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

When it comes to echo and delay pedals, guitarists have a choice of analog or digital, each of which has its pros and cons.

While analog units typically create the most natural-sounding repeats, they dull the fidelity of the source signal and don’t provide precise control over the timing of the repeated signal. Digital units, on the other hand, offer more finite control and pristine sound processing but lack warmth and are known to inject digital artifacts.

Ibanez’s ES2 Echo Shifter combines the best of both worlds by mating a superb, no-compromises, all-analog audio path to a digital control circuit. Better still, the Echo Shifter features unique oscillation and modulation circuits that add greater versatility, letting you create everything from subtle to extreme sonic weirdness.

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

One of my prime objectives when writing music for my band Revocation is to try to push the envelope and come up with sounds, ideas, chord patterns, progressions and riffs that have been rarely explored within the thrash metal genre.

A good way to do this is to use seventh chords, which are rarely heard in metal. This month, I’d like to demonstrate a few cool ways one can use one particularly cool- and tense-sounding seventh chord in heavy, thrash-style riffs.

Of the different types of seventh chords—major-seven, dominant-seven, minor-seven and what have you—the one that appeals to me most is minor-seven-flat-five (m7b5), also known as half-diminished-seven.

This is an excerpt from the August 2014 issue of Guitar World. For the rest of this story, plus features on the Who's Quradophenia, Soundgarden, Jackson Guitars, David Crosby, our Summer Tour Survival Guide, columns, tabs and reviews of new gear from Jackson, Ibanez, Blackstar, Musicvox, EarthQuaker Devices, Electra Guitars and more, check out the August 2014 issue at the Guitar World Online Store.

High Voltage: On the 30th anniversary of Ride the Lightning, Kirk Hammett talks about the making of Metallica’s electrifying album that changed metal and put a jolt in the band’s career.

Tucked in a nondescript industrial tract north of San Francisco near San Pablo Bay, Metallica’s headquarters is an oasis for both thrash fanatics and gear heads of every stripe. The massive studio—dubbed HQ by the band—has been Metallica’s base of operations for writing, rehearsals, demoing and all-purpose hanging since late 2001. In a rare case of reality trumping fantasy, it is a place that exceeds expectations.

We’ve been invited to HQ to talk with Kirk Hammett about the 30th anniversary of Metallica’s classic sophomore album, Ride the Lightning. Released on July 27, 1984, the album showcased their growing musical maturity and willingness to take chances.

With brazen disregard for convention, Metallica delivered the pure thrash attack for which they were known while simultaneously branching into progressive, melodic and, ultimately, more marketable territory. Ride the Lightning didn’t just change the band’s trajectory—it reset the course of metal itself.

Below is an excerpt from our interview with Hammett. For the complete conversation, plus info about Randall Amps' KH103 Hammett Signature Head, pick up the all-new August 2014 issue of Guitar World, which is available now on newsstands and at the Guitar World Online Store.

Today, Ride the Lightning ranks as a classic album in the metal genre. Looking back through the lens of the past 30 years, how has your view of the Ride the Lightning era changed?

It’s interesting. Just this morning I was telling my kids what I was going to do today. I’m like, “These people are taking a picture of me in an electric chair!” They’re both young, so of course they said, “Why?” I explained it’s because we have a song called “Ride the Lightning” and that’s another way of saying, “You’re getting electrocuted in an electric chair!” Then I had to play them the song and sing them the lyrics. They’re sitting there looking at me, like, Wow. [laughs]

So I’m sitting with them, listening to that “Ride the Lightning” guitar solo, and I was like, I have absolutely no recollection of putting all those harmonies on there! [laughs] When we were putting that song together, we had the intro riff, the verse, the chorus, and a part of the instrumental bridge. When the whole thing slows down and there’s that solo section, I remember I pretty much played that solo as it is off the bat.

When I recorded that in 1984, I was 21 years old. That’s crazy. In 1984, a guitar solo like that was something. If you put it into context of what was going on back then, it was very modern sounding. Of course, if you put it into today’s context, it sounds like classic rock. [laughs] It’s not like today’s norm, with sweeping arpeggios and 32nd notes everywhere. I also have to say that when I listened to it this morning, I realized that the actual sound of the album is still good. After all these fucking years, it still holds up sonically.

Did you guys do a lot of writing in Denmark? Or did you have most of the tracks finalized before you arrived?

I remember “Fight Fire with Fire” and “Fade to Black” were finished in the basement of a friend’s house in Old Bridge, New Jersey. I think it was this guy called Metal Joe [Chimienti]. Before we went to Europe to tour and eventually record in Denmark, we stopped on the East Coast to play some shows. We knew we needed to finish some of these songs.

We had most of “Fade to Black,” except the end part were the solo happens, and I came up with that there. I remember we were writing “Trapped Under Ice” there too. We were using that fast Exodus riff, and James came up with the chorus and I added that whole middle instrumental part. Ride the Lightning was written in a few places: the house in El Cerrito, New Jersey, Copenhagen, and down in L.A. before James and Lars moved up to San Francisco.

Were you writing the stuff in El Cerrito around the same time you were taking lessons from Joe Satriani?

Yeah, absolutely.

Do you remember any specific techniques that he showed you that ended up on Ride the Lightning?

All the stuff I learned from Joe impacted my playing a lot on Ride the Lightning. He taught me stuff like figuring out what scale was most appropriate for what chord progressions. We were doing all sorts of crazy things, like modes, three-octave major and minor scales, three-octave modes, major, minor and diminished arpeggios, and tons of exercises.

He taught me how to pick the notes I wanted for guitar solos as opposed to just going for a scale that covered it all. He taught me how to hone in on certain sounds and when to go major or minor. He also helped me map out that whole chromatic-arpeggio thing and taught me the importance of positioning and minimizing finger movement. That was a really important lesson.

You guys made a pretty serious jump in songwriting and style between Kill ’Em All and Ride the Lightning. Lars has said that Cliff Burton was an important force in pushing Metallica in this new progressive direction. What was your experience like working with Cliff during this time?

Cliff was a total anomaly. To this day, I’m still trying to figure out everything I experienced with him. He was a bass player and played like a bassist. But, fucking hell, a lot of guitar sounds came out of it. He wrote a lot of guitar-centric runs. He always carried around a small acoustic guitar that was down tuned.

I remember one time I picked it up and was like, “What is this thing even tuned to, like C?” He explained that he liked it like that because he could really bend the strings. He would always come up with harmonies on that acoustic guitar. I would be sitting there playing my guitar and he’d pick up his bass and immediately start playing a harmony part. And he would also sing harmonies. I remember the Eagles would come on the radio and he would sing all the harmony parts, never the root.

Photo: Jimmy Hubbard

For the rest of this story, plus features on the Who's Quradophenia, Soundgarden, Jackson Guitars, David Crosby, our Summer Tour Survival Guide, columns, tabs and reviews of new gear from Jackson, Ibanez, Blackstar, Musicvox, EarthQuaker Devices, Electra Guitars and more, check out the August 2014 issue at the Guitar World Online Store.

The Monster Energy Roast on the Range with Corey Taylor took place May 15 at the LC Pavilion May in Columbus, Ohio.

Nearly a dozen musicians and comedians — led by Sebastian Bach — honored (and yes, bashed) the Slipknot and Stone Sour vocalist.

Below, we're highlighting some of the best moments from the hilarious event, by posting a new "Roast of the Day" video every day! Check out the first four official "Roast of the Day" videos below!

Stay tuned for the next installment!

DAY FOUR: Corey Taylor roasts Sebastian Bach

DAY THREE: Craig Gass Roasts Corey Taylor

DAY TWO: Don Jamieson Roasts Corey Taylor

DAY ONE: Brian Posehn roasts Sebastian Bach

Remember the time Slash overstayed his welcome during a live appearance with Michael Jackson?

We didn't either — until we stumbled upon this wacky video!

In the clip, which you can check out below, it seems as though Slash reeeeally doesn't wasn't to get off the stage — and doesn't want his guitar solo to end.

Meanwhile, an "outraged" Jackson keeps dancing, hoping Slash will take the hint ... but he doesn't. Jackson even sidles up to the guitarist and tells him (OK, screams at him!) to stop playing ... to no avail. Next, Jackson's crew gets involved, and Slash fights them off!

Obviously, this event was staged — a total fake. We all know Slash is a humble guy and one of the nicest personalities in rock. Either way, the clip is enjoyable in its own deranged way.

Thoughts? If you have anything to add, let us know in the comments or on Facebook!

The all-new August 2014 issue of Guitar World is available now!

In the August 2014 issue of Guitar World, we celebrate the 30th anniversary of Metallica’s renowned Ride the Lightning album. We talk to guitarist Kirk Hammett about the making of the album that revolutionized metal and put a jolt in the band’s career. Read about how the album showcased their musical maturity and willingness to take chances. Plus, Hammett and amplifier manufacturer, Randall, take their association to the next level with the KH103 Hammett signature head.

Then, Guitar World features the Who. Pete Townshend and Roger Daltrey struggled for years to create a successful live production of Quadrophenia. The surviving members of the band discuss how they finally achieved their goal.

Afterwards, we focus on the 20th anniversary of Superunknown. Soundgarden’s Kim Thayil and Chris Cornell talk about the album that made the band one of alternative rock’s biggest acts. Later, check out the history of the Jackson Soloist, which pioneered the “Super Strat” design that defined metal guitars.

Finally, the guitarists of Avenged Sevenfold, Morbid Angel, Trivium and other metal acts tell us how they will beat the heat and tame the crowds on the season’s biggest tours in our summer survival guide.

PLUS: Sleeper Agent, Nico Vega, Arch Enemy and much more!

Five Songs with Tabs for Guitar and Bass

• Metallica - "For Whom the Bells Toll"
• Soundgarden - "Fell on Black Days"
• The Who - "The Real Me"
• Pharrell Williams - "Happy"
• Game of Thrones - "Main Title Song"

Head to the Guitar World Online Store now!

Today, GuitarWorld.com presents an exclusive stream of Peter Frampton's new album, Hummingbird in a Box.

You can check out the entire album, which will be released June 23 via RED Distribution, below.

The music on Hummingbird in a Box was inspired by the Cincinnati Ballet and features seven guitar pieces written by Frampton and Gordon Kennedy, who co-produced the album. The pair previously teamed up for Frampton's Fingerprints album, which garnered Frampton a Grammy for Best Pop Instrumental Album.

The music debuted in April 2013 at Cincinnati’s Aronoff Center for the Arts. Two of the Cincinnati Ballet’s spring production’s segments were choreographed to existing Frampton music—with Frampton and his band performing live—while a third section featured the new composition by Frampton and Kennedy.

Of the project, Frampton says, “Writing for dance was a wonderfully freeing experience. There were no boundaries. We were able to push the composing envelope.” Kennedy adds, “Songwriters and musicians create music to move people. This was beautiful, graceful and instantly gratifying!”

Frampton will be back on the road this summer. This time he will set out on a three-part catch-all tour including select solo dates, a co-headlining run with the Doobie Brothers and the return of Frampton’s Guitar Circus. For details, visit frampton.com. You can check out his itinerary below the Soundcloud player.

PETER FRAMPTON TOUR DATES
*co-headlining with The Doobie Brothers
†Frampton’s Guitar Circus with Buddy Guy
‡Guitar Circus with Robert Randolph

June 20 /// Rosemont, IL /// Rosemont Theatre
June 22 /// Cincinnati, OH /// Horseshoe Cincinnati Casino*
June 24 /// Upper Darby, PA /// The Tower Theater*
June 25 /// Canandaigua, NY /// Constellation Brands Marvin Sands PAC*
June 26 /// Holmdel, NJ /// PNC Bank Arts Center*
June 28 /// Lincoln, RI /// Twin River Casino*
June 29 /// Gilford, NH /// Meadowbrook*
July 2-3 /// Moncton, NB /// Casino New Brunswick—The Centre
July 5 /// Danbury, CT /// Ives Concert Park
July 6 /// Atlantic City, NJ /// Harrah’s Atlantic City
July 8 /// Washington, DC /// Lincoln Theater
July 9 /// Greensburg, PA /// The Palace Theater
July 11 /// Boston, MA /// Blue Hills Pavilion Bank*
July 12 /// Bethel, NY /// Bethel Woods Center for the Arts*
July 13 /// Wantagh, NY /// Jones Beach*
July 15 /// Bethlehem, PA /// Sands Bethlehem Events Center*
July 17 /// Alpharetta, GA /// Verizon Wireless Amphitheater*
July 18 /// Tuscaloosa, AL /// Tuscaloosa Amphitheater*
July 19 /// Orange Beach, AL /// The Wharf*
July 20 /// New Orleans, LA /// Champions Square—Superdome
July 30 /// Sterling Heights, MI /// Freedom Hill Amphitheatre
August 1 /// Manistee, MI /// Little River Casino Resort
August 2 /// Lennox, IL /// Community Center
August 3 /// Carmel, IN /// Center for the Performing Arts
August 6 /// West Allis, WI /// WI State Fair
August 8 /// Wisconsin Dell, WI /// Crystal Grad Music Theatre
August 10 /// Littleton, Co /// The Hudson Gardens and Event Center
August 11 /// Pueblo, CO /// Memorial Hall
August 16 /// Laughlin, NV /// Edgewater Casino Resort
August 17 /// Jackpot, NV /// Cactus Petes Casino
August 19 /// Sandy, UT /// Sandy Amphitheater
August 21 /// Jacksonville, OR /// Britt Pavilion†‡
August 23 /// Goldendale, WA /// Maryhill Winery†
August 24 /// Woodinville, WA /// Chateau Ste. Michelle Winery†
August 26 /// Saratoga, CA /// The Mountain Winery†
August 27 /// Los Angeles, CA /// Hollywood Bowl†‡
August 29 /// Visalia, CA /// Oval Park†
August 30 /// Valley Center, CA /// Harrah’s Rincon†
August 31 /// Tucson, AZ /// Ava Amphitheater†‡
September 14 /// Telluride, CO /// Blues and Brews Festival

Well, well, well ... It's been a while since I've written one of these columns. I've taken some time off from writing to focus on making guitars, performing and recording with my current project, the Lo-Fi Project.

But more on that down the road. It's spring and we're heading into summer — and that means it's CBG time!

If you've built a CBG (cigar box guitar), chances are you've tried your hand at playing with a slide. There are many different types of slides out there, and the tone varies for each one. I encourage each of you to give them all a try and see what tone you are happy with. If you're playing a standard guitar or a CBG, the slide is your voice. It creates the mood and feeling, and having the right slide can make all the difference. After all, it's all about the tone.

You can buy just about any slide imaginable at your local guitar shop, but being a CBGer, I like making my own or using one that was made by hand. Below, you'll find a few ideas on different styles of guitar slides — the DIY way.

Before we get started on slide making, let's enjoy a little CBG music. You might remember Justin Johnson from our previous columns. Justin, who is known as “The Wizard” for his mastery of stringed instruments, just got back to the States from a three-month tour of Europe and Australia, where he was promoting his double album, Smoke & Mirrors. For the Australian leg of the tour, he didn't bring a single instrument, playing only instruments made by local builders to showcase their talent.

Here's Justin preforming “Rooster Blues” at Australia's largest folk festival, Port Fairy Folk Festival:

We'll be talking to Justin along with a few other CBGers about studio recording with a cigar box guitar in one of our upcoming columns.

Next, check out the Budrows, a three-piece cigar box guitar group that has a blues-rock vibe. Their tag line says it all: “100 percent foot-stompin' cigar box rock 'n' roll." Here's a clip of them playing a blues classic, “Roll N' Tumble”:

First: The bottleneck slide

Probably the most common DIY slide, bottleneck slides have great tone and sustain. I prefer the tone of a wine bottle neck slide over a store-bought slide because of the heavier weight and thicker walls, but again, I like the challenge of making them. They can be tricky to make, so be sure to use gloves and wear safety glasses.

I've seen different methods to make these, and the easiest is to use a glass cutter to score the bottle and alternate hot and cold water until the bottle neck snaps off. After that, I suggest using sandpaper to smooth up the edges. If you're going to make a few, a good investment is one of these G2 Bottle Cutters. They get you a perfect edge almost every time.

Next: The copper slide

This is probably the easiest slide to make on your own. Just a piece of copper pipe from the hardware store and a strip of felt with adhesive backing from the craft store to snug up the fit — and you're good to go. If you don't want to buy a long piece of copper pipe, you could use one of those seamless ¾-inch copper connecters. Your biggest challenge will be removing the price tag.

Last (probably my favorite), the bone slide

Yup, bone. I remember hearing recordings of Mississippi Fred McDowell talking about using a soup bone for a slide. There's even album of his called Steakbone Slide Guitar. If a blues legend uses one, why not give it a try? I've used a half-wood and half-bone slide from Mojo Boneworks for the last few years, and they have some mad mojo.

A good friend of mine at MeriCAN Canjo made one for me that I now use for gigs. He sent me the photos, below, of the slide-making process. He's a chef by day and outsider guitar builder by night. He thought, "Why waste leftover soup bones and scraps of wood?"

He doesn't sell the wood/bone slides anymore but has a different slide in the works. You'll just have to check out his site for details. If you didn’t want to go through all the work of making a half-wood/half-bone slide, you could always just boil a 2-inch soup bone for several hours and use some felt with adhesive backing to get a good fit and rock your CBG like a caveman!

'Til next time, keep on playing!

Brian Saner owns Saner Cigar Box Guitars, which makes custom handmade guitars and amps using local dry-aged wood in every guitar. These guitars are handmade and might have imperfections, but that's what makes them unique. Check out his cigar box guitar band, the Lo-Fi Project. Get a cigar box guitar of your own at sanercigarboxguitars.com, devildownrecords.com and Main Street Gallery. Check out his Facebook page.

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

The original Maestro EP-3 Echoplex is best known for its warm tape-echo effects, but many players—most notably Eric Johnson, Jimmy Page and Eddie Van Halen—discovered that the EP-3 has a sweet-sounding preamp that does wonderful things to a guitar’s tone, even when the tape echo effect is bypassed.

While some have compared the EP-3 preamp to a clean boost, it’s much more than that. In addition to providing a few dB of gain, it affects the phase response of different frequencies to make a guitar sound bolder and more focused.

The Dunlop EP101 Echoplex Preamp is a faithful reproduction of the FET (Field-Effect Transistor) preamp used in the original EP-3. It features only a gain control (with the same style knob found on an Echoplex) that provides up to 11dB of boost and operates either with a nine-volt battery or optional adapter.

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

Way back in the Seventies, Electra was one of a handful of companies that challenged the big name American manufacturers by offering quality guitars for affordable prices.

Electra guitars were originally designed and marketed in the U.S. but manufactured in Asia, and many of the company’s models featured visionary innovations like versatile switching circuits and built-in modular effects. After almost a 30-year absence, Electra is back again with a new line of guitars that follow a similar philosophy of providing maximum value.

The Omega model may look similar to single-cutaway Electra models from the Seventies, but it’s a modernized upgrade with even better build quality and value.

Deep Purple have unveiled a preview clip from their upcoming DVD, Around The World Live. It contains an eight-minute performance of "Black Night" at Birmingham's NEC.

The package includes three complete live shows plus highlights of a fourth, with band interviews and a documentary. The concerts featured take place in the U.K., India, South Kore and Australia.. The discs are accompanied with a 32-page hardback book.

Around The World Live is due for release in October via Eagle Rock, with more details to be confirmed in the following weeks. Check out the preview clip below!

Jack White has set a new vinyl sales record with the first-week sales of his second solo album, Lazaretto.

The chart-topping LP sold 41,000 vinyl copies alone, with total sales for its first week coming in at around 138,000. It marks the biggest one-week shipment of vinyl since SoundScan began tracking sales in 1991.

Watch the video for White's "High Ball Stepper," an instrumental track off the new album, below.

The guys over at MetallicaTV have posted official footage from Metallica's June 3 show in Horsens, Denmark.

The half-hour video features footage from a pre-show meet-and-greet with drummer Lars Ulrich, the band tuning and warming up, and concert performances of "Battery" and "St. Anger."

Check it out below!

When Ozzy Osbourne was booted from Black Sabbath and went solo in 1979, his quest for a heavy-metal soulmate ended with his discovery of Randy Rhoads.

The pair would go on to pen such classic metal cuts as “Crazy Train,” “I Don’t Know,” “Mr. Crowley” and “Flying High Again,” among others. Unfortunately, Rhoads was around long enough to record only two full-length albums with Ozzy: Blizzard of Ozz and Diary of a Madman (the live album, Tribute, was released posthumously in 1987).

On March 19, 1982, while “joyriding” in a small plane piloted by Ozzy’s tour bus driver, Rhoads was killed when the pilot flew too close to the band's parked tour bus, clipped its wing and careened into a nearby house.

A fan of classical music, Randy Rhoads was one of the first American guitarists to successfully incorporate classical music elements into heavy metal. (“Euro-metal” guitarists, including Ritchie Blackmore, Yngwie Malmsteen, Uli Jon Roth and Michael Schenker, had also experimented with melding the two genres.)

Reportedly, Rhoads was contemplating retiring from rock after the tour to study classical guitar at UCLA. In this lesson, we’ll take a look at examples in the style of Rhoads’ classically influenced solo piece “Dee” as well as “Diary of a Madman” and “Goodbye to Romance,” two other Ozzy favorites that prominently feature acoustic guitar.

Randy pulled out all the stops for Diary of a Madman’s title track, an epic six-minute-plus piece packed with acoustic and electric guitar textures. Its intro, similar to Figure 1, is structured around an elaborate arpeggio passage reminiscent of a modern classical guitar etude by Leo Brouwer (entitled "Etudes Simples: VI," published in 1972) which Rhoads likely learned in his classical guitar studies. Use economy picking to tackle these arpeggios throughout, employing a single pick stroke to sound successive notes found on adjacent strings, as indicated.

Rhoads also had a talent for composing striking ballads, as evidenced by the track “Goodbye to Romance” (Blizzard of Ozz), the first song Ozzy cowrote with Rhoads.

Penned as Osbourne’s personal farewell to Black Sabbath, the song blends clean-tone electrics with steel-string acoustic sounds, resulting in an almost “harpsichord”-like tonal quality. Figure 2 depicts a composite in-the- style-of arrangement.

“Dee” (Blizzard of Ozz), which inspires Figure 3, is a lilting waltz (3/4 meter felt “in one”) that Randy dedicated to his mother, Delores. (Perhaps as a further tribute to his mom, the majority of "Dee" falls in the key of D.)

With this track, Rhoads used one of his favorite acoustic multitracking approaches: overdubbing a steel-string acoustic on top of his primary nylon-string part for added sparkle (he also did this in “Diary of a Madman.") Note the pick-hand fingerings included below the notation. For further insight into Randy’s classical guitar technique, check out the “Dee” studio outtakes at the end of the Tribute album.

Check out the videos below and the complete tabs below that.

Part 1

Part 2

According to AC/DC frontman Brian Johnson, AC/DC are "very likely" to tour before the end of the year.

Johnson posted the news on his auto-racing website. While thanking fans for their support for his U.K. TV series, Cars That Rock, he added: "[This] was my first ever go at presenting a TV series — and even though it may not show, I was real nervous. So am very relieved that you all seem to be enjoying it.

"We hope to bring you more shows in the near future but, of course, there is the slight distraction of my day job with AC/DC — and it looks very likely that we will be on the road again before the end of the year. So stand by for more music — and more Cars That Rock."

As we reported in April, AC/DC confirmed widespread reports that guitarist Malcolm Young was stepping down due to an undisclosed illness, with some outlets reporting he'd suffered a stroke. The band added that they'd "continue to make music," and began recording sessions with producer Brendan O'Brien last month.

AC/DC might also have enlisted Stevie Young, nephew of guitarists Angus and Malcolm Young, to take Malcolm's place in the band for the recording sessions for their new album. According to The Pulse Of Radio, a fan posted a photo he took of the band in Vancouver, where they are recording, saying that Stevie was visible in the photo.

Stevie Young played with AC/DC once before during a 1988 tour, while Malcolm stepped out to deal with his dependency on alcohol.

Guitarist Nita Strauss has officially joined the Alice Cooper band.

Strauss, who made her name with the Iron Maidens, Femme Fatale and LA Kiss, takes the place of Orianthi in the band.

The band — which also features guitarists Ryan Roxie and Tommy Henriksen, plus bassist Chuck Garric and drummer Glen Sobel — will hit the road in North America this summer, and you can check out their itinerary below the YouTube player.

Strauss is a long-time Ibanez signature series endorsee.

You can watch her in the video below, where she engages in some shred insanity with Courtney Cox of the Iron Maidens!

For more about Strauss, check her out on Facebook. And don't miss the photo gallery at the very bottom of this story!

Alice Cooper tour itinerary:

Thursday, June 26 Manistee MI, Little River Casino
Friday, June 27 Sault Ste Marie, Kewadin Casino
Saturday, June 28 Bay City MI, River Roar Festival @ Veteran's Memorial Park
Wednesday, July 2 Grand Rapids MI, Van Andel Arena
Friday, July 4 Milwaukee WI, Summerfest @ Marcus Amphitheatre
Saturday, July 5 Noblesville IN, Klipsch Music Center
Sunday, July 6 Cincinnati OH, Riverbend
Tuesday, July 8 Columbus OH, Schottenstein Center
Wednesday, July 9 Maryland Heights MO, Verizon Wireless Amphitheatre
Friday, July 11 Des Moines IA, Wells Fargo Arena
Saturday, July 12 Wichita KS, Intrust Bank Arena
Sunday, July 13 Tulsa OK, BOK Center
Tuesday, July 15 Cedar Park TX, Cedar Park Center
Wednesday, July 16 Dallas TX, Gexa Energy Pavilion
Friday, July 18 Albuquerque NM, Isleta Amphitheatre
Saturday, July 19 Phoenix AZ, Ak-Chin Pavilion
Monday, July 21 Hollywood CA, Hollywood Bowl
Tuesday, July 22 Irvine CA, Verizon Wireless Amphitheatre
Wednesday, July 23 Mountain View CA, Shoreline Amphitheatre
Friday, July 25 Reno NV, Events Center
Saturday, July 26 Ridgefield WA, Sleep Country Amphitheatre
Sunday, July 27 Auburn WA, White River Amphithreatre
Tuesday, July 29 Wheatland CA, Sleep Train Amphitheatre
Friday, August 1 W Valley City UT, Usana Amphitheatre
Saturday, August 2 Denver CO, Pepsi Arena
Sunday, August 3 Kansas City MO, Sprint Center
Tuesday, August 5 Sturgis SD, Buffalo Chip
Wednesday, August 6 Sioux City IA, Tyson Events Center
Friday, August 8 Tinley Park IL, First Midwest Bank Amphitheatre
Saturday, August 9 Clarkston MI, DTE Energy Music Theatre
Sunday, August 10 Toronto ON, Molson Canadian Amphitheatre
Tuesday, August 12 Cuyahoga Falls OH, Blossom Music Center
Wednesday, August 13 Burgettstown PA, First Niagara Pavilion
Friday, August 15 Pelham AL, Oak Mountain Amphitheatre
Saturday, August 16 Alpharetta GA, Verizon Amphitheatre @ Encore Park
Sunday, August 17 Tampa FL, Mid-Florida Credit Union Amphitheatre
Tuesday, August 19 Charlotte NC, PNC Music Pavilion
Wednesday, August 20 Virginia Beach VA, Farm Bureau Live
Friday, August 22 Bristow VA, Jiffy Lube Live
Saturday, August 23 Camden NJ, Susquehanna Bank Center
Sunday, August 24 Mansfield MA, Comcast Center
Tuesday, August 26 Saratoga Springs NY, Performing Arts Center
Wednesday, August 27 Allentown PA, Great Allentown Fair
Friday, August 29 Wantagh NY, Nikon Theatre @ Jones Beach
Saturday, August 30 Holmdel NJ, PNC Bank Arts Center
Sunday, August 31 Darien Center NY, Darien Lakes Performing Arts Center
Friday, October 10 Oklahoma City OK, Chesapeake Arena
Saturday, October 11 Woodlands TX, Cynthia Woods Pavilion
Sunday, October 12 Bossier City LA, Century Link Center
Tuesday, October 14 Louisville KY, KFC Yum! Center
Wednesday, October 15 Nashville TN, Bridgestone Arena
Sunday, Oct 19 Jacksonville FL, Veteran's Memorial Arena
Tuesday, Oct 21 Greenville SC, Bon Secours Wellness Arena
Wednesday, Oct 22 Greensboro NC, Coliseum
Friday, Oct 24 Atlantic City NJ, Borgata
Saturday, Oct 25 Atlantic City NJ, Borgata
Sunday, Oct 26 Uncasville CT, Mohegan Sun
Tuesday, Oct 28 New York, NY, Madison Square Garden
Wednesday, Oct 29 Syracuse NY, OnCenter
Wednesday, Nov 5 Biloxi MS, Coast Coliseum
Thursday, Nov 6 Southhaven MS, Landers Center
Saturday, Nov 8 Detroit MI, Joe Louis Arena
Sunday, Nov 9 Moline IL, iWireless Center
Tuesday, Nov 11 Green Bay WI, Resch Center
Wednesday, Nov 12 Madison WI, Alliant Energy Center
Thursday, Nov 13 Omaha NE, Century Link Center
Saturday, Nov 15 St Paul MN, Xcel Energy Center
Sunday, Nov 16 Fargo ND, Fargo Dome
Tuesday, Nov 18 Edmonton AB, Rexall Place
Wednesday, Nov 19 Calgary AB, Scotiabank Saddledome
Friday, Nov 21 Vancouver BC, Rogers Arena
Saturday, Nov 22 Spokane WA, Arena

Some lovely fan-filmed footage of Black Sabbath's entire June 13 performance at Königsplatz in Munich, Germany, has surfaced online. So we thought we'd share it with you!

You can check out the video, which — once again — contains the band's complete set, below. Be sure to let us know what you think in the comments or on Facebook!

Black Sabbath, June 13, Munich Setlist:

01. War Pigs
02. Into The Void (08:02)
03. Under The Sun (15:22)
04. Snowblind (20:11)
05. Age Of Reason (26:52)
06. Black Sabbath (34:12)
07. Behind The Wall Of Sleep (42:23)
08. N.I.B. (46:15)
09. End Of The Beginning (52:36)
10. Faries Wear Boots (1:00:40)
11. Iron Man (1:07:56)
12. God Is Dead? (1:22:39)
13. Dirty Women (1:31:59)
14. Children Of The Grave (1:39:33)
15. Paranoid (1:45:36)

Former Eagles guitarist/songwriter — not to mention multi-Grammy winner — Don Felder isn't one to simply rest on his laurels.

In addition to penning his best-selling memoir in 2008, Felder’s most recent album, 2012's Road to Forever, has done incredibly well on the classic rock charts and recently was re-released as an extended-edition package with four additional songs.

Felder is out on the road now with Styx and Foreigner in what’s being billed the Soundtrack of Summer tour. The jaunt coincides with the release of a new album of the same name. It features a collection of hits from the bands, and finishes off with a brand-new interpretation of the Eagles'“Hotel California."

I recently spoke to Felder about the Soundtrack of Summer tour, his early years with the Eagles and much more. Check out the interview below.

GUITAR WORLD: How did the Soundtrack of Summer project come about?

I’ve known the Styx guys for many years. We’ve done many benefits together in the past and started doing some shows together. Tommy [Shaw] and I became good friends, and he even volunteered some of his time to writing lyrics and singing on my last CD, Road to Forever. So when the idea for doing a Styx and Foreigner tour came up and my name was mentioned, I said "Absolutely!" The catalog of these three bands is just magnificent. I’m excited to be a part of it.

What can fans expect from your set?

I do some of the Eagles songs I recorded and played live with the band for 27 years. Songs like “Hotel California,"“Heartache Tonight,"“Those Shoes” and a version of “Seven Bridges Road” that we used to do with the Eagles years ago. We even do a version of my song “Heavy Metal,” which was something the audience used to yell out for us to do during the Hell Freezes Over tour [laughs].

What is it about classic rock that makes it so timeless and special?

Great songs really carry an era, and back in the Sixties and Seventies, there were a lot of great songwriters. When you think about the music from that era that has survived, it's because they were great songs people really bonded with. It’s the reason people are still going out to see the shows today.

How did you hook up with the Eagles?

I joined the band in 1974 and was working with David Crosby and Graham Nash at the time. I had already known the guys in the Eagles for years; Bernie Leadon and I had actually known each other since high school. One day they called me up and asked me to come in and do a session for them. So I went over and played on the song "Good Day In Hell." I remember they called me back the next day and asked me to join the band.

What's the origin of “Hotel California”?

We were in the process of writing songs for our next record, and I had rented a beach house in Malibu. I had a little reel to reel and every time I had an idea, I would go in and record it. I remember I was sitting on the couch in Malibu playing guitar when out came that progression. So I played it a few more times and then went back and recorded it and later put some bass and a few more guitar parts on it. I put it on a reel along with about a dozen other ideas I was working on and gave it to the band. I told them that if there were any ideas on there they wanted to finish to just let me know.

Sure enough, [Don] Henley called me up a few days later and said, "Yeah, I found one that has kind of a Mexican, reggae, bolero sound." I immediately knew which one he was talking about. Two songs actually came out of those ideas. One became "Victim of Love" and the other became "Hotel California."

Is it true you once gave guitar lessons to Tom Petty?

There was a store in Gainesville, Florida, called Lipham Music where I used to teach guitar. Tom is a few years younger than me; I remember one day he came in wanting to take guitar lessons. At the time, he was playing bass in a band called the Rucker Brothers Band, but he didn't think playing bass was a cool way to front the band so he wanted to play guitar. There were actually a lot of people from Gainesville who went on to have great careers. Steven Stills and I had a band together when we were 14. Bernie Leadon and I were in bands together and went on to the Eagles. Duane Allman taught me how to play slide guitar. A lot of people from that area went on to become well-known.

How did the recording of The Long Run contribute to the first breakup of the Eagles?

We had been on and off the road and in and out of the studio for years before that album. We had never really gotten any real time to recharge and recoup, and were at the point of exhaustion. Not to mention the fact that we had just gotten off of Hotel California with this monstrous hit and now had the added pressure of having to match it or do even better. It was a difficult time. There were a lot of breakdowns, anger outbursts and other things that were going on.

At that point, I thought it was the end of our career as the Eagles. That's why the album cover is black and looks like a funeral. The photographs inside are all darkly lit. It just came off feeling like, “This is the end...it's been a very long run.”

If you had to pick one moment from you career that’s most memorable, what would it be?

I remember it being a few days before our New Year’s Eve Millennium show [which also happened to be the last show Felder would perform with the Eagles]. We had a press conference, and the RIAA presented us with an award for the largest-selling album of the 20th century [The Eagles, Their Greatest Hits 1971-1975]. It hit me in the forehead like a Louisville Slugger. Nobody had ever really kept track of how many records we had sold or where we were in comparison to anybody else. It was just overwhelming. Especially when you think about all of the other people who've made records: the Rolling Stones, the Beatles, Elvis Presley and Michael Jackson.

A lot of people have hallways in their homes that are lined with gold and platinum records from all of their life’s work, but not me. I only have one.

Photo: Michael Helms

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

Remember when isolated guitar tracks from famous rock songs were all the rage on YouTube in 2010 and 2011?

Let's relive the magic!

Check out the stunning isolated guitar track from Van Halen's "Panama" below.