the possibility of a Dokken reunion taking place at some point?
I never want to say never. The problem with a reunion is that it would be even more time-intensive, and right now it's hard enough finding time to do everything I'm involved with, and I know George is involved in a lot of other things as well. So I don't know if a reunion would happen anytime soon, but I certainly would never rule it out.
James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, GoJimmyGo.net. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on Twitter @JimEWood.
Master the essential metal techniques used by artists like Metallica, Pantera, Slayer, Dream Theater, Iron Maiden and many others.
In the feature-filled 20 Essential Metal Licks Lick Pack DVD, you'll learn the essentials of metal guitar playing, such as two-note harmonies and power chords, alternate-picking and hammer-on accents, pentatonic wide-stretch leads, string-skipping arpeggios, fast alternate picking, legato arpeggios and more!
You'll also be treated to artist-specific licks, including melodies à la Metallica and Testament, Dimebag Darrell-style picking techniques and Slayer-inspired thrash!
With more than 60 minutes of instruction, you'll learn to play in the styles of:
• Dimebag Darrell • John Petrucci • Metallica • Iron Maiden • Slayer • Randy Rhoads • Jake E. Lee
... and many others!
Your instructor is Metal Mike Chlasciak. A longtime contributor to Guitar World magazine with his Metal for Life instructional column, Metal Mike plays guitar for Halford and with his own band. His latest releases are The Metalworker and This Is War, which are available from metalmike.net.
A few years ago, the editors of Guitar World compiled what we feel is the ultimate guide to the 100 Greatest Guitar Solos of All Time.
The list, which has been quoted by countless artists, websites and publications around the world, starts with Richie Sambora's work on Bon Jovi's “Wanted Dead or Alive” (100) and builds to a truly epic finish with Jimmy Page's solo on "Stairway to Heaven" (01).
On June 10, we kicked off a summer blockbuster of our own — a no-holds-barred six-string shootout. We pitted Guitar World's top 64 guitar solos against each other in an NCAA-style, 64-team single-elimination tournament. Every day, we asked you to cast your vote in a different guitar-solo matchup as dictated by the 64-team-style bracket. Now Rounds 1 and 2 have come and gone, leaving us with 16 guitar solos and eight matchups.
So ...
WELCOME TO THE SWEET 16 ROUND, where all 16 still-standing solos will go head to head before your eyes! As always, you can vote once per matchup, and the voting ends as soon as the next matchup is posted.
In some cases, genre will clash against genre; a thrash solo might compete against a Southern rock solo. But please get real, people! They're all guitar solos, played on guitars, by guitarists, most of them in some subset of the umbrella genre of rock. When choosing, it might have to come down to, "Which solo is more original and creative? Which is more iconic or important? or Which one kicks a larger, more impressive assemblage of asses?"
Today's Sweetwater Sweet 16 Matchup (8 of 8) "Mr. Crowley" Vs. "Since I've Been Loving You"
Welcome to the final matchup of our Sweet 16 round! We'd like to pause here and thank everyone for voting and commenting on our poll stories! OK, onward to the final matchup (until we get to the Elite 8 round, of course):
Today through Sunday, we'll watch as Ozzy Osbourne's "Mr. Crowley" (28), featuring a guitar solo by the late, great Randy Rhoads, competes against a true dark horse in this competition, Led Zeppelin's "Since I've Been Loving You" (53), a song that wasn't even in the top 50 on our original list. It, of course, features a guitar solo by Jimmy Page. If "Since I've Been Loving You" finally stalls in this round, Page is still represented in the Elite 8 round by "Stairway to Heaven." If "Mr. Crowley" doesn't advance to the next round, neither does Rhoads, since this is his last remaining solo in our summer-long poll.
HOW THEY GOT HERE
• "Mr. Crowley" defeated Guns N' Roses'"Sweet Child O' Mine" (37) in Round 1 and Jimi Hendrix's "All Along the Watchtower" (05) in Round 2.
• "Since I've Been Loving You" defeated Chuck Berry's "Johnny B. Goode" (12) in Round 1 and Pink Floyd's "Time" (21) in Round 2.
For a visual aid, check out the bracket photo gallery below. Anyway, get busy! You'll find the poll at the very bottom of the story.
28. “Mr. Crowley” Soloist: Randy Rhoads Album: Ozzy Osbourne—Blizzard of Ozz (Epic, 1981)
In the the February 2013 issue of Guitar World, we paid tribute to the high-flying genius of Pete Townshend by taking a look back at the Who's most creative — and most volatile — years.
It's difficult to understate the importance of Townshend as a composer and a guitarist, and no shortage of great bands have taken a cue or two from the Who's songwriting wizard over the years. Several have even tipped their hats to the band by putting their own spin on one of the many classic cuts in the Who's back catalog.
As a bonus, we've rounded up our 10 favorite Who covers of all time. What a bargain!
For more about the Who, including an analysis of their legendary output between 1969 and 1973, plus the tab for "Behind Blue Eyes" (with performance notes), check out the February 2013 issue of Guitar World. It's available at the Guitar World Online Store.
10. Iron Maiden — "My Generation”
If ever there was a bassist who could pay fitting tribute to the nimble four-string work of the late John Entwistle, it's Iron Maiden's Steve Harris. This deep cut from Maiden — who were just named 2012's best live act in our annual readers poll — features Blaze Bayley on vocals and was originally released as a B-side to their 1995 single, "Lord of the Flies." The song would re-appear in 2002 on the somewhat rare Best of the B-Sides compilation.
09. Elton John — "Pinball Wizard"
Yes, we just went from Iron Maiden to Elton John. But it just so happens that Elton's version of "Pinball Wizard" is one of the highlights of the 1975 Tommy film soundtrack, which also features performances by Ann-Margret and a berobed Eric Clapton. Besides its powerful vocals and spirited performance, Elton's version of the song, a hit in its own right, is noted for its undeniable "'70s-ness," from its instrumentation to its glam feel to those gigantic shoes in the clip below.
08. Green Day — "A Quick One While He's Away”
Green Day have always had a thing for this multi-part song, which can be considered Townshend's first — albeit mini — rock "opera." They like to perform bits of it at soundchecks, and the song has been a Green Day concert highlight on more than one occasion. The band finally got around to recording this spine-tingling studio version of the tune, which was released as a bonus track on their 2009 album, 21st Century Breakdown. They are "forgiven" for waiting so long!
07. The Jam — "So Sad About Us”
The Jam — Paul Weller, Bruce Foxton and Rick Buckler — would often make half-hearted attempts at covering the songs that inspired them (case in point: their weak version of the Beatles'"And Your Bird Can Sing"), but they gave it their all when it came time to record this tune from A Quick One. This version, originally released as the B-side to "Down in the Tube Station at Midnight" in 1978, sounds polished off and updated (at least by '78 standards) and stars Foxton's expert often-overlooked bass playing.
06. David Bowie — "I Can't Explain"
One of two Who covers on 1973's Pin Ups, this laid-back, almost parochial take on "I Can't Explain" brings an unmistakable cool to the band's first hit single. Bowie's vocals on this album have been infamously maligned by critics over the years, but factor in Ken Fordham's baritone sax and Mick Ronson's saturated guitar licks and you have a more-than-fitting tribute to Townshend and crew.
05. Rush — "The Seeker"
In 2004, Rush honored some of the bands that inspired them by releasing Feedback, an eight-song EP packed with covers of songs by the Yardbirds, Buffalo Springfield and Cream.
The EP also featured a cover of "The Seeker," which was originally released as a single by The Who in 1970.
Although the track doesn't give these three master prog-rockers a chance to "spread out," they put the emphasis on the song's strong, steady beat and high-flying vocals, which are handled rather nicely by Geddy Lee.
04. Sex Pistols — "Substitute"
While this song may seem like an oddball cover for a band that made a short career of toppling rock and roll dinosaurs, frontman Johnny Rotten has never had anything but positive things to say about the musical and personal influence of Pete Townshend. "Every now and then, when you feel down and despondent, a fellow like him can really put a good word in your ear, and it's unfortunate that that side of his character hasn't really come through in the media," he said in a 2012 Guitar World interview. "He's a very important person for us, and let's not for forget that. And he wrote some bloody excellent songs along the way!"
03. Oasis — "My Generation"
If any modern rocker has the die-young persona to pull off Roger Daltrey's lyrics in "My Generation," it would have to be Liam Gallagher. Oasis were as combustible a group of musicians as any in the last two decades, but when they pulled it together, they could put distorted guitars and debauched lyrics together as well as anyone, making them an ideal candidate to take on this Who classic. Four-string enthusiasts may find the bass solo a bit lacking, but one thing's undeniable: Liam means every word.
02. Van Halen — "Won't Get Fooled Again" (Live)
It takes a powerful band to truly do justice to what some consider The Who's greatest song — 1971's "Won't Get Fooled Again"— but the Sammy Hagar-fronted Van Halen take no prisoners. Their live version of the song, which is featured on 1993's Live: Right Here, Right Now, is noteworthy for its spot-on performances by all involved, especially Eddie Van Halen, who covers the iconic keyboard parts on his guitar. The video below shows them rehearsing the tune in a studio, but the energy is there.
01. Pearl Jam — "Love, Reign O'er Me"
Few bands carry on the spirit of the Who quite like Pearl Jam. In 2008, when VH1 assembled a cadre of modern-day rockers to pay tribute to the Who, there was no doubt that Pearl Jam — whose cover of "Baba O'Riley" has been a staple of their live shows since 1992 — would be providing the climax of the evening. As predicted, Eddie Vedder put everything he had into a medley of "Love, Reign O'er Me" and "The Real Me." The former was released in 2007 as part of the soundtrack to the film Reign Over Me, as well as on the band's 2006 fan club Christmas single. According to lore, Vedder would only agree to cover the song after getting Roger Daltrey's blessing.
For more about the Who, including an analysis of their legendary output between 1969 and 1973, plus tabs for "Behind Blue Eyes" (with detailed performance notes), check out the February 2013 issue of Guitar World. It's available now on newsstands and at the Guitar World Online Store.
FROM THE ARCHIVE: Guitar World asks Rush's Alex Lifeson some tough questions.
What inspired you to play guitar?
My brother-in-law played flamenco guitar. He lent his guitar to me and I grew to like it. When you’re a kid, you don’t want to play an accordion because it would be too boring. But your parents might want you to play one, especially if you’re from a Yugoslavian family like me. [laughs]
What was your first guitar?
My parents got me a $25 Kent steel-string acoustic guitar when I was around 12. The following Christmas my parents bought me a Conora electric guitar. It looked almost like a Gretsch. It cost $59, and my mom still has it.
Were you inspired by any particular guitarist?
The Beach Boys had a really cool guitar sound. I also liked the guitarists in the Searchers and the Dave Clark Five. Then Jimi Hendrix and Pete Townshend hit, and it turned the guitar world on its ear. The more I got into playing guitar, the more I enjoyed music and the broader my listening became. The instrument itself became important to me, and I started messing around with classical guitar and took classical lessons.
What was the first song you learned who to play?
The Rolling Stones’ “(I Can’t Get No) Satisfaction.” The songs starts off with the three most important chords—E, A and D—and I learned them. I learned the lead line, as well.
Do you remember your first gig?
Yeah. In September 1968, Rush played for around 20 people at a small hall in a church basement. We played songs like “Spoonful,” “Fire” and “Born Under a Bad Sign,” and got paid $10. Then we went to a nearby deli and ordered Cokes and French fries, and started planning our future.
What was your most memorable gig?
Probably the 2002 show we played in São Paulo, Brazil, during the Rush in Rio tour. It was before an audience of 60,000, the largest number of people we ever played for. It was pouring rain, and the huge crowd was singing along to our songs. It was really amazing, because people don’t even speak English there.
What advice do you have for guitarists?
Do it because you love it, and never give up. It’s great to be able to do it for your entire life. I’ve been playing for 40 years, and I love it more than ever. When I sit down and play guitar, I melt into the instrument. I can play for hours by myself. Playing guitar has given me such a wonderful life, and I’m grateful for it.
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