Dr. Evil may have never gotten his sharks with “frickin’ laser beams,” but Taiwanese rock god Leehom Wang had no such problem when he asked Irish luthier Alistair Hay of Emerald Guitars to create the Bahamut, a guitar in the shape of a metallic dragon, complete with laser eyes.
Hay, who built Formula 1 racing boats before turning his attention to guitars, built the Bahamut using a combination of foam, carbon fiber and chrome paint, which allowed him to craft an instrument with a highly detailed design that looks like metal but is comfortable enough to play for an entire gig.
Hay’s first attempt with these materials was the Alien guitar, which he built for Steve Vai based on the cover art for Vai’s Ultra Zone album. “I had no training in guitar-building techniques,” Hay says. “I think that my lack of preconceived ideas about how to build a guitar lets me take a very unique and individual approach. That, in turn, allows me to create unusual, intricate shapes that are lightweight but also retain strength.”
Inspired by Vai’s Alien guitar, Wang collaborated with Hay on the Bahamut’s dragon design. “I carved and scrapped several foam bodies before getting to the final shape,” Hay says. “The fine details, like the claws and head, were carved separately and added to the body. The wiring was threaded into cavities to keep it hidden, and the laser eyes were fitted just before I completed the head. Doesn’t every dragon have laser eyes?”
Hay estimates that a similar custom design would cost between $15,000 and $20,000 and take about four months to complete. Emerald Guitars also offers a complete line of more conservatively appointed composite acoustic and electric guitars and basses.
When shopping for an amp, don’t take home the first one you plug into. Sure, that amp may feel really good to play, and you may love how it screams, but are you really going to be happy with it when you wake up tomorrow morning?
Here are 10 things you should know before you even consider handing over your money to the amp pimp.
01. BYOG
Playing an amp with an instrument you don’t own is like choosing a girlfriend by dating her mom. Bring your main guitar with you, even if you think the store stocks a similar model. An unfamiliar guitar may have a brighter sound than your personal ax, and an amp that sounded sparkly and lively in the store may actually be dull as Anne Heche on Quaaludes when you get it home.
02. Tube, Solid-State or Digital?
While tube technology is still considered state-of-the-art in countries where a potato is regarded as a square meal, these days solid-state and digital amps offer excellent tone for a lot fewer bucks, and with fewer maintenance headaches. However, tube tone is still considered the standard by many top players. Take a blind listening test, and let your ears be the judge.
03. Size Matters
A 100-watt stack is overkill if you live in an apartment and need an amp only for home recording. Conversely, a 10-watt combo is woefully inadequate if you play in a band with a drummer named Thunder Fist. Choose an amp that’s right for your primary application. You’ll need at least 30 watts for playing live with a rock band, but smaller amps often provide surprisingly huge sounds in the studio—just ask Jimmy Page. Also, as a rule of thumb, if you're playing out often, you might want to shoot for at least 15 watts of tube tone.
04. The Sound of Power
Distortion is usually generated by three distinct sources: the power amp, the preamp and the speakers. Many players overlook power amp distortion when trying an amp, but the power amp section is the source of what guitarists describe as low-end chunk and balls. Audition the power amp by turning the master volume way up and turning down the gain. The sound should be lively, with a crisp attack that jiggles your trousers.
05. A Righteous Buzz
Preamp, or gain, controls (sometimes called “volume” on master volume–equipped amps) let you dial in impressive-sounding distortion at low volumes, but excessive preamp distortion can sound too compressed and sizzling at high volumes. Turn down the gain and crank up the master volume until the amp is set at the output level you’d normally play at. Now, slowly increase the gain until the sound becomes as distorted as you want it to be. If the tone is buzzy and lacks dynamics, the amp will have all the onstage presence of an American Idol reject.
06. Happ’nin’ Crunch
Overdriven speakers create one of the most desirable distortion characteristics: crunch. The best way to test for this is to dial in a clean setting and turn the volume way up. Low-wattage speakers break up at lower volumes, but they have a tendency to turn to mush at excessive volume levels; high-wattage speakers may not break up at all. Choose a speaker that sounds lively, defined and harmonically rich at volume and distortion levels you’ll normally play at.
07. More Talk About Speakers
While often overlooked, the speakers are an amp’s most crucial component—they’re the last thing standing between all that electronic gobbledygook and the sound that reaches your ears (except for yo’ mama’s fist, but that’s another story). Different sized speakers have different tonal characteristics, and you should consider speaker sizes the same way you’d consider an amp’s wattage rating. Speakers are like booty—small ones are tighter and big ones have more bottom end. But like a pair of pants, cabinet design can shape bottom end as well. Which is why a closed-back 4x10 cabinet may put out more bass than a 15-inch speaker in an open-back cabinet.
08. Channel Surfing
Multichannel amps are great for players who use a lot of different tones, but if all you want is a good clean sound and a good distorted sound, they may be more amp than you need. If you decide that an amp with three or more channels is right for you, look for one that provides separate EQ controls for each channel.
09. Twist Some Knobs
You should be able to dial in a sound you like quickly and easily. Adjust each tone control and note how they interact with each other. If it’s too hard to dial in a decent tone in the store, chances are you won’t be able to when you get the amp home or onstage.
10. Additional Features
While tone and volume should be your foremost considerations, you should also determine what extra features you really need. Built-in effects are great if you want a no-hassle, all-in-one package, but they may not be as flexible as external effects pedals and processors. An effect loop is useful for effects like digital reverb and delay, but it’s not essential if your effects consists of a few stomp boxes. Line outputs with speaker emulation are helpful for home recording, and external speaker outputs are great for expanding your live rig. Bottom line: don’t pay extra for features you’ll never use.
Thirty years ago, Night Ranger were transformed from an opening act to a headliner with the release of their album Midnight Madness. The 1983 record became a smash hit within months of its October release, thanks to tracks like “Sister Christian,” “(You Can Still) Rock in America” and “When You Close Your Eyes.”
For Night Ranger guitarist and founding member Brad Gillis, the time between then and now seems like a lifetime. Over the years, in addition to recording and touring with Night Ranger, Gillis has released solo albums and written hundreds of songs for the ESPN network.
Although his greatest fame came with Night Ranger, Gillis is also remembered for replacing Randy Rhoads in Ozzy Osbourne’s band immediately after Rhoads’ death while on tour with Ozzy in 1982. At the time, Night Ranger were still unknowns, whereas Osbourne was a star. Eventually, Gillis would be forced to choose between staying with Ozzy or continuing with Night Ranger.
Guitar World recently caught up with Gillis to talk with him about Midnight Madness, his tenure with Ozzy and his and Night Ranger’s forthcoming albums.
GUITAR WORLD: What do you remember most about the Midnight Madness period?
I remember being out on tour opening for bands like ZZ Top, 38 Special and Cheap Trick and then suddenly finding ourselves headlining. What was really exciting about that period for me was when we headlined in La Crosse, Wisconsin, in late ’83, ’84. I remember pulling into their coliseum and the marquee said “Night Ranger / Sold Out.” It was our first sold-out coliseum. The best thing of all is that I’m still with the same band and we’re still writing music and touring.
The band is also working on a new album. What can you tell us about it?
I brought in a lot of heavier guitar riffs for this album. It will be a much heavier album than our last one [2011’s Somewhere in California]. We’re getting back to the basic groove from our first album [1982’s Dawn Patrol] and songs like “Can’t Find Me a Thrill,” which was more straight-ahead rock.
It’s also been 30 years since you took over guitar duties with Ozzy Osbourne after Randy Rhoads died in a small-airplane crash. Do you remember where you were when you heard the news of his death?
I had just seen Ozzy at Day on the Green a few months before Randy died. People were touting Randy as the next Eddie Van Halen, so I went to see the show, and he just blew me away. I was driving down the road when I heard the news that there was a plane crash and Randy was killed. I remember pulling over in my truck and just thinking how easily things could be lost.
How did you get the gig with Ozzy?
When Night Ranger got together in 1980, we didn’t want to go out and play much until we had a major release and could come out with a bang. So in the interim, I started a band called the Alameda All Stars. We would play local clubs in the area and always included a few Ozzy tunes in our set.
Shortly after Randy died, someone came to the club and saw me play and told me that he would try to get me an audition with Ozzy. I remember thinking “Yeah, right!” but the man turned out to be Preston Thrall, who was Pat Thrall’s brother. [Pat Thrall had played with drummer Tommy Aldridge in the Pat Travers band, and Aldridge was on tour with Osbourne when Rhoads died, hence the connection.] Preston told Pat, Pat told Tommy, and Tommy told Sharon [Osbourne, née Arden]. Sure enough, a few days later, I got a phone call at eight in the morning, and the woman on the other end said, “Hello, Bradley? This is Sharon Arden. I’m Ozzy Osbourne’s manager, and we’d like to fly you to New York for an audition.”
At first, I thought it was a joke, but then she put Ozzy on the phone and he asked me to write down 18 songs that he wanted me to learn. They wanted to fly me out on Tuesday, so I basically had two days to learn all of those songs. I told him that I’d need some time, but I really wanted to do it. Ozzy was working with Bernie Tormé as an interim player and he told me to come out and he’d take me on the road with them. So I watched a few of their shows and then spent four 12-hour days learning all that I could.
I remember we were in Binghamton, New York, when I told Sharon that I was ready. I was nervous, because I had never played with the band before. In fact, all I did was play seven songs during the soundcheck that night, and Ozzy never even showed up for it! [laughs] But I went out there and played that night and did well, except for when we got to “Revelation (Mother Earth).” I came into the fast part a little too early and Ozzy shot me the look of death. I was able to regain my composure and spot in the song and was fine for the rest of the set. But the one thing I’ll never forget happened the next night: Sharon took me aside and said, “Bradley, you’re doing a great job. But tonight…don’t fuck up!” [laughs]
What influenced your decision to stay with Night Ranger instead of going with Ozzy?
Although we had done a lot of shows and recorded Speak of the Devil [Osbourne’s double-live album from the tour, featuring Gillis on guitar], I didn’t feel like it was the best fit for me. [Osbourne bassist] Rudy Sarzo’s band, Quiet Riot, had recently gotten a record deal, and he left at around that same time. Night Ranger landed a record deal too. So I rolled the dice and decided to go with Night Ranger. What’s interesting, though, is that we released Dawn Patrol in ’82 and during that same week Ozzy released Speak of the Devil.
What can you tell us about your upcoming solo record?
I’m 14 songs deep right now. I’ve been taking my time on it, but I’m to the point now where I’m going to have some guest singers come in and hopefully have it finished sometime later this year or early next. It seems that I release a solo record every 10 to 12 years, so I think it’s about time.
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.
The Goondas wear their garage rock aspirations on their sleeve and deliver one hell of a rocker with their latest album, Dog Show.
Starting with the title track, which opens with an uptempo drum beat and a guitar lick that sounds like it was written in the Delta, the album keeps building steam. Transitioning directly from its bluesy opening to the hard-charging “Autorotica," singer Brendan Green howls out his best Iggy impression (And it’s a good one) amid grungy but upbeat guitar and some inspired drumming.
Dog Show is a vicious and lean piece of garage rock, keeping everything under four minutes and never straying from the band's barebones sonic attack. Songs like “Be Gone” recall the straightforward frustrated aggression of bands like the Oblivians, while bluesier efforts — like the smoldering, depressed “Let It Rain” — feel lifted from a dive bar in Louisiana.
The band sounds like a dog straining at the end of a leash, tight and barely contained at the same time. The guitars threaten to lose themselves in waves of fuzz but always manage to rein it in just at the brink. That same recklessness is felt in every word Green howls, spits and curses throughout the 11-track affair.
While the couple of slower songs on Dog Show don’t resonate as much as the pedal-down approaches that are the mainstay, there aren’t really any duds here. If straightforward garage rock isn’t your thing, the album may sound a bit simplistic at times, but that’s part of the appeal.
The Goondas have put out one of the most passionate odes to garage rock of the year with Dog Show, an album that is all sweat, energy and aggression. It’s raw without feeling unfinished, ragged in all the right places, and just plain fun. If you’re looking for no frills rock and roll, you can’t do much better.
John Grimley writes the Oil Slick garage-rock blog for GuitarWorld.com.
A few years ago, the editors of Guitar World magazine compiled what we feel is the ultimate guide to the 100 Greatest Guitar Solos of All Time.
The list, which has been quoted by countless artists, websites and publications around the world, starts with Richie Sambora's work on Bon Jovi's “Wanted Dead or Alive” (Number 100) and builds to a truly epic finish with Jimmy Page's solo on "Stairway to Heaven" (Number 1).
We've kicked off a summer blockbuster of our own — a no-holds-barred six-string shootout. We're pitting Guitar World's top 64 guitar solos against each other in an NCAA-style, 64-team single-elimination tournament. Every day, we will ask you to cast your vote in a different guitar-solo matchup as dictated by the 64-team-style bracket.
You can vote only once per matchup. The voting for each matchup ends as soon as the next matchup is posted (Basically, that's one poll per day during the first round of elimination, including weekends and holidays).
In some cases, genre will clash against genre; a thrash solo might compete against a Southern rock solo, for instance. But let's get real: They're all guitar solos, played on guitars, by guitarists, most of them in some subset of the umbrella genre of rock. When choosing, it might have to come down to, "Which solo is more original and creative? Which is more iconic? or Which one kicks a larger, more impressive assemblage of asses?"
Yesterday's Results
Winner:"Sultans of Swing" (86.29 percent) Loser:"Sharp Dressed Man" (13.71 percent)
Today, two iconic guitarists — who will be eternally connected — go head to head. We have Stevie Ray Vaughan's solo on his version of "Texas Flood" (13) going up against Jimi Hendrix's famous live version of "The Star-Spangled Banner" (52). Get busy! You'll find the poll at the bottom of the story.
Round 1, Day 18: "Texas Flood" Vs. "The Star-Spangled Banner"
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.”
Your Instructor is Andy Aledort, a longtime contributor to Guitar World and the author and producer of hundreds of artist transcriptions, books and instructional DVDs, Aledort has influenced and inspired guitarists around the world for decades.
Check out the complete chapter listing — and a video sample of the new DVD, featuring Aledort and his Gibson Les Paul in action.
Chapter Listing:
Chapter 1 – The open strings; tuning up: fretting method; tuning up: harmonic method; chord frames; E major chord; open-position cowboy chords; the "caged" system; F chord.
Chapter 8 – Combining power chords with single-note riffs; combining power chords and pedal tones; "galloping" rhythms;
Chapter 9 – Reading single not phrases; scale studies; E minor pentatonic; E major scale; E minor pentatonic scale studies; articulation: hammer-ons and pull-offs; C major scale studies; alternate picking; A minor pentatonic; A major pentatonic, sixth-string root; D major pentatonic, fifth-string root.
Chapter 10 - String bending; vibrato.
Chapter 11 – How to play the blues; the "shuffle" rhythm; blues soloing styles; key of E; key of A.
Born of Osiris will release their new album August 20. You can hear the new track, "M∆CHINE," now by heading to SumerianRecords.com/BornOfOsiris or by watching the promo video below.
The song is available in multiple formats (MP3, WAV and Stems) for free with the option of making a donation. Look for the band performing on this summer's Rockstar Mayhem Festival, which kicks off June 29. For more information, visit Facebook.com/BornOfOsiris.
Guitarist Lee McKinney says:
"We couldn't be more excited to not only have a new record coming out this summer, but to have a new single available in time for the start of Mayhem Fest! 'M∆CHINE' to me is just a straight up in-your-face Born of Osiris song. It's got an epic intro, intense orchestral content, heavy keyboard breakdowns, a great structure, impactful vocals, and of course some gnarly guitar shred. It definitely hits hard from beginning to end. We can't wait to head out and play it live all summer long."
On June 28, Roland announced the Micro Cube GX guitar amp.
As the replacement for Roland’s successful MICRO CUBE, the MICRO CUBE GX improves on its predecessor in every way, adding a memory function, new amp and effects types, a chromatic tuner and more. i-CUBE LINK opens new opportunities for practice and mobile recording, providing a built-in interface for Apple’s iPhone, iPad and iPod touch.
The MICRO CUBE holds the mantle as the most popular battery-powered amp of all time. The MICRO CUBE GX retains the original’s tiny size and huge sound while adding great features and improvements.
Filled with eight of Roland’s renowned COSM amps, the MICRO CUBE GX offers a wide range of versatile tones, from the crystal-clear JC CLEAN to the new EXTREME for in-your-face metal riffs. Five different EFX types include a new HEAVY OCTAVE effect that works great for adding unique, ultra-low power to distorted tones.
Vintage King Audio, the world's premier retailer of new and vintage recording equipment, has added a hand-picked selection of gear aimed toward the guitar-tone fanatics of the world.
The newly available assortment of pedals, amplifiers, and guitars were pulled together from some of the finest boutique builders and the most well-respected manufacturers in the industry.
VK spent the better part of the past year testing and evaluating everything in the collection for standout tone quality and road-worthy construction. Each piece was passed around to the company's cadre of top pro and weekend warrior players to obtain their individual seals of approval.
Victors from the scrupulous inspection period include offerings from Wizard Amplification and Spontaneous Audio's Son of Kong. Other notable brands include pedals by ThroBak Electronics, Strymon, Caroline Guitar Co, AbovegroundFX, and Crazy Tube Circuits as well as amplifiers from 3rd Power, Divided by 13, and Chandler Limited. Vintage King also now carries hand-crafted guitars by Echopark Guitars and Rock 'n' Roll Relics.
"Most of our staff either play guitar, record guitar, or help artists get the best performances possible in the studio. We feel it's a natural extension of what we do to offer a select group of guitars, amps, and pedals that we believe are among the very best available," says Tom Menrath, Vintage King's Head of Strategic Development. "Our clients trust us to only offer products we can personally vouch for—gear that we've used ourselves on stage or in the studio. A great deal of listening, comparing, and gigging went into the selection of the guitars, amps and pedals we're now offering. We think you'll find some pleasant surprises."
VK also tapped studio and touring musician, and prolific YouTube guitar guru, Pete Thorn, to create exclusive video content around many of the new offerings.
"Pete has a rabid, devoted online following and many of us at Vintage King were already huge fans. His genuine love for the gear, indisputable playing chops, and easygoing personality made him a no-brainer for us to partner up with," remarked Jason Van Doorn, Vintage King's Marketing Director.
Finnish melodic death metal giants Children of Bodom released their eighth studio album, Halo of Blood, June 11 via Nuclear Blast Records, and it's exactly the kind of album the fans have been waiting for.
To be honest, the fans' appetite wasn't quite fulfilled by the band's last two albums, Relentless Reckless Forever and Blooddrunk, but they'll appreciate that Halo Of Blood is more of a throwback to Bodom's earlier days. There's a strong sense of Nordic metal influence shining through the music.
Last month, I spoke to vocalist/guitarist Alexi Laiho at the Nuclear Blast Records office in Los Angeles. We discussed the new album, the development of his guitar playing over the years, his tips for young guitarists, Mayhem Festival, future plans and more. Listen to the 10-minute conversation below, and visit cobhc.com for all things COB.
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.
Guardians of the good ol' classic metal sound, Toronto, Canada-based Cauldron have been going places of late.
Following the April 30 North American release of their third studio album, Tomorrow's Lost via Earache/Century Media, they toured with Diamond Head and did a headline run of their own, after which they made an appearance at Metallica's Orion Music + More fest in Detroit.
At the band's Los Angeles show last month, I sat down the vocalist/bassist Jason Decay and guitarist Ian Chains to talk touring, new album, gear, production and more. Listen to the 12-minute chat below, and visit Cauldron on Facebook.
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.
Based out of Tempe, Arizona, science-fiction-themed progressive thrash metal band Vektor have caught the attention of the genre's true fans.
They could be called "the intelligent man's thrash band," and their sophomore album, 2011's Outer Isolation (Earache Records) supports that title.
On May 26, while on a run of West Coast dates, they stopped by the Whisky A Go Go in West Hollywood as the main support act to fellow thrashers Warbringer. Prior to the show, I caught up with guitarist/vocalist David DiSanto and lead guitarist Erik Nelson for a detailed chat about all things Vektor.
Listen to our 14-minute interview below, and check out the band on Facebook.
The Aristocrats — a fusion trio featuring guitarist Guthrie Govan, bassist Bryan Beller and drummer Marco Minnemann — have posted a teaser video for their upcoming album, Culture Clash.
The album will be released July 16.
“There's something that happens when the three of us get together in a room. It happened in the first rehearsal, it happened in the first gig, and it definitely happens in the studio,” Beller said. “That's why, even though we live thousands of miles and an ocean apart, we always make records in the same room as opposed to remote file-swapping.
"This time we were fueled by 18 months on the road together as opposed to just one hot gig, and I think fans will really see the difference in the studio and interview footage on the bonus DVD.”
Govan added: “All the time we spent together as a band touring and gigging together and interacting has made us bolder in terms of the kind of material we've dared to write for this album. I think there's some wackier stuff that we maybe wouldn't have submitted for the first album when we didn't know each other as well.”
Catch THE ARISTOCRATS coming to your town this summer!
THE ARISTOCRATS “Culture Clash” U.S. Tour Dates:
7/17 Nashville TN @ Douglas Corner
7/19 Tampa FL @ Brass Mug
7/20 Orlando FL @ West End Trading Company
7/21 Jacksonville FL @ 1904 Music Hall
7/23 Atlanta GA @ Atlanta Institute of Music (clinic/show)
7/24 Atlanta GA @Masquerade (Purgatory Room)
7/25 Charlotte NC @ Tremont Music Hall (Casbah)
7/26 Raleigh NC @ Pour House Music Hall
7/27 Washington DC @ Jammin Java
7/29 Boston MA @ Berklee College of Music (clinic)
7/30 Boston MA @ Berklee Performance Center (concert)
7/31 Wilkes-Barre PA @ River St. Jazz Cafe
8/1 New York City NY @ Highline Ballroom
8/2 Philadelphia PA @ North Star Bar
8/3 Dunellen NJ @ New Jersey Proghouse
8/6 Pittsburgh PA @ Hard Rock Cafe
8/7 Cleveland OH @ Beachland Tavern
8/8 Columbus OH @ Rumba Café
8/9 Cincinnati OH @ Southgate House Revival
8/10 Charleston WV @ Empty Glass
8/12 Detroit MI @ Token Lounge
8/13 Indianapolis IN @ Birdy's
8/14 Chicago IL @ Reggie's
8/15 Madison WI @ Brink Lounge
8/16 St. Paul MN @ Amsterdam Bar and Hall
8/17 Omaha NE @ Shamrock's
8/19 St. Louis MO @ 2720 Cherokee
8/20 Kansas City MO @ The Record Bar
8/21 Tulsa OK @ The Vanguard
8/23 Denton TX @ Dan's Silverleaf
8/24 Houston TX @ Rudyard's Pub
8/25 Austin TX @ Saxon Pub
A few years ago, the editors of Guitar World magazine compiled what we feel is the ultimate guide to the 100 Greatest Guitar Solos of All Time.
The list, which has been quoted by countless artists, websites and publications around the world, starts with Richie Sambora's work on Bon Jovi's “Wanted Dead or Alive” (Number 100) and builds to a truly epic finish with Jimmy Page's solo on "Stairway to Heaven" (Number 1).
We've kicked off a summer blockbuster of our own — a no-holds-barred six-string shootout. We're pitting Guitar World's top 64 guitar solos against each other in an NCAA-style, 64-team single-elimination tournament. Every day, we will ask you to cast your vote in a different guitar-solo matchup as dictated by the 64-team-style bracket.
You can vote only once per matchup. The voting for each matchup ends as soon as the next matchup is posted (Basically, that's one poll per day during the first round of elimination, including weekends and holidays).
In some cases, genre will clash against genre; a thrash solo might compete against a Southern rock solo, for instance. But let's get real: They're all guitar solos, played on guitars, by guitarists, most of them in some subset of the umbrella genre of rock. When choosing, it might have to come down to, "Which solo is more original and creative? Which is more iconic? or Which one kicks a larger, more impressive assemblage of asses?"
Round 1, Day 20: "Stairway to Heaven" Vs. "Little Red Corvette"
Today, Round 1 of this summer-long poll, which has had its share of odd matchups since we kicked things off June 10, has reached its most-mismatched moment yet. Led Zeppelin's "Stairway to Heaven" (01) is squaring off against Prince's "Little Red Corvette" (64). The "Stairway" solo, of course, is played by Jimmy Page. The solo on "Corvette" is played by Dez Dickerson.
In case it isn't clear from the (01) and (64) above, the Number-1-ranked guitar solo is going up against the Number-64-ranked solo, also known as the bottom seed. Yes, it's a complete mismatch, but remember that it had to happen sooner or later! And, to make things even more mismatched, the video for "Little Red Corvette" is not available on YouTube!
Anyway, get busy! You'll find the poll at the bottom of the story.
01. “Stairway to Heaven” Soloist: Jimmy Page Album: Led Zeppelin—Led Zeppelin IV (Atlantic, 1971)
NOTE: At the moment, there are several videos of "Little Red Corvette" available on YouTube; HOWEVER, none of them include the song's audio, which is the most important part. We don't see the need to embed a music-free "music video."
It’s a cold, rainy night in Connecticut. Executive Editor Brad Tolinski and I are in the lobby of a fine hotel, waiting to meet Ritchie Blackmore.
The veteran guitarist has, in his infinite mercy, granted us a rare interview. (Perhaps the imminent release of the new Deep Purple album, Slaves And Masters, featuring Purple's latest member, Joe Lynn Turner, has something to do with this.) At the moment, Blackmore is dining with some friends; he is to join us at the conclusion of his meal.
Tolinski and I are a bit apprehensive. Blackmore's irascibility is legend, as is his antipathy toward the press. To make matters worse, even some of those close to the star have warned that he could become "troublesome." I feel like I'm about to meet Darth Vader.
As I examine my tape recorder to ensure that everything is in working order (I'm always worried that it will break down), a grim scenario plays itself repeatedly in my brain: The interview has commenced. I ask my first question --"How does this version Deep Purple differ from past formations?" Blackmore stares at me, his features growing black with rage.
“How dare you ask me that?” he barks. "Take that!" He bops me over the head with a white Strat, which falls all around me in splinters. The angry man rises and stalks out. End of interview.
I return to an uneasy reality, but calm myself with the thought that my guitar hero can't possibly be such an ogre. Then I remember that as a youth, Blackmore had a penchant for throwing eggs, tomatoes and four-pound bags of flour from moving vehicles at passersby (with particular preference, presumably, for elderly women in wheelchairs.)
At last, a member of Blackmore's entourage comes by to say that the great one is ready. We enter the dimly-lit dining area to the accompaniment of mellow piano music, diners' chattering and dishes clattering, and seat ourselves. After a few moments, we are joined by Ritchie Blackmore.
He looks great -- better than he did ten years ago, which is far more than can be said of most longtime rockers. As usual, he's dressed in black, except for a white ruffled shirt that makes him look like a French nobleman. He grasps our outstretched hands ("a good sign," I think) and we introduce ourselves. Blackmore seats himself, and orders a beer.
"Are you ready?" I ask, and Blackmore nods his assent. But before I can ask the first question, he points at my tape recorder and in thick British tones says, "By the way, that's not on."
"Oh no," I think. "The tape's busted!" My worst fears, realized. Tolinski stares at me, horror etched on his features. I examine the contraption, but it seems to be running smoothly. I turn to Blackmore, a bit befuddled, and insist, "It's moving. It's on.”
"Just checking," he says slyly. And with that, the interview commences. Within a few dizzying moments he demonstrates that, his reputation notwithstanding, he is a hell of a nice guy, funny -- a great dude to hang out with. He even performs a magic trick, changing a nickel into a quarter before our very appreciative eyes.
Two hours pass. The restaurant 's proprietor stops by to announce, "Closing time." I wholeheartedly thank Ritchie for being so cooperative. "Thank you for being so attentive," says this amiable bane of rock journalists.
GUITAR WORLD: How does this edition of Deep Purple differ from past formations?
Musically, I would say the singer doesn't drink as much. [laughs] But seriously, the older I get, the more I want to hear melodies. We really worked hard on constructing good, memorable songs and interesting chord progressions. That 's what excites me at the moment.
It also helped that our new singer, Joe Lynn Turner, writes and sings great melodies. With Joe, we didn't have to rely as much on heavy riffs. When I was 20, I didn't give a damn about song construction. I just wanted to make as much noise and play as fast and as loud as possible.
As a guitarist, what were you looking to do differently on this new record? For instance, the solo on "King Of Dreams" has an exotic tinge that doesn't appear in any of your previous work.
I wanted that solo to evoke a certain mood. It isn't meant to be a pointless exercise in speed; that's why it's very sparse. I was trying to make it an extension of the vocal melody and have it express something that was connected to the bloody song. I didn't want to just show off some trick I'd learned at the music store on Saturday morning.
When writing, or when engaged in preproduction for an album, do you work solos out in advance?
I never work out my leads. Everything I do is usually totally spontaneous. If someone says, "That was good; play that again," I'm not able to do it. The only solo I've committed to memory is "Highway Star" [from I972's Machine Head]. I like playing that semitone run in the middle.
[Keyboardist] Jon Lord plays more textures, rather than actual lines, on this new album.
Jon likes to see what I'm going to do and he enhances that. He's not a leader; he likes to follow.
Is that why your relationship has lasted so long?
Yes, because we don't tread on each other's toes.
Let's go back to the beginning of Deep Purple. How did you and Jon meet?
I met him in a transvestite bar in '68, in Hamburg, Germany. [laughs] Back in the late Sixties, there were few organists who could play like Jon. We shared the same taste in music. We loved Vanilla Fudge -- they were our heroes. They used to play London's Speakeasy and all the hippies used to go there to hang out -- Clapton, The Beatles -- everybody went there to pose. According to legend, the talk of the town during that period was Jimi Hendrix, but that's not true. It was Vanilla Fudge. They played eight-minute songs, with dynamics. People said, "What the hell's going on here? How come it's not three minutes?" Timmy Bogert, their bassist, was amazing. The whole group was way ahead of its time.
So, initially we wanted to be a Vanilla Fudge clone. But our singer, Ian, wanted to be Edgar Winter. He'd say, "I want to scream like that, like Edgar Winter." So that's what we were -- Vanilla Fudge with Edgar Winter!
After your breakthrough record, Concerto For Group And Orchestra [1970] with The Royal Philharmonic Orchestra, your playing took a more aggressive turn. In Rock [1970] almost became the blueprint for all subsequent Purple records.
I became tired of playing with orchestras. In Rock was my way of rebelling against a certain classical element in the band. Ian Gillan, Roger Glover and I wanted to be a hard rock band -- we wanted to play rock and roll only. So off we went in that direction.
I felt that the whole orchestra thing was a bit tame. I mean, you're playing in the Royal Albert Hall, and the audience sits there with folded arms, and you're standing there playing next to a violinist who holds his ears every time you take a solo. It doesn't make you feel particularly inspired.
You started using the vibrato bar extensively on In Rock.
Yes, that's right. I'd seen the James Cotton Blues Band at the Fillmore East, and the guitarist in the band played with the vibrato bar. He got the most amazing sounds. Right after seeing him, I started using the bar. Hendrix inspired me, too.
You used to give the whammy bar a real workout.
I went crazy with it. I used to have quarter-inch bars made for me because I'd keep snapping the normal kind. My repairman would look at me strangely and say, "What are you doing to these tremolo bars?" Finally, he gave me this gigantic tremolo arm made of half-an-inch of solid iron and said, "Here. If you break this thing, I don't wanna know about it!"
About three weeks later I went back to the shop. He looked at me and said, "No -- you haven't." And I said, "Yes, I have." In graphic detail, I explained to him how I would twirl the guitar around by the bar, throw it to the floor, put my foot on it and pull the bar off with two hands. He was a bit of a purist, so he wasn't amused.
There is a lot of unusual noise during the final solo of "Hard Lovin' Man" [In Rock]. Is that you, throwing your guitar around in the studio?
If I remember right, I was knocking my guitar up and down against a door in the control room. The engineer looked at me oddly. He was one of your typical, old-school engineers. Like my repairman, he wasn't amused, either.
Did you ever try a locking-nut tremolo system?
No. I don't use the twang bar anymore. It's become too popular.
Between In Rock and Fireball [1971], you switched from Gibsons to Fender Strats. How did that affect your playing style?
It was difficult, because it's much easier to flow across the strings on a Gibson. Fenders have more tension, so you have to fight them a little bit. I had a hell of a time. But I stuck with the Fenders because I was so taken with their sound, especially when they were paired with a wah-wah.
Around Fireball and Machine Head [1972], your playing took on a blues and funk edge. Did Hendrix have anything to do with that?
I was impressed by Hendrix. Not so much by his playing, as his attitude -- he wasn't a great player, but everything else about him was brilliant. Even the way he walked was amazing. His guitar playing, though, was always a little bit weird. Hendrix inspired me, but I was still more into Wes Montgomery. I was also into the Allman Brothers around the time of those albums.
What do you think of Stevie Ray Vaughan?
I knew that question was coming. His death was very tragic, but I'm surprised that everybody thinks he was such a brilliant player when there are people like Buddy Guy, Albert Collins, Peter Green and Mick Taylor; Johnny Winter, who is one of the best blues players in the world, is also very underrated. His vibrato is incredible.
Stevie Ray Vaughan was very intense. Maybe that's what caught everybody's attention. As a player, he didn't do anything amazing.
How did you develop your own unique finger vibrato style?
In my early days, I never used finger vibrato at all. I originally carved my reputation as one of the "fast" guitar players. Than I heard Eric Clapton. I remember saying to him, "You have a strange style. Do you play with that vibrato stuff?" Really an idiotic question. But he was a nice guy about it. Right after that I started working on my vibrato. It took about two or three years for me to develop any technique. Around '68 or '69 you suddenly hear it in my playing.
I've noticed that your rhythm parts aren't always played with a pick.
That's from being lazy. It's like Jeff Beck -- when he can't find a pick, he just plays with his fingers. You know how it is. You're watching television and you can't find a pick, so you just play with your fingers. Even on something as simple as the riff to "Smoke On The Water," you 'd be surprised at how many people play that with down strokes, as though it were chords. I pluck the riff, which makes a world of difference. Otherwise, you're just hitting the tonic before the fifth.
Why do you think that, of all your work, "Smoke On The Water" is so enduring? The riff is the rock equivalent to the opening of Beethoven's Fifth Symphony.
Simplicity is the key. And it is simple -- you can still hear people playing it at music stores. I never had the courage to write until I heard "I Can't Explain" and "My Generation." Those riffs were so straightforward that I thought, "All right, if Pete Townshend can get away with that, then I can, too!"
What did you think of Tommy Bolin when he took your place in Deep Purple, following your '74 departure?
I originally heard him on Billy Cobham's Spectrum album, and thought, "Who is this guy?" Then I saw him on television and he looked incredible -- like Elvis Presley. I knew he was gonna be big.
When I heard that Purple hired him I thought it was great. He was always so humble. I remember he would always invite me out to his house in Hollywood to see his guitar. One day I went to his place. I walked in and tried to find him, but no one was around. There were no furnishings -- nothing. I stayed there for ten minutes before he finally appeared. He showed me his guitar, and the strings must have had a quarter-inch of grime on them, as though he hadn't changed them in four years. I asked him when was the last time he'd changed strings, and he said very seriously, "Gee, I don't know. Do you think I should change them?"
Following your departure from Purple, you drifted back to a slightly classical direction in Rainbow.
I was never sure what I wanted to be. I found the blues too limiting, too confining. I'd always thought -- with all due respect to B.B. King -- that you couldn't just play four notes. Classical, on the other hand, was always too disciplined. I was always playing between the two, stuck in a musical no-man's land.
Did you ever toy with the idea of playing strictly classical music?
Yes. I would love to go back to the 1520s, the time of my favorite music. A few of my friends in Germany have a very authentic four-piece, and they play medieval music. I've always wanted to play with them, but it hasn't panned out yet. But in general, I'm not good enough, technically, to be a classical musician. I lack discipline. When you're dealing with classical music, you have to be rigid. I'm not a rigid player. I like to improvise.
The song "Stargazer," from the second Rainbow album [Rainbows Rising, 1976], has a strong classical feel. How did you come up with that one?
That was a good tune. I wrote that on the cello. I had given up on the guitar between '75 and '78. I completely lost interest. I was sick of hearing other guitar players and I was tired of my tunes. What I really wanted to be was Jacqueline DuPrey on cello. So I started playing cello.
Did you ever record with a cello?
Yes, just on a small backing track -- I can't remember on what. But you have to give your whole life to a cello. When I realized that, I went back to the guitar and just turned the volume up a bit louder.
Was there anything you learned from the cello that you applied to the guitar?
Not really. The cello is such a melancholy instrument, such an isolated, miserable instrument.... But it was an appropriate choice for me at the time, because my girlfriend had left me and I was going through this miserable phase.
What do you think of Yngwie Malmsteen? He's often credited you as an influence.
He's always been very nice to me, and I always get on very well with him. I don't understand him, though -- his playing, what he wears. His movements are also a bit creepy. Normally you say, "Well, the guy's just an idiot." But, when you hear him play you think, "This guy's no idiot. He knows what he's doing." He's got to calm down. He's not Paganini -- though he thinks he is. When Yngwie can break all of his strings but one, and play the same piece on one string, then I'll be impressed. In three or four years, we'll probably hear some good stuff from him.
What do you think of tapping?
Thank goodness it's come to an end. The first person I saw doing that hammer-on stuff was Harvey Mandel, at the Whisky A Go-Go in '68. I thought "What the hell is he doing?" It was so funny [laughs], Jim Morrison was carried out because he was shouting abuse at the band. Jimi Hendrix was there. We were all getting drunk. Then Harvey Mandel starts doing this stuff [mimes tapping]. "What's he doing?" everybody was saying. Even the audience stopped dancing. Obviously, Eddie Van Halen must have picked up a few of those things.
What do you think of him?
It depends on my mood. He is probably the most influential player in the last 15 years 'cause everybody's gone out and bought one of those, what does he play, Charvel, Carvel ...
Kramer, with the locking nut.
Yes, with the locking nut! And everyone's gone hammer-on crazy! So he's obviously done something. He's a great guitar player, but I'm more impressed by his recent songwriting and keyboard work. I think he's going to be remembered -- he could be the next Cole Porter.
How do you feel about your own guitar hero status?
It's funny to find myself in that position, because when I first came to America I thought, "Why go to America when they have these fantastic players?" I was brought up on [pedal steel great] Speedy West and [country guitarist] Jimmy Bryant, people like that. When I was 13 years old, I couldn't believe how good they were. I thought, "When I go to America, I'm going to get killed."
Everything changed when we had a hit with "Hush." I found people saying, "Oh, you play guitar really well." I'd say, "How can you say that when you've got these guys in Nashville who just tear me apart?" I still say it. If you tune into Hee Haw you'll see these guys who are absolutely amazing. Jeff Beck once told me that he went to Nashville to do a record. While he was in the studio, this guy who was sweeping up asked him, "Can I borrow your guitar for a second?" Jeff said, "Oh, of course." The guy started playing and completely blew Jeff away. He left soon after that. Thank goodness all those amazing players stay in Nashville!
Has your approach to sound processing changed? Have you checked out any of these multi-effects racks?
I don't put myself on Jeff Beck's level, but I can relate to him when he says he'd rather be working on his car collection than playing the guitar. I'm enjoying other things in life, but when I do pick up the guitar, I want to simply plug into a loud amplifier, and that's it. Maybe if I were 20, I'd pay more attention to equipment trends; at 45, you start to go in other directions. I get turned on by soccer shoes; I listen to Renaissance music -- those are the things that really stir my soul.
There are so many effects and new guitar players. I can't comprehend it all. When you hear them, you suddenly realize that they all sound the same -- like Eddie Van Halen, speeded up.
Do you have a home studio?
No, I don't. It's gotten out of hand -- everybody has their own studio. I'd rather write something on the spur of the moment, while doing a formal recording. I believe in inspiration.
What does the future hold for you?
I'm very moved by Renaissance music, but I still love to play hard rock -- though only if it's sophisticated and has some thought behind it. I don't want to throw myself on a stage and act silly, 'cause I see so many bands doing that today. There's a lot going on today that disturbs me -- so much derivative music. Where are the progressive bands like Cream, Procul Harum, Jethro Tull or the Experience? I could go on, but we have to live with it.
A few years ago, the editors of Guitar World magazine compiled what we feel is the ultimate guide to the 100 Greatest Guitar Solos of All Time.
The list, which has been quoted by countless artists, websites and publications around the world, starts with Richie Sambora's work on Bon Jovi's “Wanted Dead or Alive” (Number 100) and builds to a truly epic finish with Jimmy Page's solo on "Stairway to Heaven" (Number 1).
We've kicked off a summer blockbuster of our own — a no-holds-barred six-string shootout. We're pitting Guitar World's top 64 guitar solos against each other in an NCAA-style, 64-team single-elimination tournament. Every day, we will ask you to cast your vote in a different guitar-solo matchup as dictated by the 64-team-style bracket.
You can vote only once per matchup. The voting for each matchup ends as soon as the next matchup is posted (Basically, that's one poll per day during the first round of elimination, including weekends and holidays).
In some cases, genre will clash against genre; a thrash solo might compete against a Southern rock solo, for instance. But let's get real: They're all guitar solos, played on guitars, by guitarists, most of them in some subset of the umbrella genre of rock. When choosing, it might have to come down to, "Which solo is more original and creative? Which is more iconic? or Which one kicks a larger, more impressive assemblage of asses?"
Yesterday's Results
Winner:"Stairway to Heaven" (91.94 percent) Loser:"Little Red Corvette" (8.06 percent)
Today's Round 1 Matchup (Day 21): "November Rain" Vs. "You Really Got Me"
Today, we have another example of a very highly ranked guitar solo — Slash's solo on Guns N' Roses'"November Rain" (06) going up against one of the lowest-ranked solos in the 64-solo bracket, "You Really Got Me" (59), played by Dave Davies of the Kinks. As we wrote yesterday morning before "Stairway to Heaven" (01) clobbered "Little Red Corvette" (64), it had to happen sooner or later! Anyway, get busy! You'll find the poll at the very bottom of the story.
06. “November Rain” Soloist: Slash Album: Guns N’ Roses—Use Your Illusion I (Geffen, 1991)
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A few years ago, the editors of Guitar World magazine compiled what we feel is the ultimate guide to the 100 Greatest Guitar Solos of All Time.
The list, which has been quoted by countless artists, websites and publications around the world, starts with Richie Sambora's work on Bon Jovi's “Wanted Dead or Alive” (Number 100) and builds to a truly epic finish with Jimmy Page's solo on "Stairway to Heaven" (Number 1).
We've kicked off a summer blockbuster of our own — a no-holds-barred six-string shootout. We're pitting Guitar World's top 64 guitar solos against each other in an NCAA-style, 64-team single-elimination tournament. Every day, we will ask you to cast your vote in a different guitar-solo matchup as dictated by the 64-team-style bracket.
You can vote only once per matchup. The voting for each matchup ends as soon as the next matchup is posted (Basically, that's one poll per day during the first round of elimination, including weekends and holidays).
In some cases, genre will clash against genre; a thrash solo might compete against a Southern rock solo, for instance. But let's get real: They're all guitar solos, played on guitars, by guitarists, most of them in some subset of the umbrella genre of rock. When choosing, it might have to come down to, "Which solo is more original and creative? Which is more iconic? or Which one kicks a larger, more impressive assemblage of asses?"
Yesterday's Results
Winner:"November Rain" (79.36 percent) Loser:"You Really Got Me" (20.64 percent)
Today's Round 1 Matchup (Day 22): "Bohemian Rhapsody" Vs. "Light My Fire"
Today, Brian May's guitar solo on Queen's "Bohemian Rhapsody" (20) squares off against Robby Krieger's solo on the Doors'"Light My Fire" (45). Get busy! You'll find the poll at the very bottom of the story.
20. “Bohemian Rhapsody” Soloist: Brian May Album: Queen—A Night at the Opera (Hollywood, 1975)
“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.”
45. "Light My Fire" Soloist: Robby Krieger Album: The Doors—The Doors (Elektra, 1967)
“Light My Fire” was one of the first songs ever written by Robby Krieger, and his extended solo on the album version was also one of his shining moments as a guitarist. Ironically, however, in order for “Light My Fire” to become a hit for the Doors and Krieger the songwriter, Krieger the guitarist had to swallow his pride and allow his masterly two-and-a-half-minute solo to be trimmed down to its essential opening and closing themes for use on the single.
“That always bothered me,” Krieger readily admits. “We never wanted to cut it, but our first single, ‘Break on Through,’ flopped and radio stations told us that ‘Light My Fire’ would be a hit if we cut it down. We didn’t have much choice because AM radio ruled everything, and if you wanted to get on AM you had to have a short song.”
The longer solo now regularly broadcast on the radio in its entirety is a perfect distillation of Krieger’s style. A flamenco-trained guitarist who played with his fingers and often evoked sitar-like Eastern sounds with his Gibson SG, Krieger pulled out all the stops on “Light My Fire.” Still, the guitarist says that the complete version on the album is far from his finest effort. “It was the kind of solo that I usually did, but it was different every night. To be honest, the one on the album is not one of my better takes. I only had two tries at it. But it’s not bad; I’m glad that it was as good as it was.”
The following content is related to the August 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.
Today’s digital modeling technology delivers many very impressive sounds, but sometimes playing through even the best amp models feel like you’re wearing someone else’s clothes. If you own some of the same amps commonly found in modeling software and products, you know what I’m talking about. While many models sound great, they may not sound quite as good as that vintage Marshall “Plexi” you sought for more than a decade until the right one came along, or that magical tweed Fender you own that has its own personality.
The Kemper Profiling Amp revolutionizes the digital modeling by enabling users to create their own models of any amp and swap and share thousands of models with a vibrant online community of Kemper owners.
The Associated Press reports that Boston guitarist Tom Scholz has been ordered to pay $132,000 to the Boston Herald newspaper for court fees resulting from Scholz unsuccessful lawsuit against the newspaper.
The lawsuit was centered around Scholz's claim that the Herald suggested Scholz was responsible for the 2007 suicide of Boston singer Brad Delp.
A Superior Court judge recently ruled that the Herald couldn't be held liable for defaming Scholz because it is not impossible to know what caused the singer to commit suicide. The judge ordered the guitarist to pay for court costs, including stenography services, transcribing depositions, filing fees and more.
Scholz's attorneys say he shouldn't have to pay the fees, but the judge disagrees, saying that such costs could effect "free expression of ideas and opinions by media defendants."
Scholz founded Boston in the 1970s. Check out Guitar World's 2006 interview with Scholz right here. For more about Delp's suicide, check out this 2007 GuitarWorld.com story.
