As we reported Saturday, Jimmy Page was in Boston over the weekend to receive an honorary doctor of music degree — and to deliver the commencement address — at Berklee College of Music.
While he was in town, he sat down with the Boston Globe to discuss current projects and future plans — including his desire to get a band together and hit the stage again.
"It's definitely time — I won't say to start dusting down the guitar, it doesn't need dusting down, but time to get together with some musicians and be seen to be playing," Page said. "That's the important thing."
"I've got lots of material I've written on acoustic guitar — lots and lots," he recently told Rolling Stone. "Right now I need to get myself up to speed, and that won't take too long.
"I don't know what musicians I'd play with. I do have material and a passion for it; I need to work towards it, and now I can without all the other side issues going on. I play guitar at least once a week. Now the Zeppelin project is finished, I'll be playing daily for the foreseeable future."
He's spent the last few years working on Led Zeppeln's remaster project, with the first three box sets to be released next month. Below, check out a new unboxing video for Led Zeppelin II.
Inspiration is fragile. Remember those songs you lost when you couldn’t record an idea in time, the great riff that came and went or the computer crash that trashed an awesome solo?
The Memory Cable would have remembered. It’s a personal backup service that runs constantly in the background. Plug the cable into your guitar, press a button, and the cable records everything you play. It’s that simple.
If you play something you like, press a button to close the existing file and start recording a new one. That way you’ll always know your best inspirations are at the file’s end.
Total recording time is more than 13 continuous hours with the included 4GB microSD card, but a second mode can record only while you’re playing. The uncompressed, WAV-format files feature 44.1kHz, 16-bit resolution; thanks to the studio-quality A/D converters, if you record a “keeper” you can bring the file into any recording software then build the song from there.
Although the Memory Cable doesn’t play back by itself, transferring files to a computer is easy. Most card readers can read a microSD card, and the Memory Cable includes a microSD-to-SD adapter (most computers have SD card slots). Many smartphones can also read a microSD card, as well as transfer the card data over USB.
Battery life is eight hours from a rechargeable or standard AA battery, but there’s also a small battery that, while not necessary for operation, lasts for a year and powers an internal clock to time-stamp your files.
What’s best about the Memory Cable is that you’ll always have it at your fingertips; you need to use a cable anyway. You don’t have to grab a box, find another patch cable, hook it up and navigate an operating system. The Memory Cable also works with keyboards, bass, electronic drums and more. And it’s ideal for re-amping.
For more information about the Memory Cable, visit gibson.com.
The ametrical opening chord of the Beatles'"A Hard Day's Night" is the most beguiling in the band's history. People have been trying to figure it out and/or reproduce it for five decades.
However, the recently posted video below might help do exactly that. It features the actual multi-track recordings from the band's 1964 sessions; you can hear what each Beatle — and producer George Martin — is playing on the track.
"We knew it would open both the film and the soundtrack LP, so we wanted a particularly strong and effective beginning," Martin said. "The strident guitar chord was the perfect launch."
It is, in fact, something akin to a G seventh suspended fourth (That or a G7sus4/A are considered the best way to reproduce the chord on a single guitar).
The mystery is caused by the fact that Martin is playing a piano chord atop Harrison's Fadd9 (or "F with a G on top," as he said in 2001) played on his 12-string Rickenbacker, Lennon's Fadd9 played on his Gibson J-160E and McCartney's bass single note (D) played on his Hofner 500/1.
George Harrison's 12-string Rickenbacker guitar solo was doubled on piano by Martin but tracked at half speed and sped up during mixing. This is why the solo from the studio version of "A Hard Day's Night" was ever-so-unsubtly edited into the otherwise-live version of the song on the Live At The BBC album — and why it never sounds quite right on other live versions.
I realize you’re eager to dig out some tools and learn how to repair your faulty nut. Me too. We’re almost there, but, just for a moment, let’s take it down a notch. Think baby steps.
Those nasty string buzzes and rattles can also be caused by nut slots that are cut too low. In extreme cases, the string(s) might actually be sitting on the first fret; or often a string just has to be close enough to the fret to make contact when it’s struck open.
Your gut reaction might be to grab a hammer to beat the offending top nut to death and glue a new one in there. But wait. Just like a nut with worn or over-wide slots, you can repair perilously low slots with super glue.
Again, as Dick Van Dyke would say, diagnosis is everything. Don’t approach your guitar with any tool until you know A) what the problem is, and B) what you need to do to fix it.
Last time I mentioned that you should always make sure that a guitar is tuned up to pitch — or to any alternate tuning that it may be set up to handle. If the tuning isn’t right, it can affect the neck.
If the slots on the nut appear too low — you’re getting the buzzes and rattles when you play open strings, etc. — it could be that the neck needs to be adjusted. If the guitar is tuned too low, the neck won’t have enough tension on it and could be over-bent.
In layman’s terms, this means the middle of the fingerboard is higher than the headstock and body end. This can cause the strings to buzz over the first five or so frets.
To check if your guitar’s neck needs to be adjusted, you have to eyeball the neck itself. Hold the guitar by the body (See pic 1 in the photo gallery below), never the headstock. If you hold the guitar by the headstock (See pic 2), you’ll put pressure on the neck, which, although slight, will give you a false reading of the neck’s "straightness."
Now look down the bass side of the fingerboard (See pic 3). Try closing one eye. You’ll look like Popeye, but it will help you focus. You should be able to tell if the neck is straight, dipped or over-bent. Repeat the process with the treble side of the fingerboard.
Armed with this information, you can decide whether the neck needs to be adjusted. Speaking of which ...
Next time, I’ll show you how to finish adjusting the neck and begin the process of repairing the slots in a faulty top nut. For the latter job, you’ll need super glue, which doesn’t cost much, and nut files. You can buy a set of nut files of varying gauges (approx $140) from the likes of Stewart-MacDonald; or buy a single file (about $25) if you’re tackling a particular slot.
I would recommend investing in a full set. That way you’ll be able to build a top nut from scratch one day ... one of the most satisfying guitar maintenance jobs there is.
That’s something I’ll talk you through very soon. See you next time.
Got a gear-related question for Ed Mitchell? Add a comment below or on our Facebook page.
Last night on NBC's The Tonight Show with Jimmy Fallon, Neil Young and Jack White demonstrated the method they used to record Young's new album of covers, A Letter Home.
During the show, Young entered the 1947 Voice-O-Graph vinyl recording booth that White and his crew had brought up from White's Third Man Studios in Nashville. With a camera showing the cramped space inside the booth, Young recorded a version of Willie Nelson's "Crazy" in one take.
During the remainder of the show, White pressed the song into a 7-inch vinyl single. In fact, the show ended with Young, White, Fallon and guest Louis C.K. listening to the playback of the single.
You can see the recording segment of the show below.
I’ve always fantasized about playing the ukulele. I’m not sure why.
Perhaps because it’s such a small and delightful instrument.
Perhaps because when I watch someone like Jake Shimabukuro play one, it’s just so stunningly musical and inspiring.
But Shimobukuro takes ukulele far beyond casual strumming and picking out tunes. His performance is decidedly virtuosic. And he’s not a ukulele convert. This player has been committed to ukulele from day one, and it shows.
Launched by successful YouTube views and sustained by faithful fans, Shimabukuro continues to explore uncharted ukulele territory.
Here I sat down with this superb musician and all around cool guy. Check out our interview and then go to www.jakeshimabukuro.com to find out more.
Jake Shimabukuro interview Part 1: We talk about his Grand Ukulele DVD and more!
Part 2: Live performance, gear and so much more!
Part 3: Jake talks about his instruments and more!
Part 4: Inspiring others through ukulele with his Four Strings Foundation
Guitar Center recently started creating "product spotlight" videos for gear that happens to be available at their stores. This week's demo video showcases the 50-watt, 2x8" Marshall AS50D acoustic combo amp.
The video shows the versatility of the model, which has two channels, including one channel with a phantom-powered microphone. Note that each channel has its own volume, EQ, FX loop and D.I output.
The amp manages to show that Marshall's softer side is just as impressive as the blues and hard rock the company is famous for.
Mushroomhead fans can rejoice! The influential industrial metal band are celebrating their 20th anniversary with a new studio album, The Righteous & The Butterfly. The offering also features the return of vocalist J Mann and the debut of new guitarist Church and bassist Dr. F.
Recorded in Cleveland and self-produced by the band with longtime co-producer Bill Korecky, the album is a fresh twist on a familiar vibe. Consisting of 14 tracks ranging from songs about survival and balance (“Devils Be Damned,"“Qwerty”) to emotionally charged anthems (“For Your Pleasure,"“Worlds Collide”) and even a riff-heavy rendition of Adele’s Number 1 hit “Rumor Has It.”
Mushroomhead features drummers Skinny, Robert Diablo and Stitch, vocalists J Mann, Jeffery Nothing and Waylon, guitarist Church, keyboardist Schmotz and bassist Dr. F.
I recently spoke to J Mann and Church about The Righteous & The Butterfly.
GUITAR WORLD: How would you describe the sound of this record as compared to some earlier Mushroomhead albums?
J Mann: When you're in a band that’s been around for 20 years, it begins to define you and becomes a huge part of your life. For this album, we wanted to encapsulate all of the eras the band has been through over the years and also add a new one. We never wanted to lose sight of our roots. We just wanted to take the strengths from all of those eras and consolidate them into one thought.
Why the title The Righteous & The Butterfly?
J Mann: It's actually a tribute/dedication to two people we lost who were huge parts of the Mushroomhead family. The “Righteous” being J.J. Righteous, our initial guitar player who unfortunately passed away a few years ago; the “Butterfly” being Skinny's wife, Vanessa Solowiow, who just passed away last year. She was the photographer for the band and was with us everywhere we went. She was a sister to us all. So half of it was named for him and half of it for her. The whole record is dedicated to them.
What’s the writing process like for a Mushroomhead project?
J Mann: I like to write songs that are a little bit riddlish, keeping things vague enough to appeal and adapt to a wide range of people and really make it last. So that what a song means to you now might have a whole new meaning for you eight years from now. I purposely go out of the way to write lyrics that are adaptable to your life.
Church: When inspiration hits, it doesn't matter if it's words, melody or just a simple idea. I remember when we were writing for this album, we talked a little about technology. Without giving too much away, that's an underlying theme on some of the record.
Why did the band decide to cover an Adele tune?
J Mann: Whenever you start recording an album, the first thing you want to do is start finding sounds. So before there was any original material, we said, "Let's just play something to find some good sounds." That was when that song came up and because the sounds on it were so strong, we decided to include it.
When did you know music was going to be your calling?
Church: Ever since I can remember, I’ve always wanted to play rock and roll. I started really taking it seriously when I was in high school and became one of those guys who liked to lock himself in his room to practice. At one point, there wasn't a Sabbath, Slayer, Metallica or Motorhead record I couldn't play all the way through just off of memory.
J Mann: I came up in the late Eighties, which was a scary time to want to be in music because it was at the height of hair metal. It meant you had to have long hair and wear makeup and Spandex, and I thought, "Never in a million years would I do that!" [laughs]. Then certain people came along and broke down barriers. People like Perry Farrell [Jane's Addiction] and Mike Patton [Faith No More]. They taught me how to think outside of the box and not take things so seriously. That's when I realized it was something I could do.
Church, what’s your live setup like these days?
Church: I'm running two Egnater Armageddon high-gain amps and two Egnater 4x12 cabinets that are just amazing. I also use DBZ Bird of Prey guitars. Those guitars just scream and will take all of the abuse from the makeup, paint and sweat.
What are you most looking forward to now that the new album is complete?
Church: With J Mann being back and the new sounds and tones, everyone's excited about this new music. It's also an honor and a privilege to have the opportunity to jam with the godfathers of mass metal. The creativity has been ever evolving for 20 years, and it’s something I really cherish. It's also nice to get new music to the people. Mushroomhead fans are the most loyal and best people in the world.
J Mann: I'm really looking forward to touring with my brothers again. Getting on stage and showing people something we're all so proud of.
James Wood is a writer, musician and self-proclaimed metal head who maintains his own website, GoJimmyGo.net. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on Twitter @JimEWood.
As part of their current U.S. tour, Mexican guitar duo Rodrigo y Gabriela performed to a capacity crowd at the Hollywood Palladium on May 7.
They played a 90-minute set that included a large chunk of their latest studio album, 9 Dead Alive, along with choice selections from the previous three albums. These included covers of Metallica's "Orion" (which got the crowd on their feet) and Radiohead's "Creep."
Every time Rodrigo y Gabriela release a new album or come to town for a show, their musicianship seems to reach newer levels of brilliance. This time they brought along some visual projections to go with the new tunes, adding another dimension to their already incredible live show.
Check out some photos from the show below — and be sure to check out Rodrigo y Gabriela's new album for a delightful dose of rock-inspired classical guitar. You also can read a detailed review of the show right here.
Andrew Bansal is a writer who has been running his own website, Metal Assault, since early 2010, and has been prolific in covering the hard rock and heavy metal scene by posting interviews, news, reviews and pictures on his website — with the help of a small group of people. He briefly moved away from the Los Angeles scene and explored metal in India, but he is now back in LA continuing from where he left off.
I thought I would do another blog about a typical day in the studio. I'll be describing, in very quick detail, all of my thoughts, actions and concerns on making it through the day.
I start every day practicing — at least two hours. Especially since I'm trying to start a new career as a guitarist as opposed to a studio guitarist. It seems most of my time in the studio these days is spent playing very simple parts or having my hand on a mouse! That's not a good way to keep your chops up, or more importantly, to grow musically!
That is priority number 1.
I look at my schedule, check my email and Facebook to see who has sent in a project or who needs to discuss a project. I'll get my day in order and line up any phone calls or Skype calls and get to work.
Two country songs are in need of solos and ear candy. Earlier, I had done the basic tracks with acoustic guitars, and now the vocals have been added. I like to hear the vocals before soloing; it's always nice to know the song's emotion. That way, if it's a hatred thing, I can solo nasty! Or if it's a love song, I can be sweet and tender.
My guitar choice for country is a no-brainer — the Line 6 JTV-89! Why not a Tele or a Les Paul? Both seem to be typical country/pop guitars today. Here's why: I don't own a Tele! I never found one I liked to play. But I love my JTV. It feels like a hot rod, models a Tele perfectly, and I can actually play it well. I choose that for my solos. For the different parts, I just switch the dial to the Les Paul model on the Variax. No time wasted! The Les Paul is my favorite model on the JTV — position 5. I use it for sweet extra lines to float through the pre-chorus and choruses.
After listening back, I realize both songs can benefit from a bit of Rickenbacker-like 12-string chimey strums. Simple. Switch to the 12-string Rick model, transpose the key using the virtual capo, use a different voicing to add this color to the second verse and bridges. By the way, I used my Line 6 DT-25 into a 2x12 Laney cabinet. I chose "amp 1" for the cleaner sounds and "amp 4" for the dirty lead sounds, adjusting the gain and tone to suit, all done in less than two hours.
Next I take these songs and do a rough mix of each to send out. I also include end-to-end WAV files in 44.1-24-bit stereo waves of each track. I send them affected and dry. I NEVER send direct guitar parts for someone else to decide what sound to use. I know this has become a standard industry practice, but what the fuck? I mean they hire us for our playing and our style, and a big part of that is my sound. It is my voice! I am in complete disagreement with this and would turn down the work before I let another person re-amp or remodel my playing and turn it into garbage. Yes, this has happened to me. Never again. I'll lose the money and future work before I do. Just say no!
My next job is to play a metal solo on a dance track! I just knew I'd need my Ibanez RG 2550. The main reason? The whammy bar. I knew this solo, by its very nature, would be a caricature of a metal solo, so all the typical elements needed to be represented. I'm not a metal player, but in my world, I know I can be anything for 16 bars.
For the amp, I chose the HD500 Line 6 floor board. I love the dual amp modeling and the Treadplate models are over- the-top with sustain and tone when combined with almost any one of the distortion boxes included. I like to set it up with a Tube Screamer or Tube Drive. This solo takes me some time: three hours. I want it to be aggressive and melodic. I literally setup six tracks for the solo! I know that there is no way I am going to be able to do all the different styles in one shot. Maybe after it is done I could relearn it and play it again, but why bother? It's done. I play a few bars till I am happy, then move on to a new track. When I am happy I cross fade the end of one into the other. It is seemless and I sound like a god. But I am not a guitar god! I am a studio guitarist.
After the solo is completed I go and double some lines and harmonize a few others. Repeat the ritual of doing a rough mix. Then doing the dry and effected wave files to be sent out. I use DropBox or HighTail for my transfers.
Enough for one day. It's time to work on my music again. Summer is almost here, so I'll be putting up a new song — "Simmer"— on my website. If you get a chance, take a listen. Many of the same elements used in this blog were used on that song.
Till next time …
Ron Zabrocki is a session guitarist from New York, now living in Connecticut. Says Ron: "I started playing at age 6, sight reading right off the bat. That’s how I was taught, so I just thought everyone started that way. I could sight read anything within a few years, and that helped me become a session guy later in life. I took lessons from anyone I could find and had some wonderful instructors, including John Scofield, Joe Pass and Alan DeMausse. I’ve played several jingle sessions (and have written a few along the way). I’ve “ghosted” for a few people who shall remain nameless, but they get the credit and I get the money! I’ve played sessions in every style, from pop to jazz.
In the new video below, virtuoso Australian guitarist Tommy Emmanuel shows off his live gear setup before a recent show in Chelyabinsk, Siberia, Russia.
Check out this brand-new video — posted May 12 — of guitarist Rob Scallon's epic ukelele cover of Slayer's "War Ensemble"— complete with all the solos.
Says Scallon:
"I took the original recordings and replaced the guitars with ukuleles." He adds: "Get an mp3 of this and every other song I ever create when you support Patreon."
For more about Scallon, follow him on Facebook and Twitter. And be sure to tell us what you think of the recording and video in the comments or on Facebook!
Takamine today announced the addition of four new models to its acclaimed G Series line of guitars: the GN10, GN10CE, GN20CE and GD20CE.
Upholding the Takamine G Series tradition of offering high quality and exceptional value, the new G Series GN10 and GN10CE models feature Takamine’s exclusive NEX body style and are crafted with spruce tops and mahogany backs and sides.
The GN10CE acoustic-electric model is outfitted with the Takamine TP-E preamp with built-in tuner, and both models feature distinctive Takamine styling and design elements, such as a pin-less rosewood bridge that makes for easy string changes.
The GN20CE and GD20CE models feature NEX and dreadnought body styles and are crafted with solid cedar tops and mahogany backs and sides for warm, rich tone with exceptional clarity.
These acoustic-electric models are equipped with the Takamine TP-4TD preamp with built-in tuner and three-band EQ, offering players all the remarkable sound quality and versatility that Takamine acoustic-electric guitars are known for.
They also feature a pin-less rosewood bridge with a split-saddle design for improved intonation.
All models are available with a satin Natural finish. MSRP: $259.99 - $494.99.
Recording King 10 Series guitars give players the benefits of all-solid tonewoods in a great-sounding, low-key package. 10 Series guitars are available in 4 distinct body shapes to cover every player and any style of acoustic music.
The classic Dreadnought (RD-10) has a 1-11/16” bone nut and 25.4” scale, so dreadnought players who want to upgrade to an all solid model will feel right at home.
The warm-sounding 000 (RO-10) has a 1-3/4” bone nut and 24.9” scale, so it's perfect for fingerstyle guitarists looking for rounded tone across all strings.
Our 10 Series Single 0 (RP-10) is a great-sounding small body based on a traditional design with a 1-3/4” bone nut and a 25.4” dreadnought scale length for extra projection.
For players looking for a heavy dose of vintage vibe, the 12-fret 000 (ROS-10) has a 25.4” scale and a 1-13/16” bone nut, perfect for fingerpicking or strumming and with plenty of warm sustain.
Each 10 Series guitar is crafted with a solid Sitka spruce top and solid mahogany back and sides. Descending-size fretboard dots and tortoise binding give them distinctly vintage and tasteful styling.
See the whole line of Recording King guitars and banjos at recordingking.com
The all-new June 2014 issue of Guitar World is available now!
In the new June issue, we interview Motley Crue. After more than 30 years together, the Crue are calling it quits. Mick Mars and Nikki Sixx talk about their past excesses and achievements — and what the future holds for them all.
Then, Guitar World focuses on Pantera. We go behind the scenes into the making of their Number One hit: Far Beyond Driven. We follow this up with a previously unpublished interview with the late Pantera guitarist, Dimebag Darrell. Our interview was conducted at Dimebag's home in Arlington, Texas, on February 11, 1994 — two months before the release of Far Beyond Driven.
Later on, legendary guitarist Carlos Santana returns to his roots and rekindles his love for Latino culture on Corazon, his new star-studded Spanish-language album.
Finally, we celebrate the time-honored, tone-a-licious history of MXR, the effect pedal company that brought you the Phase 90 and a slew of other now-classic stomp boxes.
PLUS: Marty Friedman, Behemoth, Whitechapel, Demon Hunter and much more!
Five Songs with Tabs for Guitar and Bass
• Santana - "Smooth" • Motley Crue - "Same Ol' Situation" • Pantera - "5 Minutes Alone" • Tom Petty - "Free Fallin" • Jack White - "I'm Shakin'"
This is an excerpt from the June 2014 issue of Guitar World. For the rest of this story (and Friedman's new Full Shred lesson column), plus features on Mick Mars, Nikki Sixx, Pantera, Carlos Santana, the history of MXR pedals, Nergal, columns, tabs and reviews of new gear from EVH Gear, Dunlop, Randall, Taylor Guitars and more, check out the June 2014 issue at the Guitar World Online Store.
Marty Friedman makes his return to the American market with Inferno, a blazing-hot disc featuring collaborations with Alexi Laiho, Jason Becker and a cast of metal firebrands.
Most fans of heavy music and hot-shit guitar playing are well aware that virtuoso shredder Marty Friedman has been for many years living—and for the most part, working exclusively—in Japan.
But here's something people may not know: not only does he call the Asian nation his home but, most of the time, he speaks and thinks in Japanese.
To that point, during a conversation with Guitar World about his new PRS signature model SE guitar, Friedman stumbles mid-sentence, then apologizes, explaining that he was considering his words in Japanese, rather than English.
“Truthfully, I speak Japanese about 99 percent of the time,” he admits with a laugh. “The only time I really don't is when I'm doing interviews with people in other countries or talking with my family.”
In fact, the 51-year-old Friedman has been quite comfortable in his adopted homeland, where he has released several successful solo instrumental albums, recorded and performed with famous Japanese pop artists and become a popular television personality, serving as a host on shows like Hebimetasan (Mr. Heavy Metal) and Rock Fujiyama.
But since he left Megadeth 15 years ago, the thing that most of his American fans tend to talk about when they talk about Marty Friedman is to question when-or if-he'll ever make a return to the U.S. music scene. Now, he finally has. Inferno, Friedman's newest solo effort, is his first worldwide release in roughly a decade. Because of this, it is also an album that, for the first time in a long time, he “conceptualized with his American brain.”
What follows is an excerpt from our interview with Friedman. For the entire interview, check out the June 2014 issue of Guitar World
Do you feel that in America people still tend to focus overwhelmingly on your past work?
Sure. But I totally get it. I mean, I haven’t done a tour in America in 10 years. And people get caught up in their own countries—people in the U.S. don’t really look outside of the U.S. for their music. It’s the same in Japan, and maybe more so. Eighty percent of the music that is sold in Japan is made in Japan.
The remaining 20 percent includes artists like Lady Gaga, U2, Maroon 5, Metallica. All those big names are part of the minority. I’m part of the domestic scene in Japan, which is great. But I just do the music that I do. If people want to join the party, that’s fantastic. If not, that’s fine too. But this is the music I want to make, and I make it completely on my own terms.
One high point is “Horrors,” your collaboration with Jason Becker. Jason, as guitar fans know, suffers from Amyotrophic Lateral Sclerosis and can no longer play guitar. But you actually brought in another guitarist to perform his parts?
Yes. There’s a little acoustic interlude in the song, and it’s one of those Jason specialty-type things. And Jason wrote the part, because he writes with his eyes and with the computer. It was a really wonderful piece of music, and then I wrote a part to that.
Then I had a guy named Ewan Dobson come in and actually play the parts on acoustic guitar. And he really nailed it. It’s just like Jason is there on the album. It sounds like his phrasing, it sounds like his playing. It fits in exactly as we would have done it in Cacophony. And actually, this is the first “cacophonic” collaboration we’ve done since we were in the band together. So it’s definitely one of the most intense moments on the record. The song stinks of Jason and myself. Or maybe it just stinks. [laughs] But it was an absolute pleasure to work together again.
For the rest of this story (and Friedman's new Full Shred lesson column), plus features on Mick Mars, Nikki Sixx, Pantera, Carlos Santana, the history of MXR pedals, Nergal, columns, tabs and reviews of new gear from EVH Gear, Dunlop, Randall, Taylor Guitars and more, check out the June 2014 issue at the Guitar World Online Store.
Judas Priest have premiered a brief preview video for a new song, "March of the Damned"— and you can check it out below.
The legendary U.K. metal band will release their new album (their 17th), Redeemer of Souls, July 15 via Epic.
Be sure to let us know what you think of it in the comments or on Facebook! You can check out a complete song, "Redeemer of Souls,"right here.
Redeemer of Souls, will be the band's first studio album since 2008's Nostradamus. The album also will be the first to feature guitarist Richie Faulkner.
Check out this Betcha Can't Play This lesson video (and tab) with former Megadeth guitarist Glen Drover.
With this blazing run in B natural minor, Drover shows you how to create striking contrasts between smooth, legato phrasing and intense hurts of alternate picking.
