The following content is related to the November 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.
The more pedals that end up in your rig, the sooner you realize that you need a better way to control them than simply connecting everything together in a continuous chain. A true-bypass loop-/pedal-switching system is a helpful solution that cleans up and preserves your guitar’s tone by keeping unused pedals out of the signal path until they’re engaged.
While Decibel Eleven’s Pedal Palette looks similar to various other loop-bypass switchers currently available, it differs quite significantly from the competition by offering several useful advantages, including its ability to swap pedal order and perform parallel and series processing, features that users can assign to any effect of its four loops.
The all-new November 2013 issue of Guitar World is available now!
The new issue features Dream Theater and their Lord of the Strings, John Petrucci, who raises the bar for six-string (and sometimes seven-string) fretboard wizardry on the band's new self-titled album. Petrucci also gives us an in-depth look at his new Music Man JP13 signature ax.
The November issue also has the undisputed leader of the jam-band world, Warren Haynes, who performs Grateful Dead live with a symphony orchestra and regroups Gov't Mule for their new star-studded album package, Shout!
We even take a look back at the making of the Grateful Dead's breakthrough album from 1970, Workingman's Dead, on which the San Fran hippies transformed themselves from an uncommercial jam band into one of the most popular acts America has ever seen.
Plus: Guthrie Govan on the latest from his group the Aristocrats; Guitar World's guide to budget acoustics; Slash, Zakk Wylde, Santana, Joan Jett and much more!
Four Songs with Tabs for Guitar and Bass!
Dream Theater - "The Enemy Inside"
Asking Alexandria - "The Death of Me"
Rolling Stones - "Gimme Shelter"
Jimmy Buffett - "Margaritaville"
For the second year in a row, Eddie Van Halen has topped a major summer-long poll at GuitarWorld.com.
In 2012, readers crowned him the Greatest Guitarist of All Time. This year, one of his many six-string masterpieces, "Eruption," a wildly innovative instrumental track from Van Halen's self-titled 1978 album, was voted the Greatest Guitar Solo of All Time.
The final matchup — aka the Ultimate Championship — took place Monday and Tuesday on GuitarWorld.com.
"Eruption," the No. 2 seed in our tournament-style poll (more on that below) faced Pink Floyd's "Comfortably Numb," the No. 4 seed. And although David Gilmour's breathtaking 1979 solo from one of The Wall's standout tracks took an early — and seemingly convincing — lead, "Eruption" had pulled ahead by early Tuesday, and there was no looking back.
In the end, "Eruption" had snagged 57.06 percent of the readers' votes.
And "Comfortably Numb" was anything but a pushover. It had already knocked off a series of top contenders, including the No. 1 seeded guitar solo, Led Zeppelin's "Stairway to Heaven," which features the fretwork of one Jimmy Page.
It's difficult to imagine a more appropriately titled piece of music than “Eruption.” When it was originally released, it hit the rock guitar community like an H bomb. Two-handed tapping, gonzo whammy bar dips, artificial harmonics — with Van Halen’s masterly application of these and other techniques, “Eruption” made every other six-stringer look like a third-stringer.
Which is not to imply that the losing guitar solos — many of which you can check out below — and their authors are mere third-stringers. They all fought long and hard during our 64-solo, tournament-style poll, which we launched June 10.
The poll's 64 solos were the top 64 solos from Guitar World's list of the 100 Greatest Guitar Solos of All Time. The list, which has been quoted by countless artists, reference sites and media outlets around the globe, starts with Richie Sambora's work on Bon Jovi's “Wanted Dead or Alive” (100) and builds to an epic finish with Page's "Stairway to Heaven" (01).
Head HERE to see every matchup — from June 10 to September 17.
Below, we invite to check out your top 50 guitar solos.
Rankings: Readers' Top 50
How did we determine a Top 50 ranking for a tournament-style poll?
Simple. We ranked the guitarists by round — first the two guitar solos from the finals, then the remaining two from the Final Four, and so on — and then within their respective rounds by their overall vote count. The “Bohemian Rhapsody” guitar solo, for instance, is No. 9 because it received the most votes of any solo that didn't make it to the Elite Eight.
Note that we've also included each song's original ranking from Guitar World's original list of the 100 Greatest Guitar Solos of All Time.
50. "Europa" Soloist: Carlos Santana Album: Santana—Amigos (Columbia, 1976) Original Ranking: 49
“I started writing this song in 1966 or ’67, but didn’t finish it until ’75 when we were on tour with Earth, Wind and Fire, in Manchester, England,” says Carlos Santana. “We were backstage while they were onstage playing. And we were just warming up, tuning up. I started playing it and [keyboardist] Tom Coster and I completed it right there on the spot. It immediately became a crowd favorite; it is one of those songs that, whether it’s played in Japan or in Jerusalem or in South America, it just fits right in with everything.”
49. "Master of Puppets" Soloist: Kirk Hammett Album: Metallica—Master of Puppets (Elektra, 1986) Original Ranking: 61
48. "War Pigs” Soloist: Tony Iommi Album: Black Sabbath—Paranoid (Warner Bros., 1970) Original Ranking: 56
47. "The Thrill Is Gone” Soloist: B.B. King Album: Completely Well (MCA, 1969) Original Ranking: 33
“I carried this song around in my head for seven or eight years,” B.B. King recalls about “The Thrill Is Gone,” which had been an r&b hit for its author, pianist Roy Hawkins, in 1950. “It was a different kind of blues ballad. I’d been arranging it in my head and had even tried a couple of different versions that didn’t work.
"But when I walked in to record on this night at the Hit Factory in New York, all the ideas came together. I changed the tune around to fit my style, and [producer] Bill Szymczyk set up the sound nice and mellow.
"We got through around 3 A.M. I was thrilled, but Bill wasn’t, so I just went home. Two hours later, Bill called and woke me up and said, ‘I think “The Thrill Is Gone” is a smash hit, and it would be even more of a hit if I added on strings. What do you think?’ I said, ‘Let’s do it.’ ”
46. "Sharp Dressed Man" Soloist: Billy Gibbons Album: ZZ Top—Eliminator (Warner Bros., 1983) Original Ranking: 43
In 1983, a smart gambling man would have bet the house on ZZ Top’s imminent doom. After all, it wasn’t the best of times for good and greasy Texas blues and boogie music. Then the Little Old Band from Texas surprised everyone with Eliminator, a brilliant merger of roadhouse blues and synthesizer swells and looped beats. The album quickly became their biggest hit ever, spurred in large part by the irresistible “Sharp Dressed Man.”
“That song and the whole album really embrace the simplicity of blues and techno music with the complex challenge of how to blend them together,” says guitarist Billy Gibbons. “If you zero in on the middle solo, you will find a slide guitar part played in open E tuning on a Fender Esquire and a sudden shift halfway through the solo to standard Spanish electric tuning played on my good ol’ Les Paul, Pearly Gates. Both were played through a Marshall plexi 100-watt head with two angled cabinets with Celestion 25-watt greenbacks. It was a compound track, two parts blended to one.
“To this day, the song certainly stands among one of the band’s favorites and we’re particularly delighted to share spotlight on a solo that enjoys such favoritism. There are, of course, the more intricate and demanding solos, but we will gladly finger through the solo of ‘Sharp Dressed Man’ at any requested moment! The track just has a really raucous delivery, which is a good ignition point onstage, sitting on the tailgate out in the middle of nowhere, sipping a cold one, or wherever you may be. It just does something to you.”
45. “Aqualung” Soloist: Martin Barre Album: Jethro Tull—Aqualung (Chrysalis, 1971) Original Ranking: 25
“Aqualung was a difficult and very tense album to record, but at the end of the day it was important,” says Jethro Tull guitarist Martin Barre. “Ian wrote the riff and verses to the song ‘Aqualung,’ but he felt it needed a new section for the guitar break. I said, ‘Why don’t we just play the verse chords in half-time for the first part of the solo, then pick it back up for the rest of the solo?’ It was a simple solution that really worked.”
“While I was playing the solo, which was really going well, Jimmy Page walked into the control room and started waving. I thought, ‘Should I wave back and mess up the solo or should I just grin and carry on?’ Being a professional to the end, I just grinned.”
44. "Cocaine" Soloist: Eric Clapton Album: Slowhand (Polydor, 1977) Original Ranking: 58
43. "The Star-Spangled Banner" Soloist: Jimi Hendrix Album: The Ultimate Experience (MCA, 1993) Original Ranking: 52
Jimi Hendrix's legendary performance of "The Star-Spangled Banner" still draws "love it or hate it" reactions so many decades later. For its time, it was certainly one of the most controversial renditions of the national anthem.
Hendrix did, after all, make his Strat sound a whole lot like airplanes, bombs and screams. Remember, there was a controversial war going on in August 1969. As always, Hendrix made his guitar sound like something no one had ever heard before, and his performance on the recording still confounds players.
42. "Shock Me” Soloist: Ace Frehley Album: Kiss—Alive II (Mercury, 1977) Original Ranking: 50
“I basically did the same solo every night on that tour, with minor alterations, so I had it kind of planned out when I did it the night we recorded it live for Alive II,” says Ace Frehley.
“But if you listen carefully to the ‘Shock Me’ solo you can hear me make a mistake about two thirds of the way through. Instead of tapping a B at the 19th fret of the high E string, I accidentally hit the A# note at the 18th fret—that’s definitely a wrong note for the scale I’m using. We could have fixed it in the mix, but I said to Eddie [Kramer, Alive II producer], ‘Screw it! Leave it in. The run sounds cool, so who cares—it’s rock and roll!’ ”
41. "Sweet Child O' Mine” Soloist: Slash Album: Guns N’ Roses—Appetite for Destruction (Geffen, 1987) Original Ranking: 37
“When ‘Sweet Child O’ Mine’ was written, it was a joke as far as I was concerned,” says Slash. “I was just fuckin’ around when I came up with that riff. To me it was a nightmare because, for some strange reason, everyone picked up on it and, the next thing you knew, it had turned into a song. I hated it forever!
"The guitar solo itself is a one-take, spontaneous kind of thing. Having played the song at rehearsals enough times, when it came to recording it I knew exactly where the melody was and it came real easy.”
40. "Money" Soloist: David Gilmour Album: Pink Floyd—The Dark Side of the Moon (Capitol, 1973) Original Ranking: 62
39. "Black Star" Soloist: Yngwie Malmsteen Album: Rising Force (Polydor, 1984) Original Ranking: 36
“I’ve been playing that song, or variations of it, since I was a teenager in Sweden,” Yngwie Malmsteen told his fan club.
“I used to play really long, uninterrupted improvisations when I played local shows in Stockholm back then, and it developed from that. I didn’t sit down and actually write out the notes for it; when I’m feeling inspired, the music just flows out of me. It’s in my head and my ears and flows out of my fingers.”
38. “Crossroads” Soloist: Eric Clapton Album: Cream—Wheels of Fire (Polydor, 1968) Original Ranking: 10
For more than three decades, Eric Clapton has been bemused by his fans’ adulation of his solo on Cream’s radical reworking of bluesman Robert Johnson’s signature tune, “Crossroads.”
“It’s so funny, this,” Clapton says. “I’ve always had that held up as like, ‘This is one of the great landmarks of guitar playing.’ But most of that solo is on the wrong beat. Instead of playing on the two and the four, I’m playing on the one and the three and thinking, That’s the off beat. No wonder people think it’s so good—because it’s fucking wrong.” [laughs]
And what they played is what you hear; contrary to a persistent, widely held rumor, the solo on “Crossroads” was not edited down. "It’s not edited and I’ve got an audience tape from the same show which verifies that,” says Bill Levenson, who produced the Cream box set, Those Were the Days (Polydor). “That was a typical performance of the song. I’ve listened to a lot of tapes and all of the ‘Crossroads’ that I’ve heard come in at four minutes and change. They never seemed to expand it beyond that.”
37. “Pride and Joy” Soloist: Stevie Ray Vaughan Album: Texas Flood (Epic, 1983) Original Ranking: 27
“Pride and Joy” was recorded during the same 48-hour period as “Texas Flood”; both had been Vaughan live standbys for many years. “Stevie wrote ‘Pride and Joy’ for this new girlfriend he had when he was inspired by their relationship,” says drummer Chris Layton. “Then they had a fight and he turned around and wrote ‘I’m Cryin’,’ which is really the same song, just the flip side, lyrically.”
When “Pride and Joy” was released as Texas Flood’s first single, it quickly put the then unknown Texas guitar slinger on the national blues-rock map. More cosmically, it also signaled that from-the-gut guitar music was not dead as a commercial and artistic force, no matter how many hits Culture Club and Flock of Seagulls had on Solid Gold.
“When I heard that on the radio, I just said, ‘Hallelujah,’ ” recalls Dickey Betts, whose Allman Brothers Band were prominent casualties of the age’s anti-guitar disease. “He was just so good and strong and he would not be denied. He single handedly brought guitar and blues-oriented music back to the marketplace.”
36. “Layla” Soloist: Eric Clapton, Duane Allman Album: Derek and the Dominos—Layla and Other Assorted Love Songs (Polydor, 1970) Original Ranking: 14
Seven minutes of pure, quivering passion, “Layla” was Eric Clapton’s magnificent scream of unrequited love for Patti Boyd, wife of his best friend—George Harrison.
"He grabbed one of my chicks,” said Clapton of Harrison, “and so I thought I’d get even with him one day, on a petty level, and it grew from that. She was trying to attract his attention and so she used me, and I fell madly in love with her. [Just] listen to the words of ‘Layla’: ‘I tried to give you consolation/When your old man had let you down/Like a fool, I fell in love with you/You turned my whole world upside down.”
Clapton poured all of himself into the intense, majestic “Layla,” which he named after the classical Persian love poem, “The Story of Layla and the Majnun.” The song began as a ballad, but quickly became a rocker, with Duane Allman reportedly coming up with the opening riff which would alter the tune. With Allman’s majestic slide guitar prodding him on, Clapton unleashed some of his most focused, emotive playing.
“The song and the whole album is definitely equal parts Eric and Duane,” says producer Tom Dowd, who introduced the two guitar titans, then sat back and watched them soar together. “There had to be some sort of telepathy going on because I’ve never seen spontaneous inspiration happen at that rate and level. One of them would play something, and the other reacted instantaneously. Never once did either of them have to say, ‘Could you play that again, please?’ It was like two hands in a glove. And they got tremendously off on playing with each other.”
Nowhere was the interplay between Clapton and Allman more sublime than on “Layla,” which, says Dowd, features six tracks of overlapping guitar: “There’s an Eric rhythm part; three tracks of Eric playing harmony with himself on the main riff; one of Duane playing that beautiful bottleneck; and one of Duane and Eric locked up, playing countermelodies.”
The tension of the main song finds release in a surging, majestic coda, which was recorded three weeks after the first part and masterfully spliced together by Dowd. The section begins with drummer Jim Gordon’s piano part, echoed at various times by Clapton on the acoustic. Allman takes over with a celestial slide solo, beneath which Clapton plays a subtle countermelody. As the song fades out after a blissful climax, Allman has the last word, playing his signature “bird call” lick.
35. “Fade to Black” Soloist: Kirk Hammett Album: Metallica—Ride the Lightning (Elektra, 1984) Original Ranking: 24
“I was still using my black Flying V on Ride the Lightning, but ‘Fade to Black’ sounds different—it has a warmer sound—because I used the neck pickup and played through a wah-wah pedal all the way in the ‘up’ position,” says Kirk Hammett.
“We wanted to double the first two solos and I did the first one no problem. But I had a much harder time doubling the second solo because it was slow and had a lot of space in it. Later, I realized that I actually harmonized it in a weird way—in minor thirds, major thirds and fifths. After cutting those two, I really wasn’t sure what to play for the extended solo at the end. I was really bummed out because we had been in Denmark for five or six months, and I was very homesick; we were also having problems with our management.
"Because of that, and since it was a somber song anyway, I thought of very depressing things while I did the solo—and it really helped. We didn’t double-track that solo, although I did play some arpeggios over the G-A-B progression. After that, I went back and did the clean guitar parts behind the verse, and James [Hetfield] played an arpeggiated figure while I arpeggiated three-note chords. The result was what I always have considered a very Dire Straits-type sound.”
34. “Cemetery Gates” Soloist: Dimebag Darrell Album: Pantera—Cowboys from Hell (Elektra, 1990) Original Ranking: 35
“I got home with a pretty good buzz on, picked up my ax, turned on the four-track, cranked it loud as hell with the loose buzz theory that anything and everything goes, and just played it,” Dimebag recalled.
“I played three solos back-to-back, didn’t bother listening to ’em and crashed out not so happy. The next morning I woke up thinking I had a lot of work to do…I almost started from scratch but then decided to slow down and listen. So I fired up my four-track, put my ears on and bam! Lo and behold, there it was! The first lead I played the night before was it for sure. Hey man, the second and third weren’t bad, but the first had that first-take magic! I didn’t touch it.”
33. "Hot for Teacher” Soloist: Eddie Van Halen Album: Van Halen—1984 (Warner Bros., 1984) Original Ranking: 46
“I winged that one,” says Eddie Van Halen. “If you listen to it, the timing changes in the middle of nowhere. We were in a room playing together and I kind of winked at the guys and said, ‘Okay, we’re changing now!’ Because I don’t count, I just follow my feelings. I tend to do a lot of things in threes and fives, instead of fours.
“My weird sense of time just drives my brother Alex nuts because he’s a drummer, so he has to count. But generally he’ll say, ‘Well, Ed, you did it in five again. If that’s the way you want it…’ But that’s not the way I want it, that’s just what feels right to me.”
32. "Satch Boogie” Soloist: Joe Satriani Album: Surfing with the Alien (Epic, 1987) Original Ranking: 55
“ ‘Stranglehold’ is a masterpiece of jamology,” proclaims Ted Nugent. “We were in the Sound Pit in Atlanta, Georgia, and I was showing my rhythm section of Cliff Davies [drums] and Rob DeLaGrange [bass] the right groove for the song. I was playing my all-stock 1964 blonde Byrdland through four Fender Twin Reverbs and four Dual Showman bottoms on my rhythm settings—we were going to leave a hole there so that I could overdub a solo later.
"Then I started playing lead work, just kind of filling in and though I had never played those licks before in my life, they all just came to me. And because I got so inspired and because they followed me so perfectly, that demo is exactly what you hear on the record today. Take one, rhythm track is the song—it made such organic sense with the flow of music that I said, ‘I’m not gonna fuck with that! That’s it, baby.’ And that is the essence of why people love it—because it is so spontaneous and uninhibited.
"The only thing we went back and overdubbed was Derek St. Holmes’ vocals and my two tracks of harmonized feedback, which come in and out of the entire song. All the engineers and everyone kept saying, ‘You can’t do that, Ted.’ And I said, ‘Shut the fuck up!’ Because I had the vision; I saw what the song could be, and I realized it.”
30. "Reelin' in the Years" Soloist: Elliott Randall Album: Steely Dan—Can’t Buy a Thrill (MCA, 1972) Original Ranking: 40
While recording Steely Dan’s 1972 debut, Walter Becker and Donald Fagen knew they had a great track for “Reelin’ in the Years”—if they could only come up with the appropriate guitar solo to jumpstart the tune. So they put in a call to Elliott Randall, with whom they had worked in the backing band for Jay and the Americans, and who’d had played on many of the duo’s early, pre-Steely Dan demos.
“They were having trouble finding the right ‘flavor’ solo for ‘Reelin,’ and asked me to give it a go,” recalls Randall. “Most of the song was already complete, so I had the good fortune of having a very clear picture of what the solo was laying on top of. They played it for me without much dialogue about what I should play.
"It just wasn’t necessary because we did it in one take and nothing was written. Jeff Baxter played the harmony parts, but my entire lead—intro/answers/solo/end solo—was one continuous take played through a very simple setup: my old Strat, the same one I’ve been using since 1965, plugged directly into an Ampeg SVT amp, and miked with a single AKG 414. The whole solo just came to me, and I feel very fortunate to have been given the opportunity to play it.”
29. “All Along the Watchtower” Soloist: Jimi Hendrix Album: The Jimi Hendrix Experience—Electric Ladyland (Experience Hendrix/MCA, 1968) Original Ranking: 05
Joining the Experience for the initial “Watchtower” session was Traffic guitarist Dave Mason, who, it was decided, would contribute a 12-string acoustic part. “Dave hung out a lot with Jimi and was a regular in the studio,” says engineer Eddie Kramer. “Jimi was aware of his ability and felt that he could cover the part adequately.”
Jimi, says Kramer, had a firm understanding of just how the song was to be arranged and performed, but the session proved to be anything but smooth. Mason, whose job it was to double Jimi’s six-string acoustic rhythm part, struggled mightily, causing Jimi to reprimand him several times.
Hendrix and Noel Redding also clashed, and the bassist, angered by what he saw as Jimi’s obsessive quest for perfection, bolted from the studio midway through the session. Mason took over the bass in Redding’s absence, but Hendrix ultimately overdubbed the part himself, using a small, custom bass guitar that Bill Wyman had given to Andy Johns.
After the basic rhythm tracks were finally completed to Jimi’s satisfaction, he turned his attention to the song’s four distinct solo sections, each of which were recorded separately. “Once Jimi started working on his solos, the session moved very quickly,” says Kramer. “The thing that occurs to me was how completely prepared he was. One thing that people don’t realize is that Jimi always did his homework. He and producer Chas Chandler always got together to work out ideas well before he walked into the studio. Jimi knew exactly what he wanted to play
“He used a different tone setting for each part. I recall him using a cigarette lighter to play the slide section, and that the delay effect on each of the sections was applied later. I used an EMT plate reverb—that was the only thing available to us at the time.”
28. “Texas Flood” Soloist: Stevie Ray Vaughan Album: Texas Flood (Epic, 1983) Original Ranking: 13
When Stevie Ray Vaughan and Double Trouble walked into Los Angeles’ Down Town Studio in November 1982 to take advantage of 72 free hours of time offered by studio owner Jackson Browne, they had no idea they were about to start recording their debut album. “We were just making tape,” recalls drummer Chris Layton. “We hoped that maybe we were making a demo that would actually be listened to by a real record company.”
The first 24 hours were spent getting settled in L.A., and in the second and third days the band cut 10 songs—which became Texas Flood, in its entirety. “It really was just a big warehouse with concrete floors and some rugs thrown down,” says bassist Tommy Shannon. “We just found a little corner, set up in a circle looking at and listening to each other and played like a live band.” The trio recorded two songs the second day and eight the third—including “Texas Flood,” a slow blues, written and recorded by the late Larry Davis in 1958, which had been a live staple of Vaughan’s for years. It was the final tune recorded, cut in one take just before the free time ran out.
“That song and the whole first album captures the pure essence of what Stevie was all about,” says Layton. “Countless people would tell Stevie how much they loved his guitar tone on Texas Flood. There was literally nothing between the guitar and the amp. It was just his number-one Strat plugged into a Dumble amp called Mother Dumble, which was owned by Jackson Browne and was just sitting in the studio.
"The real tone came from Stevie, and that whole recording was just so pure; the whole experience couldn’t have been more innocent or naive. We were just playing. If we’d had known what was going to happen with it all, we might have screwed up. The magic was there and it came through on the tape. You can get most of what the band was ever about right there on that song and that album.”
27. "Cortez the Killer" Soloist: Neil Young Album: Zuma (Reprise, 1975) Original Ranking: 39
“Cortez the Killer” hails from Zuma, one of Neil Young’s most overlooked albums, often lost in the shuffle of its predecessor, the much-praised Tonight’s the Night, which came out just five months prior. But there’s really a very simple explanation for the song’s high rating. Just take it from Young himself, who once proclaimed that, “ ‘Cortez’ is some of my best guitar playing ever!”
Remarkably, the song’s structure was largely shaped by an accident—a power failure which occurred in the midst of recording a perfect, transcendent take of the song. Rather than recut the tune, Young just plowed forward and later he and producer David Briggs went back and did some creative editing, which required the lopping off of several verses. “They missed a whole verse, a whole section!” Young says. “You can hear the splice on the recording where we stop and start again. It’s a messy edit…incredible! It was a total accident. But that’s how I see my best art, as one magical accident after another. That’s what is so incredible.”
“Cortez the Killer,” about the Spanish explorer who conquered Mexico with bloody success, is also a prime example of Young’s physical style of lead playing.
“I am a naturally very destructive person,” he says. “And that really comes out in my guitar playing. Man, if you think of guitar playing in terms of boxing…well, let’s just say I’m not the kind of guitarist you’d want to play against. I’m just scarred by life. Nothing in particular. No more scarred than anyone else. Only other people often don’t let themselves know how damaged they are, like I do, and deal with it.”
26. “Machine Gun” Soloist: Jimi Hendrix Album: Band of Gypsys—Band of Gypsys (Experience Hendrix/MCA, 1970) Original Ranking: 32
Contrary to popular belief, Hendrix was not in any kind of artistic decline during the last year of his life. In fact, it was quite the opposite. This apocalyptic performance of “Machine Gun,” featuring Billy Cox on bass and Buddy Miles on drums, demonstrates that Jimi was still growing in leaps and bounds near the end. But while Band of Gypsys captures some of the guitarist’s greatest improvisations to date, he was still dissatisfied with its outcome.
“I distinctly remember that Jimi wasn’t particularly thrilled with Band of Gypsys,” says engineer Eddie Kramer, who recorded the album and co-mixed and edited it with Hendrix.
“He felt that Buddy Miles was trying to steal his thunder throughout the performance with his excessive scat singing. I can still see Jimi with his head buried in his arms, laying on the mixing console during playback, saying, ‘Buddy, would you please just shut up!?’ So, I would chop out huge passages of Buddy singing. And then I’d chop some more.”
25. “For the Love of God” Soloist: Steve Vai Album: Passion and Warfare (Epic, 1990) Original Ranking: 29
“The song is about how far people will go for the love of their god,” says Steve Vai. “When you discipline yourself to quit smoking, to run faster or to play better, you have to reach deep down into a part of you. That is a profoundly spiritual event. That’s when you come into contact with that little piece of God within you. That’s what I was trying to achieve with ‘For the Love of God’—I was trying to find that spot.”
24. “Sultans of Swing” Soloist: Mark Knopfler Album: Dire Straits—Dire Straits (Warner Bros., 1978) Original Ranking: 22
“ ‘Sultans of Swing’ was originally written on a National Steel guitar in an open tuning, though I never performed it that way,” recalls Mark Knopfler. “I thought it was dull, but as soon as I bought my first Strat in 1977, the whole thing changed, though the lyrics remained the same. It just came alive as soon as I played it on that ’61 Strat—which remained my main guitar for many years and was basically the only thing I played on the first album—and the new chord changes just presented themselves and fell into place.
"It’s really a good example of how the music you make is shaped by what you play it on, and is a lesson for young players. If you feel that you’re not getting enough out of a song, change the instrument—go from an acoustic to an electric or vice versa, or try an open tuning.
"Do something to shake it up. As for the actual solo, it was just more or less what I played every night. It’s just a Fender Twin and the Strat, with its three-way selector switch jammed into a middle position. That gives the song its sound, and I think there were quite a few five-way switches installed as a result of that song.”
23. “Surfing with the Alien” Soloist: Joe Satriani Album: Surfing with the Alien (Epic, 1987) Original Ranking: 30
“We didn’t know where that song was going until one afternoon when we went to record the melody and I plugged a wah-wah pedal and a Tubedriver into my 100-watt Marshall,” Joe Satriani says.
“Then, just on a whim, I said, ‘Let’s try this harmonizer.’ It was one of those Eventide 949s. The sound that came out of the speakers blew us away so much that we recorded the melody and the solo in about a half-hour and sat back and went, ‘Whoa! This is a song, man!’"
22. “Highway Star” Soloist: Ritchie Blackmore Album: Deep Purple—Machine Head (Warner Bros., 1972) Original Ranking: 15
“I wrote that out note for note about a week before we recorded it,” says Ritchie Blackmore. “And that is one of the only times I have ever done that. I wanted it to sound like someone driving in a fast car, for it to be one of those songs you would listen to while speeding.
"And I wanted a very definite Bach sound, which is why I wrote it out—and why I played those very rigid arpeggios across that very familiar Bach progression—Dm, Gm, Cmaj, Amaj. I believe that I was the first person to do that so obviously on the guitar, and I believe that that’s why it stood out and why people have enjoyed it so much.
“[Keyboardist] Jon Lord worked his part out to mine. Initially, I was going to play my solo over the chords he had planned out. But I couldn’t get off on them, so I made up my own chords and we left the spot for him to write a melody. The keyboard solo is quite a bit more difficult than mine because of all those 16th notes. Over the years, I’ve always played that solo note for note—again, one of the few where I’ve done that—but it just got faster and faster onstage because we would drink more and more whiskey. Jon would have to play his already difficult part faster and faster and he would get very annoyed about it.”
21. “Time” Soloist: David Gilmour Album: Pink Floyd—The Dark Side of the Moon (Columbia, 1973) Original Ranking: 21
“Working with Pink Floyd is an engineer’s dream, so I tried to take advantage of the situation,” says studio wizard Alan Parsons. “Dark Side of the Moon came at a crucial stage in my career, so I was highly motivated.”
Parsons’ attention to detail obviously paid off: He won a Grammy award for the best engineered album of 1973, and DSOTM went on to ride the charts for a record-breaking 14 years.
But while Parsons takes credit for many of Moon’s sonic innovations, he says the massive guitar sound on the album can be attributed to only one man: David Gilmour. “David was very much in control of his sound system,” says Parsons. “We rarely added effects to his guitar in the control room. Generally speaking, the sound on the album is pretty much what came out of his amp. As I recall, he used a Hiwatt stack, a Fuzz Face and an Italian-made delay unit called a Binson Echorec.”
Gilmour confirms: “For most of my solos, I usually use a fuzz box, a delay and a bright eq setting. But to get that kind of singing sustain, you really need to play loud—at or near the feedback threshold.”
SORRY, PINK FLOYD'S STUDIO VERSION OF "TIME" IS NOT AVAILABLE ON YOUTUBE!
20. “November Rain” Soloist: Slash Album: Guns N’ Roses—Use Your Illusion I (Geffen, 1991) Original Ranking: 06
Long before the world embraced Guns N’ Roses as the quintessential Eighties rock band, the L.A.-based outfit recorded in one day a demo tape that featured many of what would become the band’s best-known songs, including “Welcome to the Jungle,” “Paradise City” and “Mr. Browstone,” all of which would wind up on the band’s 1987 breakthrough album, Appetite for Destruction.
Also on the tape was a song called “November Rain,” a sprawling, grandiose piano-driven ballad that would lie dormant for the remainder of the decade, eventually resurfacing in 1991 on the band’s two-record set, Use Your Illusion.
“I think that demo session was the first time we played ‘November Rain’ together as a band,” says Guns guitarist Slash. “We actually did it on piano and acoustic guitar. As far as the guitar solo, it was so natural from the first time I ever played it on the demo that I don’t even know if I made any changes to it when we did the electric version on Use Your Illusion. I never even went back and listened to the old tapes.
"One of the best things about a melody for a guitar solo is when it comes to you the same way every time, and that was definitely the case with ‘November Rain.’ When it came time to do the record, I just went into the studio, played the solo through a Les Paul Standard and a Marshall [2555, Jubilee head] and said, ‘I think that sounds right,’ ” he laughs. “It was as simple as that.”
19. “Cliffs of Dover” Soloist: Eric Johnson Album: Ah Via Musicom (Capitol, 1990) Original Ranking: 17
“I don’t even know if I can take credit for writing ‘Cliffs of Dover,’ ” says Eric Johnson of his best-known composition. “It was just there for me one day. There are songs I have spent months writing, and I literally wrote this one in five minutes. The melody was there in one minute and the other parts came together in another four. I think a lot of the stuff just comes through us like that. It’s kind of a gift from a higher place that all of us are eligible for. We just have to listen for it and be available to receive it.”
While it is true that he wrote the song in a blessed instant, the fact is that Johnson, a notoriously slow worker, took his time polishing it up to form. “It took me a while to achieve the facility to play it right,” he says. “I was trying to work out the fingerings and how I wanted particular notes to hang over other notes.”
Even allowing for Johnson’s perfectionism, it took an extraordinarily long time for him to record a song that “came to him” in five minutes. That epiphany occurred in 1982, and within two years “Cliffs of Dover” was a popular staple of his live shows. He planned to include the song on his solo debut, Tones (Capitol, 1986), but, ironically, it didn’t make the cut. “It was ousted by the people who were doing the record with me,” Johnson explains. “I think they thought the melody was too straight or something.”
Luckily, wiser heads prevailed on Ah Via Musicom. Though he had been playing “Cliffs of Dover” live for four or five years by then, it still took Johnson multiple takes to nail the song to his satisfaction—and he was never pleased with any version. “The whole solo is actually a composite of many guitar parts,” Johnson says. “I knew exactly how I wanted it to sound—almost regal—and though I had versions that were close, none quite nailed it, so I kept playing around with different permutations of the many versions I had recorded until I got it just right.
“As a result, I actually ended up using two different-sounding guitars. Almost all of the song is a Gibson 335 through a Marshall, with an Echoplex and a tube driver. But in the middle of the solo there’s 20 or 30 seconds played on a Strat. It really does sound different if you listen closely and at first I didn’t think it could work, but I really liked this string of licks so we just decided to keep it. It basically sounds like I’m hitting a preamp box or switching amps.
“The difficulty on that song was to make the sound as clear as the melody is. It’s just a simple little repeating melody, and for the song to work it had to be very up-front and crisp. Unfortunately, the G third on the guitar has a real tendency to waver and not be a smooth, clear note. As a result, I had to finger it just right—like a classical guitarist, using only the very tips of my fingers to achieve the best efficiency of my tonality.
"That’s what took me so long: to be able to play all the fast licks with just the tips of my fingers, with just the right touch and tonality. Without a doubt, the most important thing is the song and melody, which in this case came very easily. But I like to do the best job I can of delivering it to the listener by the best possible way I can play it—and that came hard.”
18. “Floods” Soloist: Dimebag Darrell Album: Pantera—The Great Southern Trendkill (Elektra, 1996) Original Ranking: 19
“That particular solo was thought-out in a more orchestrated fashion than some of the others I play where I just start ripping right off the bat,” says Dimebag Darrell. “The thing that really makes the ‘Floods’ solo come across like it does is [bassist] Rex’s playing behind it. He’s using his fingers and he plays a whole bunch of cool licks and shit in there. He definitely adds to the vibe and feel of my lead because I’m playing off his part a lot—it was a great foundation for me to build on.”
To fatten up the sound of the catchy arpeggiated theme that fills the first eight bars of his lead, Darrell doubled the part. “I picked up the idea of doubling from Randy Rhoads. It seemed appropriate to start off in a slow, melodic fashion and then build and build and build to the climax with the big harmonic squeals at the end.
"For that last big note I think there’s four guitars going on. There’s a squeal at the second fret of the G string, a squeal at the fifth fret of the G and then I used a DigiTech Whammy Pedal on two-string squeals at the harmonics at the fourth and 12th frets of the G and B strings, I believe. That was one of those deals where I didn’t plan it out. I just sat there and fucked with it until it sounded right.”
17. “Crazy Train” Soloist: Randy Rhoads Album: Ozzy Osbourne—Blizzard of Ozz (Epic, 1981) Original Ranking: 09
Randy Rhoads employed a two-part process when recording his solos for Blizzard of Ozz. First, the classically trained young shredder would take his customized Jackson guitars to a stone room downstairs at England’s Ridge Farm Studios where he would work out each of his solos, among them “Crazy Train.”
“This was after we did the backing tracks,” says Blizzard of Ozz engineer Max Norman. “Randy had a Marshall and a couple of 4x12s, and we had him set up in this room with the cabinets facing up out into the main studio. They were miked at various points: close, at three feet and again at about 12 feet. I would make Randy a loop of the solo section and we’d just let that play into these big monitors downstairs, where he would just sit and jam away for hours and hours until he had composed his completed solo.”
With the solos arranged to his liking, Rhoads would then report upstairs to the control room to record them. “We’d plug the guitar directly into the console,” recalls Norman. “We’d preamp it in the console and send it down to the amp from there. That way we could control the amount of gain that hit the amp, which is always a problem when running a remote amplifier and trying to get a good enough signal to it."
16. “Heartbreaker” Soloist: Jimmy Page Album: Led Zeppelin—Led Zeppelin II (Atlantic, 1969) Original Ranking: 16
Performing a convincing solo in a group context is difficult for any musician, but it takes a real man to stand unaccompanied and deliver. On “Heartbreaker,” Jimmy Page did just that. For an electrifying 45 seconds, Page let loose sans rhythm section and, needless to say, the guitar world has never been quite the same.
“I just fancied doing it,” laughs Page. “I was always trying to do something different, or something no one else had thought of. But the interesting thing about that solo is that it was recorded after we had already finished “Heartbreaker”—it was an afterthought. That whole section was recorded in a different studio and was sort of slotted in the middle. If you notice, the whole sound of the guitar is different.
“The solo itself was made up on the spot. I think that was one of the first things I ever played through a Marshall. I was always having trouble with amps, and Marshalls were state-of-the-art reliability. By that time I was using a Les Paul, anyway, and that was just a classic setup.”
“We definitely recorded the solo section separately,” confirms engineer Eddie Kramer. “Jimmy walked in and set up and the whole session was over in about 20 minutes. He did two or three takes and we picked the best one, which was edited in later. However, to this day, I have a hard time listening to it, because I think we did a shitty edit—the difference in noise levels is pretty outrageous. But I don’t think Jimmy cared, he was more interested in capturing an idea, and on that level, he succeeded.”
15. "Whole Lotta Love” Soloist: Jimmy Page Album: Led Zeppelin—Led Zeppelin II (Atlantic, 1969) Original Ranking: 38
“I used distant miking to get that rhythm guitar tone,” says Jimmy Page. “Miking used to be a science, and I’d heard that distance makes depth, which in turn gives you a fatter guitar sound. The amp was turned up very high. It was distorting, just controlled to the point where it had some balls to it. I also used a depressed wah-wah pedal on the solo, as I did on ‘Communication Breakdown.’
"It gets you a really raucous sound. The descending riff that answers the line ‘whole lotta love’ was created using slide and backward echo. Backward echo has been used a lot now, but I think I was the first to use it.”
14. “Little Wing” Soloist: Jimi Hendrix Album: The Jimi Hendrix Experience—Axis: Bold as Love (Experience Hendrix/MCA, 1968) Original Ranking: 18
Covered by artists like Eric Clapton, Stevie Ray Vaughan and Sting, “Little Wing” is one of Jimi Hendrix’s most beautiful and enduring compositions. It’s easy to see why. The original is seductively warm, poignant and light as a feather. Engineer Eddie Kramer explains how Jimi achieved the song’s ethereal glow in the studio.
“One of my favorite touches on that track is the glockenspiel part, which was played by Jimi,” says Kramer. “Part of the beauty of recording at Olympic Studios in London was using instruments that had been left from previous sessions. The glockenspiel was just laying around, so Jimi used it.”
Hendrix’s rich and watery guitar solo was, says Kramer, in part the product of a secret weapon. “One of the engineers had built this miniature Leslie,” continues Kramer. “It was like it was built out of an Erector set and had a small eight-inch speaker that rotated. Believe it or not, the guitar solo was fed through this tiny thing, and that’s the lovely effect you hear on the lead.”
13. “One” Soloist: Kirk Hammett Album: Metallica—…And Justice for All (Elektra, 1988) Original Ranking: 07
“I had a very clear idea of where I wanted to go with my guitar playing on …And Justice for All,” recalls Kirk Hammett. “Unfortunately we didn’t have enough time for me to fully execute my ideas.
“We worked on basic tracks for six or seven months, and then I only had eight or nine days to record all my leads because we were heading out on the Monsters of Rock tour [with Van Halen, Scorpions, Dokken and Kingdom Come]. To get that done, I had to do incredibly long, grueling days—like 20 hours at a pop—and it took so much out of me. As soon as I finished one solo, I had to do the next one. There was no time to breathe, as the whole vibe was to do it the best you could and keep moving. It was a pretty frustrating experience, to be honest.”
Despite these frustrations, Hammett was immediately pleased with most of his work on “One,” which featured three very different solos. “The first solo and the last solo were completely worked out in advance because I had been playing them for months,” recalls Hammett. “So in those cases it was just a matter of fitting in tone-wise. I elected to use a clean sound in the intro solo, which was the first time we used that kind of sound. I dialed it up on an ADA preamp and, once we found the right sound, it just flowed.
"For the final solo, I used my conventional lead sound of the time. That one flowed quickly, too—once I worked out the intro right-hand tapping technique, a process I really enjoyed. I wanted a high energy intro that would be different from anything I had done in the past. So I got those two solos done quickly and was pleased with them. But the middle one just wasn’t happening.”
Ultimately, Hammett was so displeased with the results of his second solo that he returned to the studio in the midst of the Monsters of Rock tour—spending a day at New York’s Hit Factory with producer Ed Stasium. “I redid the entire second half of the second solo and worked to make it all fit in,” Hammett recalls. “It was better, although I was never totally satisfied with it. I guess I did a good enough job.”
Apparently so. The song would soon become Metallica’s first legitimate radio and MTV hit, its solos firmly established as Hammett signature licks.
12. "No More Tears" Soloist: Zakk Wylde Album: Ozzy Osbourne—No More Tears (Epic, 1991) Original Ranking: 51
11. "Since I've Been Loving You” Soloist: Jimmy Page Album: Led Zeppelin—Led Zeppelin III (Atlantic, 1970) Original Ranking: 53
10. "Brighton Rock” Soloist: Brian May Album: Queen—Sheer Heart Attack (Elektra, 1974) Original Ranking: 41
Universally venerated for his lavish guitar orchestrations and tasteful British restraint, Brian May kicked over the traces on this high energy rocker that leads off Queen’s third album, Sheer Heart Attack. One of May’s most blues-based excursions ever, the song’s extended solo section grew out of the guitarist’s experiments with an Echoplex tape delay unit. His original goal was to reproduce his multi-part guitar harmonies live onstage with Queen, back in the days before harmonizers were invented.
“I started messing around with the Echoplex, the delay that was available at the time,” May recalls. “I turned up the regeneration until it was giving me multiple repeats. I discovered you could do a lot with this—you could set up rhythms and play against them, or you could play a line and then play a harmony to it.
"But I decided that the delay [times] I wanted weren’t available on the Echoplex. So I modified it and made a new rail, which meant I could slide the head along and make the delay any length I wanted, because the physical distance between the two heads is what gave you the delay. Eventually, I had two home-adapted Echoplexes. And I discovered that if you put each echo through its own amp, you wouldn’t have any nasty interference between the two signals. Each amp would be like a full-blown, sustaining, overdriven guitar which didn’t have anything to do with the other one.
“So, ‘Brighton Rock’ was the first time that got onto a record. I’d already been trying it live onstage in the middle of ‘Son and Daughter’ [from Queen’s self-titled ’73 debut album], when Queen first toured with Mott the Hoople. It was rather crude at first. But I certainly had a lot of fun with it.”
09. “Bohemian Rhapsody” Soloist: Brian May Album: Queen—A Night at the Opera (Hollywood, 1975) Original Ranking: 20
“Freddie [Mercury] had the whole piece pretty well mapped out, as I remember, but he didn’t have a guitar solo planned. So I guess I steamed in and said, ‘This is the point where you need your solo, and these are the chords I’d like to use.’
The chord progression for the solo is based on the verse, but with a slight foray into some different chords at the end, to make a transition into the next part of the song. I’d heard the track so many times while we were working on it that I knew in my head what I wanted to play for a solo. I wanted the guitar melody to be something extra, not just an echo of the vocal melody. I had a little tune in my head to play. It didn’t take very long to record.
“The next section of the song, the heavy bit, was really part of Freddie’s plan. I didn’t change what he had very much. Those guitar riffs that everybody bangs their heads to are really more Freddie’s than mine. And at the end of that section, I sort of took over. I wanted to do some guitar orchestrations—little violin lines—coming out of that. And it blended in very well with what Freddie was doing with the outro.
“We were stretching the limits of technology in those days. Since ‘Bohemian Rhapsody’ was entirely done on 16-track, we had to do a lot of bouncing as we went along; the tape got very thin. This ‘legendary’ story, which people think we made up, is true: we held the tape up to the light one day—we’d been wondering where all the top end was going—and what we discovered was virtually a transparent piece of tape. All the oxide had been rubbed off. It was time to hurriedly make a copy and get on with it.”
08. "While My Guitar Gently Weeps” Soloist: Eric Clapton Album: The Beatles—The Beatles (Apple, 1968) Original Ranking: 42
“When we actually started recording this, it was just me playing the acoustic guitar and singing it, and nobody was interested,” recalls the song’s author, George Harrison. “Well, Ringo probably was, but John and Paul weren’t. When I went home that night, I was really disappointed because I thought, Well, this is really quite a good song; it’s not as if it’s crap!
"And the next day I happened to drive back into London with Eric [Clapton], and I suddenly said, ‘Why don’t you come play on this track?’ And he said, ‘Oh, I couldn’t do that; the others wouldn’t like it…’ But I finally said, ‘Well, damn, it’s my song, and I’d like you to come down.’ So he did, and everybody was good as gold because he was there.
"I sang it with the acoustic guitar with Paul on piano, and Eric and Ringo. Later, Paul overdubbed bass. Then we listened back to it and Eric said, ‘Ah, there’s a problem, though; it’s not Beatlesy enough.’ So we put the song through the ADT [automatic double tracker] to wobble it a bit.”
07. “Free Bird” Soloist: Allen Collins, Gary Rossington Album: Lynyrd Skynyrd—pronounced leh-nerd skin-nerd (MCA, 1973) Original Ranking: 03
“ ‘Free Bird’ was actually one of the first songs we ever wrote,” says guitarist Gary Rossington. “Allen [Collins] had the chords for the pretty part in the beginning, two full years, but Ronnie [Van Zant] kept saying that because there were too many chords he couldn’t find a melody for it. We were just beginning to write and he thought that he had to change with every chord change.
“Then one day we were at rehearsal and Allen started playing those chords, and Ronnie said, ‘Those are pretty. Play them again.’ Allen played it again, and Ronnie said, ‘Okay, I got it.’ And he wrote the lyrics in three or four minutes—the whole damned thing! He came up with a lot of stuff that way, and he never wrote anything down. His motto was, ‘If you can’t remember it, it’s not worth remembering.’
“So we started playing it in clubs, but it was just the slow part. Then Ronnie said, ‘Why don’t you do something at the end of that so I can take a break for a few minutes?’ So I came up with those three chords at the end and Allen played over them, then I soloed and then he soloed…it all evolved out of a jam one night. So, we started playing it that way, but Ronnie kept saying, ‘It’s not long enough. Make it longer.’ Because we were playing three or four sets a night, and he was looking to fill it up. Then one of our roadies told us we should check out this piano part that another roadie, Billy Powell, had come up with as an intro for the song. We did—and he went from being a roadie to a member right then.”
On the studio version of the song, which appeared on Skynyrd’s debut album, Collins played the entire solo himself on his Gibson Explorer, with Rossington playing rhythm on his Les Paul, “Bernice,” and adding the slide fills on his SG. “The whole long jam was Allen Collins, himself,” Rossington says. “He was bad. He was super bad! He was bad-to-the-bone bad. When we put the solo together, we liked the sound of the two guitars, and I could’ve gone out and played it with him. But the way he was doin’ it, he was just so hot! He just did it once and did it again and it was done.”
The resulting track was nine minutes long, and no one’s idea of a classic radio song. “Everybody told us that we were crazy to put the song on our first album, because it was too long,” recalls Rossington. “Our record company begged us not to include it. And when it first came out, they did all kinds of awful radio edits until it got big enough where it didn’t matter any more.”
Shortly after the album was recorded, bassist Leon Wilkeson returned to the group after a brief hiatus and Ed King, his replacement, slid over to guitar, creating a three-guitar juggernaut that could reproduce the song’s majestic attack onstage. By the time Skynyrd cut the 1976 live album One More from the Road, Steve Gaines had replaced King and “Free Bird” had soared to over 13 minutes in length. This version, with its famous shouted intro, “What song is it that you want to hear?,” triggered air guitar frenzy from coast to coast and firmly sealed “Free Bird’s” status as a national treasure.
06. “Hotel California” Soloist: Don Felder, Joe Walsh Album: The Eagles—Hotel California (Asylum, 1976) Original Ranking: 08
Credit for the guitar majesty of “Hotel California” is often given to Joe Walsh, who toughened up the Eagles’ laid-back California sound when he joined the band just prior to the Hotel California album’s recording. Actually, the primary guitar heard throughout the solo belongs to Don Felder, who wrote the music for the track and actually conceived and played the solo’s intricate harmonies on his initial, instrumental demo.
“Every once in a while it seems like the cosmos part and something great plops into your lap,” says Felder. “That’s how it was with ‘Hotel California.’ I had just leased this beach house in Malibu and was sitting in the living room with all the doors wide open on a spectacular July day, probably in ’75. I was soaking wet in a bathing suit, sitting on the couch, thinking the world is a wonderful place to be and tinkling around with this acoustic 12-string when those ‘Hotel California’ chords just oozed out. I had a TEAC four-track set up in a back bedroom, and I ran back there to put this idea down before I forgot it.
“I set this old rhythm ace to play a cha-cha beat, set the right tempo and played the 12-string on top of it. A few days later, I went back and listened to it and it sounded pretty unique, so I came up with a bass line. A few days after that, I added some electric guitars. Everything was mixed down to mono, ping-ponging back and forth on this little four-track. Finally, I wound up with a cassette that had virtually the entire arrangement that appeared on the record, verbatim, with the exception of a few Joe Walsh licks on the end. All the harmony guitar stuff was there, as was my solo.
“Then I gave it to Don Henley on a tape with eight or 10 ideas, and he came back and said, ‘I really love the one that sounds like a Matador…like you’re in Mexico.’ We worked it all up and went into the studio and recorded it as I wrote it—in E minor, just regular, open chords in standard tuning—and made this killer track. All the electric guitars were big and fat and the 12-string was nice and full. Then Henley came back and said, ‘It’s in the wrong key.’
So I said, ‘What do you need? D? F sharp?’…hoping that we could varispeed the tape. But he said no, that wouldn’t work, and we sat down and started trying to figure out the key—and it turned out to be B minor! So out comes the capo, way up on the seventh fret. We re-recorded the song in B minor and all of a sudden the guitar sounds really small and the whole track just shrinks! It was horrible, so we went back and tried it again. Luckily, we came up with a better version in B minor.
“I kept the capo on and recorded the acoustic guitar through a Leslie. They took a D.I. out of the console and a stereo Leslie, and they got this swirly effect. Then I went back and did most of the guitars, except for the stuff where Joe and I set up on two stools and ran the harmony parts down. I play the first solo, then it’s Joe. Then we trade lines and then we go into the lead harmonies.
“Now that I’ve heard it for 20 years, the 12-string part sounds right to me, but it’s still not as nice as the E minor version we did. And even when we’d finished the song and made it the title track, I wasn’t convinced that it should be our single. I thought it was way too long—twice the normal radio length—and sort of weird because it started out quiet and had this quiet breakdown section in the middle. I was very skeptical, but I yielded to the wisdom of Henley.”
SORRY, THE STUDIO VERSION OF "HOTEL CALIFORNIA" IS NOT AVAILABLE ON YOUTUBE!
05. “Mr. Crowley” Soloist: Randy Rhoads Album: Ozzy Osbourne—Blizzard of Ozz (Epic, 1981) Original Ranking: 28
“I’d have to say that ‘Mr. Crowley’ is my most memorable solo,” said Randy Rhoads. “I had spent hours trying to figure out a solo for the song, but wasn’t getting anywhere. I finally put something down.
Then Ozzy came in and said, ‘It’s crap—everything you’re playing is crap.’ He told me to get in there and just play how I felt.
He made me really nervous, so I just played anything. When I came back to listen to it, he said it was great, and I had to agree.”
04. “Voodoo Child (Slight Return)” Soloist: Jimi Hendrix Album: The Jimi Hendrix Experience—Electric Ladyland (Experience Hendrix/MCA, 1968) Original Ranking: 11
Jimi Hendrix’s publicist, Michael Goldstein, had successfully arranged for ABC-TV to produce a short news feature based primarily on the Experience’s triumphant success in America. Filming began on May 3, 1968, with 16mm cameras capturing the recording of “Voodoo Child (Slight Return),” which, like many Hendrix songs, borrowed both musical and lyrical themes from Muddy Waters and other Delta bluesmen.
“ ‘Voodoo Child’ was something Jimi brought in, and we learned that song right on the spot in front of the cameras,” recalls bassist Noel Redding. “We ran through it about three times, and that was it.”
It is not known whether ABC ever used any of the footage. And, unfortunately, all the camera originals were stolen from ABC’s archives sometime after Jimi’s death. The reel also included footage of the group performing at the Fillmore East and the Miami Pop Festival.
Engineer Eddie Kramer recalls: “ ‘Voodoo Child (Slight Return)’ was recorded the day after Jimi tracked ‘Voodoo Chile,’ the extended jam on Electric Ladyland featuring Traffic’s Stevie Winwood on organ and Jefferson Airplane bassist Jack Casady. Basically, Jimi used the same setup—his Strat through a nice, warm Fender Bassman amp. Jimi’s sound on both tracks is remarkably consistent, leading some to think they were recorded at the same session.”
03. “Stairway to Heaven” Soloist: Jimmy Page Album: Led Zeppelin—Led Zeppelin IV (Atlantic, 1971) Original Ranking: 01
If Jimmy Page is the Steven Spielberg of guitarists, then “Stairway” is his Close Encounters. Built around a solid, uplifting theme—man’s quest for salvation—the epic slowly gains momentum and rushes headlong to a shattering conclusion. The grand finale in this case is the song’s thrill-a-second guitar solo.
Page remembers: “I’d been fooling around with the acoustic guitar and came up with several different sections which flowed together nicely. I soon realized that it could be the perfect vehicle for something I’d been wanting to do for a while: to compose something that would start quietly, have the drums come in the middle, and then build to a huge crescendo. I also knew that I wanted the piece to speed up, which is something musicians aren’t supposed to do.
“So I had all the structure of it, and ran it by [bassist] John Paul Jones so he could get the idea of it—[drummer] John Bonham and [singer] Robert Plant had gone out for the night—and then on the following day we got into it with Bonham. You have to realize that, at first, there was a hell of a lot for everyone to remember on this one. But as we were sort of routining it, Robert started writing the lyrics, and much to his surprise, he wrote a huge percentage of it right there and then.”
Plant recalls the experience: “I was sitting next to Page in front of a fire at our studio in Headley Grange. He had written this chord sequence and was playing it for me. I was holding a pencil and paper, when, suddenly, my hand was writing out the words: ‘There’s a lady who’s sure, all that glitters is gold, and she’s buying a stairway to heaven.’ I just sat there and looked at the words and almost leaped out of my seat. Looking back, I suppose I sat down at the right moment.”
While the spontaneous nature of Plant’s anthemic lyrics came as a pleasant surprise, the best was yet to come. The beautifully constructed guitar solo that Guitar World readers rated the “best ever” was, believe it or not, improvised.
“I winged it,” says Page with a touch of pride. “I had prepared the overall structure of the guitar parts, but not the actual notes. When it came time to record the solo I warmed up and recorded three of them. They were all quite different from each other. All three are still on the master tape, but the one we used was the best solo, I can tell you that.
“I thought ‘Stairway’ crystallized the essence of the band. It had everything there, and showed the band at its best. Every musician wants to do something that will hold up for a long time, and I guess we did that with ‘Stairway.’ ”
02. “Comfortably Numb” Soloist: David Gilmour Album: Pink Floyd—The Wall (Columbia, 1979) Original Ranking: 04
How do you reason with two guys who once went to court over the artistic ownership of a big rubber pig? That was Bob Ezrin’s mission when he agreed to co-produce Pink Floyd’s The Wall with guitarist David Gilmour and bassist/vocalist Roger Waters. The legendary tensions between the two feuding Floyds came to a head during sessions for The Wall in 1979—which was why Ezrin was called in.
“My job was to mediate between two dominant personalities,” recalls Ezrin. However, the producer turned out to be no mere referee, but contributed plenty ideas of his own. “I fought for the introduction of the orchestra on that record,” says Ezrin. “This became a big issue on ‘Comfortably Numb,’ which Dave saw as a more bare-bones track. Roger sided with me. So the song became a true collaboration—it’s David’s music, Roger’s lyric and my orchestral chart.”
Gilmour’s classic guitar solo was cut using a combination of the guitarist’s Hiwatt amps and Yamaha rotating speaker cabinets, Ezrin recalls. But with Gilmour, he adds, equipment is secondary to touch: “You can give him a ukulele and he’ll make it sound like a Stradivarius.”
Which doesn’t mean Gilmour didn’t fiddle around in the studio when he laid down the song’s unforgettable lead guitar part. “I banged out five or six solos,” says Gilmour. “From there I just followed my usual procedure, which is to listen back to each solo and make a chart, noting which bits are good. Then, by following the chart, I create one great composite solo by whipping one fader up, then another fader, jumping from phrase to phrase until everything flows together. That’s the way we did it on ‘Comfortably Numb.’ ”
01. “Eruption” Soloist: Eddie Van Halen Album: Van Halen—Van Halen (Warner Bros., 1978)
It is hard to imagine a more appropriately titled piece of music than Edward Van Halen’s solo guitar showcase, “Eruption.” When the wildly innovative instrumental was released in 1978, it hit the rock guitar community like a hydrogen bomb. Two-handed tapping, gonzo whammy bar dips, artificial harmonics—with Van Halen’s masterly application of these and other techniques, “Eruption” made every other six-stringer look like a third-stringer.
But the most remarkable thing, perhaps, about the unaccompanied solo is that it almost didn’t make it on to Van Halen’s debut album.
“The story behind ‘Eruption’ is strange,” says Van Halen. “While we were recording the album, I showed up at the studio early one day and started to warm up because I had a gig on the weekend and I wanted to practice my solo-guitar spot. Our producer, Ted Templeman, happened to walk by and he asked, ‘What’s that? Let’s put it on tape!’
“I played it two times for the record, and we kept the one that seemed to flow. Ted liked it, and everyone else agreed that we should throw it on the album. I didn’t even play it right—there’s a mistake at the top end of it. Whenever I hear it, I always think, Man, I could’ve played it better.”
As for the distinctive echo effect on the track, Eddie recalls that he used a relatively obscure unit—a Univox echo chamber. “It had a miniature 8-track cassette in it, and the way it would adjust the rate of repeat was by the speed of the motor, not by tape heads. So, if you recorded something on tape, the faster you played the motor back, the faster it would repeat and vice versa. I liked some of the noises I got out of it, but its motor would always burn out.
“I like the way ‘Eruption’ sounds. I’d never heard a guitar sound like that before.”
Let's face it: There are a lot of distortion pedals out there aimed at metal players, But if you don't pick the right amp, you'll probably always be chasing that holy grail of perfect tone.
That's why we're providing you with a shortcut!
A group of Guitar World staffers, including Technical Editor Paul Riario, sat down to come up with the cream of the crop when it comes to some seriously sinister guitar amps. We looked at power, versatility and stage-worthiness, narrowing down our picks to 10 amps that will have you ready to seek and destroy straight out of the box, no pedals required!
Bogner Uberschall Series 120W
A lot of metal tones are all about mid-range attack, but if you need some serious low-end for that menacing Drop-B riff you've been working on, you can't do much better than the Bogner Uberschall.
German for "super sonic," the Uberschall features a two-channel, all-tube design that's stylishly backlit by fiber optics. Powered by an EL34 output section, the Ubserschall also features a tube-buffered effects loop with a mute feature that makes for an ultra-quiet rig.
Utilized by everyone from Avenged Sevenfold's Zacky Vengeance to Six Feet Under's Rob Arnold, the Uberschall is sure to deliver for any brand of metal guitarist. And if you're having trouble deciding what to pair the head with, look no further than the Uberschall 4x12 straight speaker cabinet to round out your setup.
For maximum versatility in a metal amp, it's hard to beat the four-channel Engl Powerball II. Featuring clean, crunch and two lead channels, the Powerball II is the favorite amp of players like Jeff Loomis and Glenn Tipton.
What makes the Powerball II so appealing to gigging musicians is its range of features that make it perfect for the stage, from an improved noise gate to power tube protection. The Powerball II also lacks an impedance switch, cutting out a trouble spot familiar to most amp techs.
While most metal guitarists will be able to wring all the gain they need out of the "Soft Gain" channel, switch over to "High Gain" to over-the-top solo sounds and some of the most perfect black metal distortion sounds you'll find in a head.
No list of metal amps would be complete without the Mesa Boogie Triple Rectifier, perhaps the most-cited amp by metal guitarists as the muscle behind their signature tones.
The Triple Rectifier features three fully independent channels with eight modes, allowing for a myriad of clean and distorted tones. Better than nearly any other amp, the Triple Rectifier pays special attention to rhythm sounds. Its powerful third channel allows for maximum chunk, making it a favorite of guitarists who are all about pick-hand precision.
Hand-built in Petaluma, California, you'll find the Triple Rectifier on the backlines of bands as diverse as Cannibal Corpse and Pelican, proof that it may very well be the ultimate all-in-one metal amp.
They may have just set up shop in 2004, but the folks at Blackstar boast of "50 years combined experience in guitar amplification design and production." And it shows.
Blackstar have quickly become the go-to amp makers for all stripes of metal players, including artists as diverse as Gus G, Richie Sambora, Ihsahn and James Williamson. If you want to know why, you only need to look as far as the craftsmanship behind the Blackstar Series One 100-watt head.
The amp's two channels are each divided into two modes, with the clean channel featuring "warm" and "bright" modes, the latter being perfect for clean intros and bridges, a la the middle section of "Master of Puppets."
For distortion, the overdrive channel gives you the options of a "crunch" or "super crunch" mode, which pretty much tells you all you need to know about the crushing tones you can expect. Guitarists falling far on the "extreme" side of the spectrum may need to throw an extra pedal in their chain for those absolutely distortion-drenched tones they so crave, but few metal amps come as solidly built or highly recommended by metal's elite.
Since 1994, the German-made Diezel VH4 has been the go-to amp for purveyors of many styles of hard rock and metal.
Perfect for that late-era Angus Young sound right through the grittiest of metal tones, the VH4 features four completely independent channels — clean, crunch, mega, lead — along with four individual preamps with gain and volume settings. While the clean and crunch modes are plenty pleasing to the ear, the "Mega" channel is where the trademark Diezel sound kicks in, providing all the wallop you'll need for Maiden-style gallops or slithering Drop-D riffs.
For a little added sustain and compression, just click over to the "Lead" channel for cutting, creamy lead sounds that should please shredders as well as the more melodically inclined metal player.
Most high-gain fiends know that Peavey’s 6505 Series amps are evolutionary creations that began with the Peavey/Van Halen–designed 5150 heads. When Peavey’s association with Van Halen ended in 2004, the company continued to build the same insanely high-gain amp under the new 6505 name and went about updating some of the amp’s ancillary features.
However, they didn’t change the amps’ extreme-gain circuits, die-hard construction and affordability.
The amp (which comes in a ton of variations) is primed by up to six 12AX7 preamp tubes and driven by four 6L6GC power tubes, delivering brutal high-gain power.
Try plugging into the high-gain input to double the input gain for crushing overdriven tones. You also can create a second "lead" tone by engaging the Crunch option on the rhythm channel. In the master section, you'll find the Resonance and Presence controls. Resonance acts as a low-frequency boost, while Presence acts as a high-frequency boost, both allowing you to sculpt your tone. All of this tonal power is housed in an exterior that is built for the rigors of the road.
MSRP: $1,349.99 |
Marshall JVM410H
If you're into built-in gain, you'll dig Marshall's all-tube, four-channel JVM410H 100-watt head. It actually sports more gain than any other Marshall model ever made, which is kinda saying something.
One thing's for sure: This is a feature-packed machine. There are four channels, each with an independent EQ. Volume and Gain controls run through separate, footswitchable master volumes driven by four ECC83 tubes (or "valves" in the UK, where this amp is made) in the preamp, one ECC83 and four EL34 power amp tubes. Each channel comes with three separate gain modes — green, orange and red. Each one reconfigures the gain structure of the channel to offer gradually increasing levels of gain. You could say (as Marshall does) that this amp is 12 Marshalls in one.
The JVM410H also offers digital reverb with a level control for each channel. This also is footswitchable, as are the amp's two Master Volume controls and the Series/Parallel effects loop. Resonance and Presence are equipped with master controls.
If you're shooting for a classic name with an updated, brutal sound, this is the Marshall for you. (But remember, this thing will provide some super-clean tones as well.)
Based on the size of this amp, it could've been called the Tiny Terror, but that name is already taken, of course.
Simply put, the Dark Terror is a lot like Napoleon Bonaparte — small but very aggressive. This distinctive-looking head produces a mind-blowing sound that combines the Shape control of Orange's Thunder series with the weight and size of its Terror family. The result is plenty of lovely gain and responsiveness.
And speaking of gain, due to its high-gain preamp, the Dark Terror is the highest-gain amp in the history of Orange's Terror series. It also comes with a handy, tube-driven FX loop. So we agree with Orange when they say, "It is uncompromisingly brutal, doubtless unhinged, even ferocious. The Dark Terror rises from the ethereal depths to fulfill the every desire of the heavy metal and rock guitar players. With its characteristic fearless Orange Amp looks, heavy duty construction and portability, guitar players everywhere will quickly become attuned to this scary dark force of nature."
Germany's Hughes & Kettner offers a huge range of gear for players in search of an assortment of tones. It dabbles in "the vintage thing" with its Puretone amps and produces several cost-effective solid-states, including the Attax. The Coreblade, however, is a bit different.
For starters, compared to some others, this is a very big head — but the sound it produces is also big, if not huge. The amp, the flagship head in the brand's Pro Class, delivers seriously tough tone, dynamic response and an explosive punch. Two of the four channels are voiced to offer completely different high-gain alternatives. The amp's Drive channel supplies the classic sounds of the early metal era. The Clean channel offers tons of headroom, rendering even the most aggressive attack with sparkle and chime.
Boost is separately switchable and three effect modules may be used simultaneously for each per channel. The ultra-precise, remarkably musical IDB noise gate is available for all channels. Programmable potentiometers enable settings to be stored in 128 memory slots, and the included MIDI board affords easy access to these presets.
The Coreblade is the first tube amp that downloads presets directly to USB sticks and uploads new presets at the touch of a button. Best of all, every sound is all tube with no modeling.
MSRP: $2,649 | MORE INFO="http://www.hughes-and-kettner.com/products.php5?id=135">
EVH 5150 III
The EVH 5150 III all-tube amp head was developed to meet the specs of one Edward Van Halen. The cool thing, however, is that, while you certainly get his patented "brown sound" out of this attractive amp, you also can dial in a much more metal-friendly, high-gain, saturated tone with tons of harmonics and sustain.
The 5150 III is a three-channel amp that sets players off in three different directions — high-def cleans, the brownest of brown sounds with punch and definition, and maniacal high gains. We're talking an attractive range of crunch to all-out mayhem. To be honest, the 5150 III sounds like no other amp and should be applauded for its versatility alone.
And let's not forget the EVH 5150 III 50-watt head, which is a smaller-sized version of the 5150 III. Its size and portability make it perfect amp for players who want arena volume, tone and performance from something that will fit in your bedroom.
Hailed by Guitar World as a “fretboard wizard” and voted “Best New Talent” by Guitar World readers in 1991, Nuno Bettencourt has maintained his relevance since first coming onto the national scene in the late '80s, thanks to his inventive playing, killer tone and skillful songwriting.
Best known for his work as the guitarist for Extreme, Nuno also has brought his wizardry to collaborations with a diverse array of artists such as Jane’s Addiction frontman Perry Ferrell and R&B superstar Rihanna.
Extreme's 1990 album, Pornograffitti, is a guitar tour-de-force featuring incredible riffs, an amazing guitar tone (featuring Nuno’s signature Washburn N4 guitar, Bill Lawrence L500-XL pickup and the classic ADA MP-1 preamp) and wildly creative, technically fascinating guitar playing.
Of the many amazing signature licks that can be found on the album, one of the coolest employed by Nuno (see “Get the Funk Out” and “He-Man Woman Hater”) is his “tapped string skipping add9” pattern.
The basic idea is found in Example 1. What sets this lick apart is its intervallic interest generated by the string skip and the position shift in the tapped note. Theoretically, the line is derived from a Cadd9 harmony (C, D, E, G), but what’s important is its shape.
To execute the lick, your left hand index finger needs to shift a fret down when it moves to a new string, and as those moves occur, your tapping finger hits the same fret on the D and G strings and then moves down two frets for the high E string. To get this down, practice only the left hand fingerings and their shifts, and then just the tapping moves, then the moves together. Pay attention to the notes at the downbeats of the rhythm to help you feel the groove.
Example 2 is an effective loop in Em/G that combines the Cadd9 pattern with its diatonic twin (Dadd9), two frets higher. This is particularly cool when looped.
Thinking diatonically and searching for the same shape on the same strings, there is only one other chord that fits the criteria: Gadd9. Example 3 adds the Gadd9 arpeggio to the Cadd9 and Dadd9 in a more intervallically diverse progression.
As in our first example, practice this lick by isolating the moves needed for each hand individually and then unite both hands to perform the lick. Note the large position shift from the 3rd bar to the 4th.
Example 4 switches between the shapes on the D, G and E strings, and their symmetrical counterparts on the A, D, and B strings. The progression implied is Cadd9-Gadd9-Dadd9-Aadd9.
The only note that is not diatonic is the C# in the final bar (D string, 11th fret), but at speed the note fits perfectly, and depending on the harmony you play it over it can yield some interesting results. For example, over an Em chord the C# would imply an E Dorian mode, over a G chord the C# would imply a G Lydian, etc. But really, it just sounds cool fast!
Finally, in the interest of authenticity, Example 5 is the phrasing of the pattern that Nuno would typically employ. Note the slight “speed burst” at the end of beat 2, and the “hammer on from nowhere” with the left hand on the last 16th note of beats 3 and 4.
Practicing this “hammer on from nowhere” technique will give you a ton of cool options to spice up any of your own string crossing tapped licks. Be sure to try this pattern with all of the progressions from examples 1-4.
Integrating these shapes and techniques into your repertoire will surely give you a powerful weapon for building a lead to an attention-grabbing crescendo, and these licks should definitely set you on the path to creating your own variations.
Don’t be afraid to experiment and modify the concept to suit your own favorite keys and arpeggio shapes, and look for other interesting diatonic permutations to find that perfect part for the solo you’re working on. These licks are as fresh today as they were 22 years ago, so have fun impressing your fellow guitarists with this incredibly effective set of new tools.
Happy shredding!
Scott Marano has dedicated his life to the study of the guitar, honing his chops at the Berklee College of Music under the tutelage of Jon Finn and Joe Stump and working as an accomplished guitarist, performer, songwriter and in-demand instructor. In 2007, Scott developed the Guitar Strength program to inspire and provide accelerated education to guitarists of all ages and in all styles through state-of-the-art private guitar lessons in his home state of Rhode Island and globally via Skype. Visit Scott and learn more at www.GuitarStrength.com.
The Clash were back in New York City last night to launch Sound System, a lavish, boombox-shaped box set; and Hits Back, a greatest-hits collection; and to unveil a new mural of Joe Strummer in the East Village.
The whirlwind evening began at Wallplay on Orchard Street, where videos of the band in its heyday blared across giant screens and black-and-white prints of some of the most iconic images of the band — or of any rock band, for that matter — adorned the walls, courtesy of Rock Paper Photo, the e-commerce fine art photography dealers.
Upstairs, Mick Jones, the band’s guitarist and musical driving force, and Paul Simonon, the band’s bassist and resident artist, held court to a small gathering of friends and press, along with their former press officer and consigliore, Kosmo Vinyl.
Since frontman Joe Strummer’s passing in 2002, the Clash have increasingly attained the legacy status afforded the Beatles and the Rolling Stones and their like, with more and more elaborate reissue packages, films and magazine covers clamoring for aging fans’ dollars. The West London band, whose intense energy at the dawning of punk in 1976 and seemingly effortless evolution over the next seven years make them ripe for constant re-evaluation and revisiting, have become elder statesmen and icons to successive generations.
Sound System is a vast, sprawling, fantastic box set befitting one of the few bands of the late-1970s and early '80s deserving of such attention.
“This is it. This is the final word, in my opinion,” Paul Simonon told me. I hadn’t seen Simonon in nearly 30 years before last night, but the man who so famously smashed his bass on the cover of the Clash’s London Calling album was as charming and understated and generous with his time as ever.
“The design was based on my old boombox,” Simonon said of the fabulous pop objet d’art, a hefty, flip-top carton resembling the ghetto-blaster tape players the band used to lug around on tour. “I photographed my old boombox and did a mock-up and took it in to the record company. They said, ‘Well, that’s very nice but where do the CDs go?’ I chuckled and said, ‘You understand it’s a mock-up, right?’”
The faux boombox contains the Clash’s core five albums plus three bonus CDs containing singles, rarities, live cuts and unheard early demos. Plus, there’s a load of memorabilia like badges, posters and stickers, plus a DVD with the band’s videos alongside previously unseen footage shot by Don Letts and Julien Temple and two reprints of the band fanzine Armagideon Times alongside a new issue edited by Simonon, containing rousing memoirs by the Clash and the key members of its inner-circle.
“We wanted to do a miniature Stonehenge,” Jones, who remastered the audio in spectacular form, said, in reference to the classic spoof rockumentary Spinal Tap. “With little slots for the CDs.”
So why do the Clash — famously called “the only band that matters” by anyone in the know back in the day — still matter? One listen to Sound System— or even Hits Back, the new best-of based around Stummer’s handwritten setlist from a 1982 Brixton Academy show — and it’s obvious. The band evolved rapidly and remarkably over the course of its existence, often far ahead of its audience and almost too far ahead of the record company brass and radio programmers who were regularly stymied by the then-latest offering from the band.
“We had no sense of all the change going on in our music or even the momentum we had,” Simonon said. “We were living a 24-hour lifestyle. We lived and breathed it.”
Kosmo Vinyl agreed.
“We took our cue from the Jamaican record industry, where you’d make a record and bam it’d be on the street,” he said. “We subscribed to that immediacy, so to us the amount of output, or the pace at which things moved and changed, didn’t seem unusual.”
Simonon, Jones and Vinyl fittingly spent time with every comer, happily listening to every old story, posing for photographs and signing just about everything put in front of them, just like the old days. Then Jones ventured to musician Jesse Malin’s Lower East Side bar Niagara for the unveiling of a new mural of Strummer by the artist Dr. Revolt.
There old friends and fans clearly too young to have been aware of Strummer during his lifetime mixed and mingled, and Jones met every one with a warm smile and obliging ear for every “your music changed my life” story.
But earlier, as I sat in the front seat of the Cadillac Escalade (“Now this is a proper, gargantuan American car”) there to shepherd Simonon to his next destination, he sat back and said contentedly of the event at Wallplay, “That was nice.”
“Really it was just nice to be in Mick and Paul’s company again,” Kosmo Vinyl told me later. It was.
Jeff Slate is a NYC-based solo singer-songwriter and music journalist. He founded and fronted the band the Badge for 15 years beginning in 1997 and has worked with Pete Townshend, Earl Slick, Carlos Alomar, Steve Holley, Laurence Juber and countless others. He has interviewed and written about everyone from the Beatles and Kiss to Monty Python and rock musicals on Broadway. He is an avid collector of rock and roll books and bootlegs and has an encyclopedic knowledge of all things Dylan and the Beatles. For more information, visit jeffslate.net.
Today, GuitarWorld.com presents the exclusive North American song premiere of the new Sepultura track, “The Age Of The Atheist.”
Be sure to check it out below and tell us what you think in the comments or via Facebook or Twitter.
The song is from the band's upcoming album, The Mediator Between Head And Hands Must Be The Heart, which will be released October 29 in the US via Nuclear Blast. The single will be available October 1 in the US.
The new album, which explores the miseries and privileges associated with technological power, is Sepultura's angry dystopian documentary in sonic form — a documentary that also addresses the chaotic aftermath of natural disasters, the unfulfilled promises of religion and the divide between pampered citizens who live in luxury and the working poor who withstand unbearable conditions to survive.
“I live in São Paulo, Brazil, one of the big metropolises in the world, with more than 20 million people living and working in it,” says Sepultura guitarist Andreas Kisser. “I know how it is to live in daily chaos. Our music reflects a lot of that feeling.”
Below, check out some incredibly new, professionally shot footage from Metallica's September 19 show at the Rock In Rio festival in Rio De Janeiro, Brazil.
The top video features "Hit the Lights" and "Master of Puppets." Below that, you'll find, in order, "Holier Than Thou" and "And Justice For All."
The band's new 3D film, Through The Never, premiered earlier this month at the Toronto International Film Festival and will open in IMAX theaters September 27, expanding to more screens October 4.
This weekend (Saturday, September 21), Metallica will perform at New York City's Apollo Theater as part of the promotion for the film.
From the GW Archive: This feature originally appeared in the May 2002 issue of Guitar World. The story has a "time capsule" theme: We asked several veteran guitarists to choose the one song they'd most want to be remembered by after many years. Here we are, 11 and a half years later (Does that qualify as "many"?), opening the time capsule to examine its contents! Enjoy!
A few decades ago, NASA sent a probe called Voyager straight out of the solar system. Its mission: to make contact with alien intelligence.
The capsule was crammed with artifacts — including greetings in more than 50 languages — intended to convey information about Earth's cultures. But just in case those items failed to communicate across language barriers, NASA also included a recording of Chuck Berry performing his rock and roll masterpiece "Johnny B. Goode."
For a while after Voyager's launch, the joke around the agency was that a reply had been received from an alien civilization: "Forget the scientific shit," went the message. "Send more rock and roll!" But what songs should be sent? We at Guitar World decided the logical place to start would be the musicians themselves.
In a project that started almost five years ago (hence the inclusion of George Harrison in Part 1), we began asking many of the most influential guitarists in rock, blues and metal one deceptively simple question: "If you had to put one of your songs in a time capsule to be opened sometime in the future, which would you choose, and why?"
Dave Mustaine (Megadeth), "Holy Wars...The Punishment Due" Rust in Peace (1990)
“Because we will never cease trying to dominate one another.”
Steve Vai, "Love Secrets" Passion and Warfare (1990)
"If it's going to be aliens that will discover this piece of music thousands of years from now, I'd pick 'Love Secrets.' The song is an unbridled ride though my imagination. It was void of any contemporary parameters when I wrote it, because the approach I took to composing it was rather unorthodox.
"The harmonic structure is very rich; it's a thought-out piece of music, and it's not just a bunch of noise. Somehow, it's very arranged but it's still completely chaotic.
"I had a profound dream experience when I was 15 or 16, and the song is the audio reality of that very bizarre and lucid dream stat. After researching this phenomenon, I realized that I was not alone in experiencing incredibly dynamic, rich music in a dream. It was like witnessing a thousand-piece orchestra.
"The experience was very intense-it wasn't like I was listening to it with my ears; I was hearing the music with 'inner ears.' The music was raging, and I can't even express what I was experiencing visually.
"I tried to reproduce this music, and even though my attempt was a complete failure at best, I still think it's one of the best pieces of music I've ever written. I really think it represents the pinnacle of my ability to combine my spiritual quest in life with my absurd technical inclinations."
Slash (Guns N' Roses), "Paradise City" Appetite for Destruction (1987)
"This is the song that's most indicative of what I'm really into as a musician. One of the things I enjoy about being a guitar player is striving to reach some kind of a goal, even when I'm not sure what that is.
And 'Paradise City' was the closest I got to doing what I would consider great, loud, fuckin' riff rock that clocks in at just three minutes. That's where I was headed, and that was the closest I got to realizing my goal in terms of expressing myself on the guitar in GN'R."
Buddy Guy, "Damn Right, I've Got the Blues" Damn Right, I've Got the Blues (1991)
I am especially proud of the lyrics and I really feel them every time I sing this song. If you don’t understand what it’s about, just keep living and you’re going to find out. People think money will make them happy, but if you’re rich you got to worry about keeping it and if you’re poor you got to worry about getting it. That’s why ‘Damn Right, I’ve Got the Blues’ is a story that speaks to everyone.
“It’s like my pal Bo Diddley said: ‘Even Donald Trump’s got the blues,’ because he has to keep all those women away from his money. Or take Bill Gates: the guy invents ways to make money and every month they try to take him to court for something else.
"Someone’s always after him, and that is what they call the blues. It comes to you in all forms and fashions. When I was a kid plowing with a mule, I thought that if I just had $5,000 I’d never have to plow again. I didn’t know you can’t ever get away from it. Damn right.”
Zakk Wylde (Ozzy Osbourne), "No More Tears" No More Tears (1991)
"People seem to like this little ditty. Why? It's a cool tune; I guess the solo's alright, and the guitar tone sounds pretty cool. People ask how I got that low, growling sound at the end of the verses.
"It was just a 50-watt amp and a Les Paul with EMG pickups. And I went straight in, didn't run it through anything. When they mixed it, I think they put some SPX90 effect on it. It was in drop-D tuning, and we were at the A=440 pitch. It wasn't like I dropped down to some really low tuning."
John Petrucci (Dream Theater), "Six Degrees of Inner Turbulence" Six Degrees of Inner Turbulence (2002)
"I'm very lucky because i can get away with choosing an entire CD — this 42-minute composition is the title song of our new album.
"It's an easy choice because it is the best possible representation of both my playing and the band's sound, running the gamut of every facet of our music. And because I co-wrote and co-produced it, I am, of course, particularly attached to it."
Jerry Cantrell (Alice In Chains), "Rain When I Die" Dirt (1992)
"This is a song that makes me feel kind of 'purged' when I play it. I think a lot of our material is like a trip trough a dark place and out the other side.
"This is a song about a relationship between a man and a woman.You have that rolling, really dark, heavy snaky riff, and the lyrical content is dark. Yet it's very uplifting in the chorus. For me, the chorus is the resolution, coming out of the darkness."
Gary Rossington (Lynyrd Skynyrd), "Simple Man" Pronounced 'Lĕh-'nérd 'Skin-'nérd (1973)
“ ‘Simple Man’ says a lot, philosophically. I really think I am a simple man, and that’s the best way to be. Just be yourself and believe in God and find a good woman and don’t worry about getting rich and all that.
"That’ll come along with the simple things. I went through the drugs and alcohol and that crap, and I quit it all. I wish it hadn’t taken so long, because it ruins a lot of stuff. It’s a dead-end road, and once you get to the end, you gotta turn around and go all the way back.
"But when it’s all over, it’s great and you really do get grounded and realize it’s about making music—so enjoy the process.”
Kerry King (Slayer), "Payback" God Hates Us All (2001)
“On this record I tried to write more directly about feelings that people have every day, so they don’t have to wonder what I’m talking about and how it relates to them. I think fans are going to hear a song like ‘Payback’ and say, ‘Man, that was me the other day!’
"‘Payback’ was written because everybody at some point in their lives has been wronged, pissed off or cut down by somebody—it’s a feeling everybody knows.
"I wanted to pick some dark subjects that would be appropriate on a Slayer record and make them more personal and see if this stuff means more to the fans than some of the stuff on our earlier records.”
Dickey Betts (The Allman Brothers Band), "In Memory of Elizabeth Reed" Idlewild South (1970)
“It’s an awfully strong piece of music in that it allows all of the other players to have something they can really participate in.
"It offers a lot of room for players to express themselves, and all of the musicians that have played in the Allman Brothers over the years have loved to play that song. It’s true for me too; we all really enjoy the improvisation that the song allows.”
Andy Summers (The Police), "Message In A Bottle" Regggatta De Blanc (1979)
“I think, as a pop song, ‘Message’ has perfect form, with just enough alternation between tension and release to maintain the listener’s interest. Plus, the strong forward motion of the guitar riff maintains excitement all the way through the song.
"The lyrics are among Sting’s best—the graphic image of a man alone on an island, the message in a bottle as a metaphor for loneliness, and the surreal image of a hundred billion bottles washed up on the shore to indicate how much loneliness is out there. It also has what I consider Stewart [Copeland]’s finest drum track.
"When we recorded it, we learned how to keep the energy of the music up by doing a take and keeping the tape going while we rolled right into another take. For a while we opened our shows with ‘Message,’ and it always made us feel great and totally blew the audience away. To me, the sound of this song is the Police.”
Peter Frampton, "Do You Feel Like We Do" Frampton Comes Alive (1976)
“It started as a song about a hangover. I woke up with a wineglass by the bed and then went to rehearsal with a hangover.
"I started playing these chords I’d come up with on the acoustic the night before—D-F-C-G-D—which became the chorus. I added this riff we’d been jamming on in rehearsal, and it all came together. The guys in the band said, ‘C’mon, Pete, write some words—it’s almost there.’
"I said I couldn’t, that I had this really bad hangover. They said, ‘Well, sing about that.’ So I started with, ‘Woke up this morning with a wineglass in my hand.’ Nowadays that’s as far as I get before the audience takes over and sings the whole thing.
"When I emphasize the second ‘you’ in the chorus, ‘Do you—you…’ everybody’s arm is in the air, pointing. I didn’t know it when I wrote it, but when I start involving the audience, then the personal suddenly becomes universal. And then it’s not my song anymore—it’s everybody’s.”
Scott Ian (Anthrax), "Only" Sound of White Noise (1983)
“Because [Metallica’s] James Hetfield told me it was a perfect song.”
Kenny Wayne Shepherd, "While We Cry" Ledbetter Heights (1995)
“I was going to say ‘Blue on Black,’ but I went with this one instead, partly because it’s an instrumental. Years from now words, language, may be totally different, but people will still be able to understand the emotion in an instrumental like ‘Why We Cry.’
"I mean, we still feel what Mozart and Bach’s music was about 300 years later.
"When the guitar is the only voice in an instrumental or a solo, I can get into a state where the music just flows out of me. And when it’s time to wind down, it almost takes me down with it.”
Jimmie Vaughan, "Planet Bongo" Do You Get The Blues? (2001)
“ ‘Planet Bongo’ sums up everything that’s influenced me in music in a single song.
"It’s me looking at exactly where I’m from through a pair of blues-tinted sunglasses. It’s all American; you could pick the song apart and find blues, jazz and gospel elements but nothing that’s not uniquely of this country. It’s not going to change the world, but it will help make it a little bit of a more fun place to be.”
Johnny Winter, "Be Careful With A Fool" Johnny Winter (1969)
“I don’t really know why I’d pick this song, but I think it has a lot of soul and a lot of that good blues feeling.
"I also think it represents my sound and my style of guitar playing well. I learned it from B.B. King’s original version, which I love.”
Stone Gossard (Pearl Jam), "Nothingman" Vitalogy (1994)
"The way this song came together, the way it sounds, the simplicity of it and the intention behind how it came about are all connected. It was a period of time when everybody in the band was a little frustrated.
"All of us had been writing, and I knew Jeff [Ament, Bass] was in the studio with this song he had been working on.
"So I dropped by to see if I could add some stuff — and within 20 minutes we had that song worked out. With that song, everybody in the band really took some steps toward each other, and something beautiful came out of it."
Prior to releasing the Kurt Cobain Signature Mustang guitars a few years ago, Fender's Justin Norvell and Master Builder Alex Perez were allowed supervised access to Cobain's guitar collection.
The video below, which was posted to YouTube November 14, features photos that document the rare opportunity Norvell and Perez had to dismantle the original guitars, dubbed "Blue-Mustank" and "Oranj-Stang," to ascertain wiring schemes and pickup configurations.
"On the In Utero tour that followed the album, Kurt favored a quiver of modified Fender Mustang guitars as main instruments for his sonic attack," writes Fender on its website.
"A few years ago, Fender took on the challenge of authentically replicating the specifications of these historic instruments for the Kurt Cobain Signature Mustang guitars. It meant unearthing a music history time capsule that for years had been out of the public eye."
It's a shame the video isn't longer and doesn't show more of the insides of the guitars.
DigiTech has announced that e-pedals offered through the DigiTech Stomp Shop are available for free download.
The iStomp connects to an iPod Touch, iPhone or iPad, enabling musicians to load the effect of their choice into the iStomp.
“When we introduced the iStomp we changed the way guitarists think about how they go about creating their tone. By giving iStomp owners the capability to download any of the e-pedals available we are providing an unbelievable opportunity to immediately access a wide range of effects at no cost whatsoever!” said Scott Klimt, marketing manager, DigiTech.
The promotion includes all e-pedals with the exception of the Adrian Belew Impossible Pedal. E-pedals currently available through the Stomp Shop include exclusive pedals from DigiTech, officially licensed pedals from other manufacturers and classic legacy DigiTech and DOD products.
The iStomp pedal connects to an Apple iOS device using the DigiTech Smart Cable that comes with the iStomp. The iStomp pedal has four knobs to control effects parameters, which change their function according to which effect is loaded.
iStomp makes trying out new sounds easier than ever. Instead of having to go to a music store or look for online demos that might have been done with unfamiliar gear, a guitarist can now download any pedal in the iStomp online store for free for use with their own guitar and amp.
The iStomp comes with an iOS authorization cable and power supply.
In this new video posted this month by Vox Amps, guitarist (and Vox Product Specialist) Freddy DeMarco puts the company's new Night Train NT15H-G2 guitar amp through its paces.
The NT15H-G2 is a 15-watt, all-tube head that offers classic and new Vox tones in a compact and portable design.
It offers robust all-tube sound with class AB design. The pre-amp is driven by three 12AX7 tube. The power amp contains two EL84 tubes.
Late last week, Def Leppard posted an audio teaser of 11 tracks from their recently released live package, Viva! Hysteria. You can hear it below.
The DVD, Blu-ray, CD/DVD digipak and digital album, which was released October 22 through Frontiers Records, was recorded at the Joint during Def Leppard’s Las Vegas residency earlier this year. The highlight of the shows was the performance of their classic 1987 album, Hysteria.
Of course, they performed their other hits as well and even opened for themselves under the band name Ded Flatbird. You can see the entire track list (and sample 11 songs) below.
Viva! Hysteria Track List
CD1
01. Women
02. Rocket
03. Animal
04. Love Bites
05. Pour Some Sugar On Me
06. Armageddon It
07. Gods Of War
08. Don’t Shoot Shotgun
09. Run Riot
10. Hysteria
11. Excitable
12. Love And Affection
13. Rock Of Ages
14. Photograph
CD2
Ded Flatbird night 1
01. Good Morning Freedom
02. Wasted
03. Stagefright
04. Mirror Mirror (Look Into My Eyes)
05. Action Not Words
06. Rock Brigade
07. Undefeated
08. Promises
Ded Flatbird night 2
01. On Through The Night
02. Slang
03. Let It Go
04. Another Hit And Run
05. High ‘N’ Dry (Saturday Night)
06. Bringin’ On The Heartbreak
07. Switch 625
Crossroads Guitar Festival 2013— the CD and DVD/Blu-ray souvenir of Eric Clapton's latest star-studded charity concert, which took place this past April at Madison Square Garden in New York City — will be released Tuesday, November 19.
GuitarWorld.com has posted several officially released performances from the DVD (See RELATED CONTENT to the left), and we've got a good one for you today.
Check out Clapton's live version of his emotional early 1992 single, "Tears in Heaven."
Crossroads Guitar Festival 2013 contains five hours of performances and includes 45 songs by Clapton, Jeff Beck, the Allman Brothers Band, John Mayer, Blake Mills, Keith Richards and many more.
The second video below is an official teaser clip from the DVD.
The multi-platinum Australian powerhouse JOHN BUTLER TRIO will be releasing FLESH & BLOOD, their first studio album in four years, on February 4, 2014, marking the band’s debut on Vanguard Records.
FLESH & BLOOD is JOHN BUTLER TRIO’S sixth studio album and the long-awaited follow up to the band’s internationally acclaimed 2010 release APRIL UPRISING¸ which debuted at #36 on the Billboard Top 200, marking their first entry onto the U.S. Charts, and yielded a #1 single in Australia with “One-Way Road.” The album also debuted at #1 on the Australian ARIA chart (their third consecutive #1 Album).
Recorded at The Compound, Butler’s studio in Fremantle (Australia), FLESH & BLOOD took a mere 20 days to record and though beautifully structured in sonic terms there is a rawness and honesty to the album that reflects the brevity of its laying down. "There's something really exciting about that moment when you're writing a song and it's flowing and you stand back and look at it and hear it and feel like it explains things that you've been trying to explain all your life, or it expresses something that feels universal," Butler says. The first single "Only One" presents a fresh take on JBT’s signature sound with cascading acoustic riffs, sun kissed steel drums and an inspirational melody that flows over the driving rhythms.
Check out the official lyric video of “Only One” here:
The crisp and beautifully spare production of FLESH & BLOOD accentuates the sense of limitless space: the drums (courtesy of the aptly named Nicky Bomba) kick with dub explosions, while the bass (‘Lord’ Byron Luiters) goes on inspired transient walkabouts. Butler’s voice, free of the ‘anger’ that has dogged him for so long, now soars with both melancholy and purity.
Of the approach, Butler says “We wanted the grooves to get deeper and thicker and as a songwriter I wanted the songs to be a lot more guttural and fleshier. I wanted to smell it and feel it a bit more. And my voice to be more convincing."
In February, the band will embark on an initial North American tour visiting some of their favorite rooms beginning with an underplay on February 3rd in New York City (Bowery Ballroom) through February 24 in San Diego, CA. (Tour dates listed below). The tour will introduce new band member, Grant Gerathy, who has taken over the role as the new JBT drummer replacing Nicky Bomba who has left the group to front his own Melbourne Ska Orchestra.
February 2014 Tour Dates:
2/3 New York, NY - Bowery Ballroom
2/4 Brooklyn, NY - Music Hall of Williamsburg
2/6 Toronto, ON - Danforth Music Hall
2/7 Chicago, IL - Vic Theatre
2/8 Chicago, IL - Vic Theatre
2/9 Minneapolis, MN - First Avenue
2/12 Missoula, MT - Wilma Theatre
2/14 Seattle, WA - Moore Theatre
2/15 Vancouver, BC - Commodore Ballroom
2/16 Vancouver, BC- Commodore Ballroom
2/18 Portland, OR - Crystal Ballroom
2/21 San Francisco, CA - TBD
2/22 Los Angeles, CA - Fonda Theatre
2/24 San Diego, CA - House of Blues
Perri Ink Custom Guitars has announced the release of two new guitar models, the Capistrano and the Mojave.
The Capistrano features a black-stained and contoured alder body, a single Bare Knuckle Nantucket P90 pickup, Rutter's half bridge with brass saddles, single volume and tone knobs and a one-piece maple neck with black block inlays.
The Mojave, a signature model built for guitarist Noah Engh, features an alder body with a Gold Top finish, a single Bare Knuckle Nantucket P90 pickup, Tonepros wraparound bridge, single volume knob, maple neck with rosewood board and a painted headstock with gold logos.
"These custom guitars were designed for one thing — rock and roll," says company founder Nick Perri. "No aesthetics in the world could change that, so we decided to keep it simple. Both guitars sound massive and play like butter. From good 'ol rock and roll to blues, classic rock to county, these guitars have you covered. Mojo included!"
To commemorate the dual release, Perri, Engh and photographer Austin M Bauman shot a short film in the California desert earlier this month demonstrating the look and sound of the instruments. You can see it below.
The US-based Perri Ink Custom Guitars was founded in 2009 by Perri, a guitarist and entrepreneur. A limited number of guitars are built each year.
For more information, visit perriinkguitars.com or write to perriinkonline@gmail.com.
These videos are bonus content related to the Holiday 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.
Last month we looked at the legacy of Chicago guitar legend Earl Hooker, a player regarded by many of his peers as the greatest in a city overflowing with talent. But while Hooker’s mastery of standard electric blues was unquestionable, his renown as a slide guitarist was even greater.
As a teenager, Hooker studied with electric slide pioneer Robert Nighthawk, himself a disciple of Chicago acoustic guitar kingpin Tampa Red, renowned for his delicate, single-note melodies and wide, expressive vibrato. Nighthawk’s 1949 take on Tampa Red’s “Sweet Black Angel” was an electric slide masterpiece, and Hooker’s own version (“Sweet Angel”) in 1953 proved that by 24 years of age he was already in a league with his mentor.
DigiTech has announced that its Element XP and Element guitar multi-effect pedals are now shipping.
The DigiTech Element XP features an expression pedal and offers 38 effects, while the Element provides 34 effects.
The Element XP and Element deliver state-of-the-art effects processing with six classic overdrive and distortion stompboxes, 12 amps and cabinets and 28 pedals. The Element XP and Element feature a pedalboard-style control layout that is simple to use and lets players quickly adjust and save their settings to fit their styles.
“We have received an overwhelming response since announcing the new Element XP and Element multi-effect pedals, and we know guitarists are excited to get their hands on them to see just how versatile these pedals can be,” said Scott Klimt, marketing manager for DigiTech. “These pedals represent an incredible value for players looking for an effects processor that will allow them to be as creative as they can be and provide a ton of sonic flexbility.”
1
Overdrive and distortion are elemental to every guitarist’s sonic arsenal, and the Element XP and Element offer stompboxes inspired by the Ibanez TS-9 Tube Screamer, DOD® 250 Preamp/Overdrive, Boss DS-1 Distortion, DigiTech Grunge, DigiTech Death Metal and Electro-Harmonix Big Muff Pi.
The amplifiers include many of the classics that defined the sound of rock and roll, like the ’57 Fender Tweed Deluxe, ’65 Fender “Blackface” Twin Reverb, ’68 Marshall Super Lead “Plexi” with slant Celestion “Greenback” 4x12 cabinet, ’83 Marshall JCM800, ’63 Vox AC 30 Top Boost with “Blue Back” speakers, ’01 Mesa/Boogie Dual Rectifier and other all-time greats.
The Element XP and Element provide a dazzling array of effects: compressor, 3-band EQ, flanger, phaser, tremolo, vibrato, chorus, rotary simulator, envelope filter, step filter, spring reverb, room reverb, noise gate, an acoustic guitar simulator and many others. The Element XP adds four expression pedal-based effects including the Dunlop Cry Baby wah wah, Vox Clyde McCoy wah, a full-range wah and a volume pedal.
Guitarists can choose from 100 factory presets that encompass a host of musical genres, and create and save 100 more custom preset sounds. Forty-five different drum tracks are available to jam and practice along with, and both models include a built-in tuner. The Element XP and Element feature a 1/4-inch guitar input and a 1/4-inch stereo output jack that can be connected to either an amplifier or a mixer for direct recording using the Amp/Mixer mode switch.
The DigiTech Element XP and Element multi-effects pedals have suggested retail prices of $119.95 and $159.95, respectively.
This past Wednesday night, Black Sabbath launched their European tour at the Hartwall Areena in Helsinki, Finland.
Below, you can check out two fan-filmed (but pretty decent) videos from the show. Watch "War Pigs" and "Children of the Grave" and tell us what you think in the comments or on Facebook.
Ian Anderson (Jethro Tull) “Aqualung” Aqualung (1971)
“I compose most of my songs on acoustic, and therefore the way I play the guitar impacts on the way the song sounds.
"I wrote the main riff [to ‘Aqualung’] in a hotel room in New York City. At the time I was trying to write songs that had [single-note] lines that would translate on the electric. I knew the ‘Aqualung’ riff would work well because it pretty much echoes the vocal melody.
"In this case, the riff I played for Martin Barre [Jethro Tull lead guitarist] on the acoustic instantly became the song’s electric part.”
Here's a live video of the band performing "Aqualung" at Madison Square Garden in 1978:
From the GW archive: This story originally appeared in the February/March 2005 issue of Guitar World Acoustic.
