The guys over at MetallicaTV have posted official footage from Metallica's June 9 performance at the Pinkpop festival in Landgraaf, Netherlands.
The 26-minute clip includes warmup footage, plus "Ride The Lightning" and "Wherever I May Roam" from the actual show. Of course, there's a bit more going on ...
The capo is to guitars what sugar — or Stevia, if you prefer — is to food.
It makes everything sweeter.
Musicians started noticing the capo's inherent sound-sweetening properties in the early 17th century, when primitive versions of the handy accessory were employed to raise the pitch of a host of fretted instruments.
The point of a capo is, of course, to be able to perform a song in a different key while using the same fingerings and chord formations you'd use in an open position. This enables performers to stick to positions they're more comfortable with and to enjoy all the benefits — including ringing, open strings — high up on the neck.
Capos also facilitate or create alternate chord voicings and help performers accentuate certain melody lines in a song. Of course, the higher up the neck you go with a capo, the more you change the voicing of the guitar — to the point that you can even imitate a mandolin, as demonstrated by music editor Jimmy Brown (our own "Capo Crusader") in the May 2014 issue of Guitar World (which is still available).
Former Eagle Don Felder says it best in the top video below, which he created for Guitar World:
"When I originally wrote ['Hotel California'], it was in the key of E minor, which is a really great guitar key to play in and write in. We recorded the whole track in E minor, and then Don Henley went out and tried singing it ... and it was way too high for him ... . So I took a guitar, went out in the studio and said, 'OK, let's move it down to D minor.' Still too high ... C minor, a little bit too high; A minor; no, that's too low. It wound up being in the key of B minor, which is on the seventh fret."
The seventh fret is exactly where Felder's capo wound up; the song is played as if it were in E minor.
Below, members of the Guitar World staff — including Jimmy Brown, tech editor Paul Riario and online managing editor Damian Fanelli — have rounded up 15 essential "capo songs"— out of hundreds of worthy choices — that show off the benefits of, and alternate voicings created by, the capo. We tried to make sure no bands are repeated (although three bands are, indeed, repeated); we also set out to create a well-rounded, diverse list.
Note also that we've chosen videos that aren't necessarily vintage or classic — or that don't even show the "classic" lineups of certain bands; they do, however, show the capo'd guitar being played (in most cases, at least).
Feel free to suggest other capo songs in the comments below or on Facebook!
"Hotel California"
The Eagles | Capo 7
As stated earlier, to play the Eagles'"Hotel California" in its original key, try using a capo on the seventh fret. The song is played as if it were in E minor, the song's original key, as explained by Don Felder above (and in the top video below). This makes the song "sound" in B minor. Note: The capo is used on the acoustic guitar part that starts the song.
In the top lesson video below, Fender also shows you how to play part of the guitar solo (Note that Felder plays "Hotel California" in A minor now because he sings it when he performs it, and it works better with his vocal range). Below that, you'll find a clip of Felder performing the entire song with his band (Remember, we sought videos that best display the capo and fingering).
"Aqualung"
Jethro Tull | Capo 3
This classic 1971 Jethro Tull tune features a capo on the third fret — for the acoustic guitar part, that is, which is performed by Ian Anderson in the vintage live video below. The acoustic part is played as if it were in E minor, but it "sounds" in G minor. Don't worry, we'll have more classic Tull for you later in the list!
"Wonderwall"
Oasis | Capo 2
Jumping ahead to the height of the Britpop-dominated mid-Nineties, we bring you one of the songs Oasis will be remembered for — "Wonderwall," which was composed by Noel Gallagher. To play the song in its original key (as thousands of wide-eyed kids of all ages sing along with you), put a capo on the second fret and play the song as if it were in E minor. It, of course, "sounds" in F# minor.
"The Real Me"
The Who | Capo 3
Although this one doesn't normally leap to mind when one thinks of "popular capo tunes," this rocking Quadrophenia track from 1973 was recorded by Pete Townshend using a capo on the third fret. The song, which is played as if it were in a power-chord-friendly A, "sounds" in C.
"Here Comes the Sun"
The Beatles | Capo 7
George Harrison was fond of sticking a capo on the seventh fret of his guitar and playing songs in the "D" formation that sound like they're in A. He did it on the Beatles'"If I Needed Someone" and followed it up a few years later with 1969's "Here Comes the Sun," one of his greatest compositions.
You'll find two videos below. The first one is a "Here Comes the Sun" lesson by Jimmy Brown. Below that, you'll find a clip of Harrison playing the song live. Although we tried to find the superior two-guitar performance from the Concert for Bangladesh, this much later video below shows Harrison's fingering nicely.
"The Chain"
Fleetwood Mac | Capo 2
This classic Fleetwood Mac song is played in drop-D tuning — the studio version, that is — with a capo on the second fret. The song, which emphasizes a "swampy stomp" groove, incorporates an octave bass line on the guitar and some greasy finger picking.
"Free Fallin'"
Tom Petty | Capo info below
"Free Fallin'," the most popular track from Petty's first "solo" album, 1989's Full Moon Fever, was played like so:
• Capo 1 main, low guitar part and second, higher guitar part (played as if the song were in E; sounds in F.)
• Capo 3 third guitar part (played as if the song were in D; sounds in F.)
In this song in particular, we hear the capo truly "sweeten up" the beefy chords.
"Fire and Rain"
James Taylor | Capo 3
This beautiful song by James Taylor is played as if it were in the key of A. It "sounds" in C. It features open-chord embellishments and sliding chord shapes.
"Don't Think Twice, It's All Right"
Bob Dylan | Capo 4
When we spoke to Ed Sheeran a few months ago, we asked him to name a few acoustic guitar songs every guitarist should know how to play. He named this one, a bouncy track from Bob Dylan's 1963 album, The Freewheelin' Bob Dylan. At least John Mayer knows how to play it — and we've included his live video below.
Note that there aren't many (or any) videos on YouTube that show Dylan playing this song the way he played it in '63. There is, however, an interesting clip of Dylan performing the song with Eric Clapton. By the way, "Blowin' in the Wind" is another fine capo tune by Dylan (capo 7).
Almost forgot: For "Don't Think Twice, It's All Right," it's capo 4; play a C chord; "sounds" in E! There are some fun changes in this tune.
"No Sugar Tonight"
The Guess Who | Capo 4
This classic Guess Who tune — which is performed with a capo as a straight chord melody — is played as if it were in D. It "sounds" in F#. Note: We're talking about the original version. In the video below, you'll notice the capo doesn't play a huge role in the song in modern times.
"Norwegian Wood (This Bird Has Flown)"
The Beatles | Capo 2
This late-1965 Beatles song is played as if it were in the key of D, but it "sounds" in E, with a capo on the second fret. Right-hand-wise, it's a "strum-picky" chord melody — not quite picking, not quite strumming. Because there are no videos of the Beatles performing this song live (because it never happened), we've provided a basic (non-Guitar World) lesson video that shows everything clearly, including the capo on the second fret, the chords and embellishments.
"Cat's in the Cradle"
Harry Chapin | Capo 8
This 1974 Harry Chapin tune is played as if it were in the key of A but "sounds" in F. It's another example of a "chord melody" piece.
"Thick As a Brick"
Jethro Tull | Capo 3 (acoustic guitar)
This classic Jethro Tull tune is played as if it were in D, but it "sounds" in F. It is packed with rolling arpeggios that make non-stop — and awesome — use of the capo.
"Landslide"
Fleetwood Mac | Capo 3
We don't like to repeat bands in our lists (OK, we've already done it with the Beatles and Jethro Tull), but it's difficult to leave out this Fleetwood Mac tune. The song, which highlights a form of Travis picking, is played as if it were in the key of C. It "sounds" in Eb.
"I Am a Pilgrim" / "Soldier's Joy"
Clarence White | Capo 2 ("Soldier's Joy," 3:47 in the video)
Here's a curve ball for you — a selection from the world of bluegrass. Here's Clarence White (on the left, with the beard) performing a medley of "I Am a Pilgrim" and "Soldier's Joy" with his brother, Roland, on mandolin and Bob Baxter on second guitar (later joined by Byron Berline on fiddle and Alan Munde on banjo for "Soldier's Joy").
The clip is rare in that it shows White's fingering and fretwork up close. Second, there's White unusual sense of timing in the first tune ("I Am a Pilgrim"); it's as if he's throwing in chord substitutions like a jazzer, while Roland plays it straight on mandolin. It can be a little disconcerting and confusing (but I love it). But pay close attention to the second tune (starts at 3:47), which is a traditional fiddle tune adapted to guitar. It is almost always played with a capo on the second fret, in D, although played with a C chord.
For more about White, check out "White Lightning: Ode to the Original B-Bender, Clarence White of The Byrds and Kentucky Colonels."
If you'd like to download recordings of White playing "Soldier's Joy," check out the following albums on iTunes: Long Journey Home by the Kentucky Colonels; A Potpourri of Bluegrass Jam by Muleskinner; Live in Holland 1973 by the New Kentucky Colonels; Live at Royal Albert Hall 1971 by the Byrds.
Damian Fanelli is the online managing editor at Guitar World. Follow him on Twitter.
Happy Independence Day, everyone!
In honor of this week's holiday, I originally — and simply — wanted to share a grainy, vintage video of my all-time favorite guitarist, Stevie Ray Vaughan, performing "The Star-Spangled Banner" in ancient times.
But then I noticed Steve Vai's particularly awesome version of the song ... and Yngwie Malmsteen's recent version ... and Eric Johnson's version — and then I found versions by Slash and Dave Mustaine ... and, of course, there's the granddaddy of them all, Jimi Hendrix at Woodstock.
So I figured the more, the merrier! I could've kept on going (There's always Cliff Burton's version, and a commenter mentioned Neal Schon), but I think eight versions of the same song gets the point across, and this represents a nice mix of styles.
Feel free to compare and contrast!
Happy holiday!
TED NUGENT
STEVE VAI
YNGWIE MALMSTEEN
SLASH
DAVE MUSTAINE
ERIC JOHNSON
STEVIE RAY VAUGHANNOTE: This one needs to be edited!
JIMI HENDRIX
Damian Fanelli is the online managing editor at Guitar World.
The Martin family continues to grow with the additions of The Milk Carton Kids, Colbie Caillat, and NEEDTOBREATHE.
The contemporary folk duo, the Milk Carton Kids, have the music world buzzing!
The duo is comprised of Kenneth Pattengale and Joey Ryan who have been selling out shows and racking up the music award nominations.
The Milk Carton Kids just released their first DVD - The Milk Carton Kids Live From Lincoln Center and have been nominated for Duo/Group of the year at the Americana Awards. Their preferred Martin is the 00-15M.
Learn more about the Milk Carton Kids here.
Martin Ambassador Colbie Caillat surprised fans on June 9 by releasing five new songs off her EP Gypsy Side Heart Side A. The new tracks include her empowering single “Try” which was featured as an iTunes Song of the Week. The Martin Ambassador plans to release more songs in the coming months. Learn more about Colbie Caillat here.
The alternative rock band NEEDTOBREATHE has recently joined the Martin Family! The band hails from South Carolina and is comprised of Bear Rinehart, Bo Reinhart, and Seth Bolt. They are currently headlining a North American tour in support of their album Rivers In The Wasteland.The band opts for a Martin D-41. Discover more about NEEDTOBREATHE here.
Find out more about Martin Guitar at www.martinguitar.com.
If you’re a Metallica fan, the August 2014 issue of Guitar World is for you!
The issue delves deep inside of the band’s second album – the electrifying Ride The Lightning– with Kirk Hammett as your guide.
As the album’s lone ballad – and Metallica’s very first – “Fade To Black” has become one of the band’s most legendary songs.
Here, check out fingerstyle guitarist Kelly Valleau deliver his own rendition of the track.
Full of classically-inspired flourishes, the composition lends itself perfectly to Valleau’s fluid playing style.
What might be most impressive about this video is Valleau's ability to play Hammett’s solo while picking through the chord changes at the same time.
Watch for yourself!
Find out more at kellyvalleau.com.
For this column, I've responded to a great question from a reader — Zachary in Houston, Texas.
"Dave: What is your favorite scale to use when playing heavy metal?"
Thanks for the question! Harmonic minor is always a very cool choice and a favorite of mine. It’s great to use when you’re improvising or coming up with song ideas and lead parts.
So many impressive players have made great use of it in their songs — guys like Uli Jon Roth, Yngwie Malmsteen, Ritchie Blackmore, Steve Vai and many others. Mozart also was a big fan.
If you want to hear how I use it, check out my song “Devils Roadmap” below:
Listen to my guitar solo from 3:22 to 3:40 to hear the scale in action. It’s a fun scale; you can map out crazy three-note-per-string runs all across the fretboard.
I also like the pentatonic scale. Pentatonic is huge in metal for a reason: It sounds good in so many situations. Zakk Wylde, Frank Marino and Dave Mustaine are amazing players who have used it to great effect over the decades.
• Pentatonic Scale (1, b3, 4, 5, b7). For example, in the key of E, that would be E, G, A, B, D.
My solo on “I Just Don’t Want to Say Goodbye” is a favorite of mine, and I basically stick to straight-up minor pentatonic. The solo is from 3:26 to 4:37:
Even though I'm a trained musician, I'm still very much a self-taught player in my heart and mind and in the way I think and approach things.
I use the approach of just going for it and seeing what happens when I play leads and improvise. Knowledge is great as a guide, but when I’m writing, I just go for it. Usually, my best stuff happens when I'm not over-thinking it.
I come from the Marty Friedman school of thought when it comes to scales. Marty had a great instructional DVD out where he talked about how players can get caught up thinking that they need to know tons of scales. He goes on to say you can just make up your own scales.
I teach my students to think in this freethinking style. For example, take the simple pentatonic scale and improvise over a riff or chord progression and throw in any chromatic passing tones you like. Practice this approach and see what sounds cool to your ears!
The so-called “wrong notes” people might tell you to not play are sometimes the ones that sound amazing against the riff and really make your playing stand out. Take Marty's playing on Megadeth's Rust In Peace. He is throwing in all kinds of exotic scales and interesting note choices all over the place.
Below, check out some great scales to add into your arsenal when you're trying to write. I’ll put these in the key of E to keep it easy, but you can move these to any key.
• Harmonic Minor (1, 2, b3, 4, 5 b6, 7) or (E, F#, G, A, B, C, D#). Like I said, Yngwie Malmsteen and Uli Jon Roth love this scale, but you can hear it from Michael Schenker, Ritchie Blackmore and many others.
• Phrygian Dominant (1, b2, 3, 4, 5, b6, b7) or (E, F, G#, A, B, C, D). This scale is simply the 5th mode of the harmonic minor scale. If you listen to Iron Maiden’s “Powerslave” you can hear this scale in action:
Al Di Meola’s “Egyptian Danza” is another great example of this scale in action. Notice a theme? This scale gets a very Egyptian-type sound!
• Gypsy Scale (1, b2, 3, 4, 5, b6, 7) or (E, F, G#, A, B, C, D#). This scale is the same as Phrygian dominant except for the natural 7, which this scale has. Any time you are improvising over a chord progression that has major chords that are a half step apart, this scale (as well as the Phrygian dominant) is a good choice. The Gypsy scale is cool to use when you're going for that whole snake-charming, exotic, "magic carpet ride" sound. Blackmore captured it very well on many tunes. “Gates of Babylon” by the Ronnie James Dio-fronted Rainbow is a good example.
• Hungarian Minor (1, 2, b3, #4, 5, b6, 7) or (E, F#, G, A#, B, C, D#). This is a cool-sounding scale. This works well over a minor (major 7) chord. The Hungarian gypsy minor and harmonic minor scales are used on Chris Broderick’s solo on Megadeth's “Head Crusher” from 2:58 to 3:24.
• Persian (1, b2, 3, 4, b5, b6, 7) or (E, F, G#, A, Bb, C, D#). This scale is cool and has that whole dark Middle Eastern feel to it. It’s got the flat 5 or “tri-tone” in there, which is always great for metal. That’s the interval that Marilyn Manson used on “The Beautiful People” or that Black Sabbath used on one of my all-time favorite songs, “Symptom of the Universe." You can get some crazy-sounding metal riffs out of this scale. It also works well for soloing over a (maj 7 #11) chord.
• Japanese Scale (1, b2, 4, 5, b6) or (E, F, A, B, C). Friedman, Jason Becker and so many other greats have used this one. Give it a try in your soloing. It works well in minor and major key progressions. Also, with the b2 in there, it makes for a good choice when working in a Phrygian-style situation.
• Chinese Scale (1, 2, 3, 5, 6) or (E, F#, G#, B, C#) In the Western world, we know this scale by its other name: major pentatonic. Bands like the Allman Brothers really dig its sound and use it quite a bit, as well as bluesmen like B.B. King.
Don’t forget the different modes of the major scale. These can be very helpful. Learn them and practice how to apply them all over your fretboard. I will put these in C to keep things easy.
• Ionian (Major Scale) (1, 2, 3, 4, 5, 6, 7) or (C, D, E, F, G, A, B)
• Dorian (1, 2, b3, 4, 5, 6, b7) or (D, E, F, G, A, B, C)
• Phrygian (1, b2, b3, 4, 5, b6, b7) or (E, F, G, A, B, C, D)
• Lydian (1, 2, 3, #4, 5, 6, 7) or (F, G, A, B, C, D, E)
• Mixolydian (1, 2, 3, 4, 5, 6, b7) or (G, A, B, C, D, E, F)
• Aeolian (Minor Scale) (1, 2, b3, 4, 5, b6, b7) or (A, B, C, D, E, F, G)
• Locrian (1, b2, b3, 4, b5, b6, b7) or (B, C, D, E, F, G, A)
Here's a cool trick someone showed me to help remember what order these modes go in: “I Don’t Punch Like Muhammad A Li.”
I= Ionian
Don’t= Dorian
Punch= Phrygian
Like= Lydian
Muhammad= Mixolydian
A= Aeolian
Li= Locrian.
Dave Reffett is a Berklee College of Music graduate and has worked with some of the best players in rock and metal. He is an instructor at (and the head of) the Hard Rock and Heavy Metal department at The Real School of Music in the metro Boston area. He also is a master clinician and a highly-in-demand private guitar teacher. He teaches lessons in person and worldwide via Skype. As an artist and performer, he is working on some soon-to-be revealed high-profile projects with A-list players in rock and metal. In 2009, he formed the musical project Shredding The Envelope and released the critically acclaimed album The Call Of The Flames. Dave also is an official artist endorsee for companies like Seymour Duncan, Gibson, Eminence and Esoterik Guitars, which in 2011 released a Dave Reffett signature model guitar, the DR-1. Dave has worked in the past at Sanctuary Records and Virgin Records, where he promoting acts like the Rolling Stones, Janet Jackson, Korn and Meat Loaf.
Dave Reffett headshot photo by Yolanda Sutherland
It's time for some more behind-the-scenes footage of Metallica!
The MetallicaTV crew has posted an official 18-minute video that shows the band rehearsing tunes July 1 in Rome, Italy, and then performing "Welcome Home (Sanitarium)" and "Blackened" from the actual show later that night.
By the way, in case you missed it, check out Fingerstyle Guitarist Kelly Valleau Covers Metallica’s “Fade to Black” — Video.
Enjoy!
The 2014-2015 1833 Shop Catalog is now available for download and takes you inside the studio with Martin!
The catalog features new arrivals to the 1833 Shop that includes tees, hats, guitar accessories, and much more.
Martin employees model the gear featured.
You can order your favorite Martin gear and accessories online or by visiting the 1833 Shop located in the Martin Factory in Nazareth, Pennsylvania.
Download the catalog here.
Find out more at www.martinguitar.com.
Here’s the world premiere of “Stuck” from South African folk-pop duo Connecting Stars.
The track kicks off with a catchy glockenspiel melody that's bound to stick in your head all day, while the the acoustic guitar sparkles at the center of the song, carrying the listener through.
While “Stuck” sounds happy, a deeper listen to the lyrics reveals more – “Am I waiting for lightning to strike me again / Am I willing to trade love for the next best thing,” the duo sings.
Either way you look at it, Martin and Cheryl Engel do an excellent job at delivering vocals with upbeat, crisp harmonies.
“We are so excited to be launching our first single in the US,” says the duo. “It’s been quite a journey so far and we cannot wait to share our full length debut album with fans in August!”
Take a listen to the premiere of “Stuck” below:
The upcoming self-titled debut release from Connecting Stars blends heartfelt lyrics with memorable melodies and understated production. The band has a knack for utilizing acoustic guitar and piano to create hauntingly beautiful melodies, while harmonies form the backbone of the of their unique and emotive sound.
Intertwined with strains of glockenspiel, ukulele, harmonica and mandolin, the album’s most remarkable and lyrically motivating songs draw on both painful and joyful life moments, while Martin and Cheryl Engel’s musical skill and intuitive interaction make for an unforgettable presentation.
The twelve bittersweet tracks on Connecting Stars take listeners on a musical and lyrical journey spanning the lofty highs and crushing lows of love found, lost or betrayed, as well as the confusion and helplessness when loved ones pass away or suffer needlessly.
Keep up with Connecting Stars here.
Regardless of your skill level, you can learn how to play lead guitar like a pro in just three hours with our Play Lead Guitar DVD.
This ultimate guide to lead guitar covers topics like minor pentatonic and bending for beginners, connecting scales and improvising melodies for intermediate players, and hybrid scales, tricks and harmonics for advanced guitarists. You'll rip like Metallica, shred like Van Halen, wail like Stevie Ray and learn how to do your own solos like a pro!
Learn techniques to solo like Jimi Hendrix, Jimmy Page, Stevie Ray Vaughan, Zakk Wylde, Slash and Yngwie Malmsteen.
There are more than three hours of lessons, including:
• Soloing over the Entire Fretboard
• Soloing over Chord Progressions
• Incorporating the Modes
• The Neoclassical Scales of Yngwie Malmsteen
• Fretboard Tapping like Van Halen and Randy Rhoads
• Natural and Artificial Pinch Harmonic Licks
• A Wealth of Alternate Picking and Legato Exercises.
The 'Play Lead Guitar' DVD is available now at the Guitar World Online Store for $14.95.
We've reached 2014's half-way point!
Actually, we're about a week late. Whatever. Either way, it's time to present Guitar World's picks for the 30 best albums of the year — so far.
Although our list, which you can find below, includes mostly new studio releases, it also includes EPs and high-profile reissues/remasters.
The list features staff-consensus picks plus several personal choices from individual editors. Of course, we can't get or listen to EVERY new release, so if you feel something is seriously missing, please let us know in the comments or on Facebook.
Enjoy our look back at the first half of the year — and join us in looking ahead to what the next six months have to offer!
All the new releases are presented in alphabetical order. As always, just click on each photo to take a closer look!
Today, GuitarWorld.com presents the exclusive premiere of a new video by Adelitas Way.
In the clip, which you can check out below, Adelitas Way frontman Rick DeJesus discusses "Undivided," a track off the band's new album, Stuck, which will be released July 29 via Virgin Records.
To create the album, the Las Vegas-based quartet joined forces with the Grammy-winning Nick Raskulinecz (Alice in Chains, Foo Fighters, Queens of the Stone Age) and holed up for eight weeks of nonstop recording in a cabin deep in the woods outside Nashville.
Fans who pre-order Stuck will receive downloads of their single “Dog on a Leash,” plus the album's title track and “A Different Kind of Animal” instantly via iTunes. Exclusives bundles are available at adelitaswaymusic.com and include several instant downloads and collectables. The album also is available for pre-order at iTunes.
The band will be playing dates in July (including a few with Three Days Grace) and August before heading out with the Pretty Reckless for a fall tour starting September 10. All official tour dates can be found below the video.
For more about Adelitas Way, visit adelitaswaymusic.com and facebook.com/adelitasway.
Adelitas Way on Tour 2014, Current Dates:
7/18/2014 Detroit, MI The Fillmore
7/20/2014 St. Louis, MO The Pageant
7/22/2014 Chicago, IL House of Blues
7/23/2014 Minneapolis, MN Myth Live
7/26/2014 Rapid City, SD Rushmore Plaza Civic Center
7/27/2014 Sioux Falls, SD The District
7/30/2014 Rock Springs, WY Sweetwater Events Complex
8/10/2014 Billings, MT MetraPark
9/10/2014 Boston, MA House of Blues*
9/12/2014 Silver Spring, MD The Fillmore*
9/13/2014 Philadelphia, PA Theatre of the Living Arts*
9/15/2014 Atlanta, GA The Masquerade*
9/17/2014 Myrtle Beach, SC House of Blues*
9/18/2014 Jacksonville beach, FL Free Bird Live*
9/19/2014 St. Petersburg, FL Mahaffey Theater*
9/20/2014 Lake Buena Vista, FL House of Blues*
9/21/2014 Fort Lauderdale, FL Revolution Live*
9/23/2014 Mobile, AL Soul Kitchen*
9/24/2014 New Orleans, LA House of Blues*
9/26/2014 Austin, TX Emo's*
9/28/2014 Houston, TX House of Blues*
9/30/2014 Tempe, AZ The Marquee Theatre*
10/2/2014 Reno, NV Knitting Factory*
10/3/2014 Portland, OR Wonder Ballroom*
10/4/2014 Seattle, WA El Corazon*
10/5/2014 Vancouver, B.C. Vogue Theatre*
10/8/2014 San Francisco, CA Regency Ballroom*
10/10/2014 Los Angeles, CA The Wiltern*
10/11/2014 Anaheim, CA House of Blues*
10/12/2014 San Diego, CA House of Blues*
10/16/2014 Salt Lake City, UT The Complex*
10/17/2014 Denver, CO The Fillmore Auditorium*
10/25/2014 Indianapolis, IN Deluxe @ Old National Centre*
10/28/2014 Columbus, OH Newport Music Hall*
10/29/2014 Cleveland, OH House of Blues*
10/30/2014 Toronto, ON The Sound Academy*
11/1/2014 Montreal, QC Olympia De Montreal*
11/4/2014 South Burlington, VT Higher Ground Ballroom*
11/6/2014 Portland, ME The Asylum*
11/7/2014 Hampton Beach, NH Hampton Beach Casino Ballroom*
11/8/2014 New York, NY Best Buy Theater*
*Marks dates with The Pretty Reckless. Additional dates will be announced throughout the summer.
Today, Converse announces the Fall 2014 Converse Chuck Taylor All Star Black Sabbath collection featuring three new styles inspired by one of the most iconic bands of all time.
The collaboration features highly acclaimed album artwork from Black Sabbath's classic records Never Say Die and Sabbath Bloody Sabbath as well as iconic live photography. The collection marks Black Sabbath's third footwear collaboration with Converse.
Since debuting in 1969, Black Sabbath have inspired millions through music. One of the most iconic bands of all time has once again teamed up with one of the most iconic sneakers of all time for a truly special Converse Chuck Taylor All Star collection.
The Converse Chuck Taylor All Star Black Sabbath collection will be available at Converse stores (converse.com) and Journey's (journeys.com) beginning Thursday, July 10, for $60. For more information about the collection visit converse.com/blacksabbath for more info about the collection.
Also be sure to check out the photo gallery and video below!
Below, check out a recently posted demo video for the ServoBender guitar.
What is it? It's the latest — and perhaps the most successful — attempt at replicating the sound of a 10-string pedal steel guitar using the six-string variety (You know, the thing most of us play). One could even call it a guitar/pedal steel hybrid.
While there are guitars with B-benders and G-benders (and both benders at the same time), the ServoBender uses four servos, all of which are mounted to a metal plate below the bridge. Each one has a spring-and-cam system made from 3D-printed parts.
The de-tuning is controlled by an Arduino and sustain pedals retrofitted with hall-effect sensors.
If you want (a lot) more info about the project, plus photos documenting the building process, head here, here and here. Also, be sure to let us know what you think of this guitar in the comments or on Facebook!
Electra Guitars is launching an updated and upgraded Invicta electric guitar model.
The new model is available worldwide through authorized distributors, dealers and in some areas, factory direct.
By releasing the historic Invicta, they also created the perfect opportunity to release the unvanquished innovative Five Position Coil Linkage System to provide guitarists with an assortment of tones unrivaled by other production builders.
The unique one-and-one-half-cutaway guitar body is made of ash and highlighted by a carved, quilted maple top. The medium C-shaped, maple set-in neck melts right into the sculpted heel with 22 jumbo frets, a 12-inch radius rosewood fretboard, mother-of-pearl inlays, GraphTech Tusq nut, a double-acting truss rod and a three-on-three headstock.
Tortoise binding is featured around the body, along both sides of the neck and crowning the entire headstock. Chrome hardware includes the new Electra tuning machine heads by Hipshot, large strap buttons and the TonePros bridge and stop tail piece system. Available finishes are Trans Ruby or Natural.
Based off of a two-humbucker, two-volume control system, Electra Guitars has created the Five Position Coil Linkage System. In addition to functioning like a standard two-pickup/three-way toggle configuration seen on other guitars, the new system provides the guitarist an array of nine pickup combinations and tones.
“We use tones like painters use color. The more colors a painter has at his or her disposal, the better the art can be. With tones, it’s no different. We feel the more tones a guitarist has to work with, the better the music can be” added Gene Ymiolek, Electra Guitars CEO.
Electra has built a diverse line of guitars and basses with street prices in the $599 to $999 price range.
For more information, visit electraguitar.com/pages/electra-invicta.
Be the worst person in the room if you’re the songwriter.
It’s one rule I’ve tried to follow and succeeded with to some degree.
In the case of recording, if I’m the worst person in the room, then my recording is going to be all the better for it.
It takes a lot to get to that sacred place; the recording studio. Why be comfortable? Why be safe. I should be pushed and ushered to new heights by those around me. Put the songs in a place where magic can happen. That is what I am there for.
With National Throat I had Kimon Kirk (Aimee Mann, Grant Lee Philips) on bass and Dave Brophy (Rachel Price, Melissa Ferrick) on drums so the rule was being followed.
There would be no need for a grid or even a click track. The three of us should be reacting in the moment as much as possible.
It's not so much lightning in a bottle for songs in the studio for me. It's that moment that can never be repeated and only existed because those 3+ humans were interacting with a song in certain space one moment in time.
Dave had the best knowledge of the tunes because we would play at the Plough and Stars in Cambridge MA every Monday night under the name Iron Harvest.
I’D say 60 % of my writing happens on my acoustic parlor Kay or my Gibson advance Jumbo. I would mess around like that with my new ideas and songs at home before heading out to the bar. We’d eat dinner before hand and I’d play the cell phone recordings I had for Dave. We would then play those tunes for the first time on the spot.
If a bunch of strangers who were out drinking on at midnight on a Monday turned around for “Sunken Ship” on the 1st time we played it we knew we were onto something. But that was the extent of the planning.
Sunken Ship
At Applehead Studio in Upstate NY I wanted to surprise them. Get these amazing players in their natural wild environment and have us all make decisions in the moment and off each other.
We weren’t using clicks. I wanted the songs to breathe. One the first day Dave Brophy and I cut “Castle Of Pretending” and a Prince cover to work out kinks for fun before Kimon Kirk arrived. But by that evening and a couple bottles of wine I was showing the two of them “Sunken Ship” and "Once In A Century Storm" in the live room while our head engineer Pat DiCenso recorded the whole hang until 3AM.
In the morning (we slept in the studio) we listened back to our process without the glorious shine of the evening. One of the passes would always jump out at us, and we’d follow that direction and start doing full takes together.
What you hear on “Sunken Ship” and “World Go Round” is one take on Bass and Drums. We would run a few and pick the one that felt the best. Do some guitar over dubs. We would cut three a day. "Sunken Ship" was two takes. The one you hear on album is the one we all felt grooved the best.
Will Dailey’s new album National Throat comes out worldwide on August 26th. Vinyl copies are available now at www.willdailey.com
Album Trailer
Will Dailey is an independent, Boston-based recording and performing artist. He is the 3 time winner of the Boston Music Award for Best Male Singer-Songwriter in 2006 and again on December 2, 2009 and December 2, 2012. He has released albums with Universal, CBS Records, Wheelkick Records and JS Music Group. Dailey is releasing his new album National Throat in 2014 on Wheelkick Records. The first single, "Sunken Ship," is a finalist in the 2013 International Songwriting Competition. On June 9, the album was released exclusively on vinyl for three months prior to official release date. Find out more at www.willdailey.com
Yesterday, Secretary of State John Kerry showcased his guitar-playing skills when he hosted a lunchtime jam session during talks with officials in Beijing, China.
In the Wall Street Journal news item about the performance, which was posted last night, reporter Sarah Larimer reached out to two guitar "experts," asking them to comment on Kerry's skills.
One of them was Guitar World's very own editor-in-chief, Brad Tolinksi. The other expert was Mike Molenda, the editor-in-chief over at Guitar Player magazine in California.
Here's what they had to say:
Tolinski:“Charming amateur … he plays like someone half-remembering something he was once good at 20 years ago. The first piece is very simple and goes well enough, but the second piece is bit out of his reach. Like any good politician, he knows when things are starting to go bad and reacts quick enough to get out while he still can!”
Molenda:“For the first piece in the clip, Secretary Kerry sounds very good — like a well-practiced amateur with a love of the guitar. His fingering is fluid and the notes sound full, robust and accurate. But in the second piece, you can hear buzzes and muted notes that betray a certain lack of fingering technique. His flourish at the end, however, is awesome.”
What do you think of it? Share your thoughts in the comments below or on Facebook!
Jack White wrote, recorded and produced his debut solo album, Blunderbuss, which debuted atop the Billboard 200. This new tab book, which is available at the Guitar World Online Store for $19.99, provides the notes and tab for all the songs from his acclaimed 2012 CD, including:
• Blunderbuss
• Freedom at 21
• Hip (Eponymous) Poor Boy
• Hypocritical Kiss
• I Guess I Should Go to Sleep
• I'm Shakin'
• Love Interruption
• Missing Pieces
• On and On and On
• Sixteen Saltines
• Take Me with You When You Go
• Trash Tongue Talker
• Weep Themselves to Sleep.
This 72-page book is available now at the Guitar World Online Store.
The capo is to guitars what sugar — or Stevia, if you prefer — is to food.
It makes everything sweeter.
Musicians started noticing the capo's inherent sound-sweetening properties in the early 17th century, when primitive versions of the handy accessory were employed to raise the pitch of a host of fretted instruments.
The point of a capo is, of course, to be able to perform a song in a different key while using the same fingerings and chord formations you'd use in an open position. This enables performers to stick to positions they're more comfortable with and to enjoy all the benefits — including ringing, open strings — high up on the neck.
Capos also facilitate or create alternate chord voicings and help performers accentuate certain melody lines in a song. Of course, the higher up the neck you go with a capo, the more you change the voicing of the guitar — to the point that you can even imitate a mandolin, as demonstrated by music editor Jimmy Brown (our own "Capo Crusader") in the May 2014 issue of Guitar World (which is still available).
Former Eagle Don Felder says it best in the top video below, which he created for Guitar World:
"When I originally wrote ['Hotel California'], it was in the key of E minor, which is a really great guitar key to play in and write in. We recorded the whole track in E minor, and then Don Henley went out and tried singing it ... and it was way too high for him ... . So I took a guitar, went out in the studio and said, 'OK, let's move it down to D minor.' Still too high ... C minor, a little bit too high; A minor; no, that's too low. It wound up being in the key of B minor, which is on the seventh fret."
The seventh fret is exactly where Felder's capo wound up; the song is played as if it were in E minor.
Below, members of the Guitar World staff — including Jimmy Brown, tech editor Paul Riario and online managing editor Damian Fanelli — have rounded up 15 essential "capo songs"— out of hundreds of worthy choices — that show off the benefits of, and alternate voicings created by, the capo. We tried to make sure no bands are repeated (although three bands are, indeed, repeated); we also set out to create a well-rounded, diverse list.
Note also that we've chosen videos that aren't necessarily vintage or classic — or that don't even show the "classic" lineups of certain bands; they do, however, show the capo'd guitar being played (in most cases, at least).
Feel free to suggest other capo songs in the comments below or on Facebook!
"Hotel California"
The Eagles | Capo 7
As stated earlier, to play the Eagles'"Hotel California" in its original key, try using a capo on the seventh fret. The song is played as if it were in E minor, the song's original key, as explained by Don Felder above (and in the top video below). This makes the song "sound" in B minor. Note: The capo is used on the acoustic guitar part that starts the song.
In the top lesson video below, Fender also shows you how to play part of the guitar solo (Note that Felder plays "Hotel California" in A minor now because he sings it when he performs it, and it works better with his vocal range). Below that, you'll find a clip of Felder performing the entire song with his band (Remember, we sought videos that best display the capo and fingering).
"Aqualung"
Jethro Tull | Capo 3
This classic 1971 Jethro Tull tune features a capo on the third fret — for the acoustic guitar part, that is, which is performed by Ian Anderson in the vintage live video below. The acoustic part is played as if it were in E minor, but it "sounds" in G minor. Don't worry, we'll have more classic Tull for you later in the list!
"Wonderwall"
Oasis | Capo 2
Jumping ahead to the height of the Britpop-dominated mid-Nineties, we bring you one of the songs Oasis will be remembered for — "Wonderwall," which was composed by Noel Gallagher. To play the song in its original key (as thousands of wide-eyed kids of all ages sing along with you), put a capo on the second fret and play the song as if it were in E minor. It, of course, "sounds" in F# minor.
"The Real Me"
The Who | Capo 3
Although this one doesn't normally leap to mind when one thinks of "popular capo tunes," this rocking Quadrophenia track from 1973 was recorded by Pete Townshend using a capo on the third fret. The song, which is played as if it were in a power-chord-friendly A, "sounds" in C.
"Here Comes the Sun"
The Beatles | Capo 7
George Harrison was fond of sticking a capo on the seventh fret of his guitar and playing songs in the "D" formation that sound like they're in A. He did it on the Beatles'"If I Needed Someone" and followed it up a few years later with 1969's "Here Comes the Sun," one of his greatest compositions.
You'll find two videos below. The first one is a "Here Comes the Sun" lesson by Jimmy Brown. Below that, you'll find a clip of Harrison playing the song live. Although we tried to find the superior two-guitar performance from the Concert for Bangladesh, this much later video below shows Harrison's fingering nicely.
"The Chain"
Fleetwood Mac | Capo 2
This classic Fleetwood Mac song is played in drop-D tuning — the studio version, that is — with a capo on the second fret. The song, which emphasizes a "swampy stomp" groove, incorporates an octave bass line on the guitar and some greasy finger picking.
"Free Fallin'"
Tom Petty | Capo info below
"Free Fallin'," the most popular track from Petty's first "solo" album, 1989's Full Moon Fever, was played like so:
• Capo 1 main, low guitar part and second, higher guitar part (played as if the song were in E; sounds in F.)
• Capo 3 third guitar part (played as if the song were in D; sounds in F.)
In this song in particular, we hear the capo truly "sweeten up" the beefy chords.
"Fire and Rain"
James Taylor | Capo 3
This beautiful song by James Taylor is played as if it were in the key of A. It "sounds" in C. It features open-chord embellishments and sliding chord shapes.
"Don't Think Twice, It's All Right"
Bob Dylan | Capo 4
When we spoke to Ed Sheeran a few months ago, we asked him to name a few acoustic guitar songs every guitarist should know how to play. He named this one, a bouncy track from Bob Dylan's 1963 album, The Freewheelin' Bob Dylan. At least John Mayer knows how to play it — and we've included his live video below.
Note that there aren't many (or any) videos on YouTube that show Dylan playing this song the way he played it in '63. There is, however, an interesting clip of Dylan performing the song with Eric Clapton. By the way, "Blowin' in the Wind" is another fine capo tune by Dylan (capo 7).
Almost forgot: For "Don't Think Twice, It's All Right," it's capo 4; play a C chord; "sounds" in E! There are some fun changes in this tune.
"No Sugar Tonight"
The Guess Who | Capo 4
This classic Guess Who tune — which is performed with a capo as a straight chord melody — is played as if it were in D. It "sounds" in F#. Note: We're talking about the original version. In the video below, you'll notice the capo doesn't play a huge role in the song in modern times.
"Norwegian Wood (This Bird Has Flown)"
The Beatles | Capo 2
This late-1965 Beatles song is played as if it were in the key of D, but it "sounds" in E, with a capo on the second fret. Right-hand-wise, it's a "strum-picky" chord melody — not quite picking, not quite strumming. Because there are no videos of the Beatles performing this song live (because it never happened), we've provided a basic (non-Guitar World) lesson video that shows everything clearly, including the capo on the second fret, the chords and embellishments.
"Cat's in the Cradle"
Harry Chapin | Capo 8
This 1974 Harry Chapin tune is played as if it were in the key of A but "sounds" in F. It's another example of a "chord melody" piece.
"Thick As a Brick"
Jethro Tull | Capo 3 (acoustic guitar)
This classic Jethro Tull tune is played as if it were in D, but it "sounds" in F. It is packed with rolling arpeggios that make non-stop — and awesome — use of the capo.
"Landslide"
Fleetwood Mac | Capo 3
We don't like to repeat bands in our lists (OK, we've already done it with the Beatles and Jethro Tull), but it's difficult to leave out this Fleetwood Mac tune. The song, which highlights a form of Travis picking, is played as if it were in the key of C. It "sounds" in Eb.
"I Am a Pilgrim" / "Soldier's Joy"
Clarence White | Capo 2 ("Soldier's Joy," 3:47 in the video)
Here's a curve ball for you — a selection from the world of bluegrass. Here's Clarence White (on the left, with the beard) performing a medley of "I Am a Pilgrim" and "Soldier's Joy" with his brother, Roland, on mandolin and Bob Baxter on second guitar (later joined by Byron Berline on fiddle and Alan Munde on banjo for "Soldier's Joy").
The clip is rare in that it shows White's fingering and fretwork up close. Second, there's White unusual sense of timing in the first tune ("I Am a Pilgrim"); it's as if he's throwing in chord substitutions like a jazzer, while Roland plays it straight on mandolin. It can be a little disconcerting and confusing (but I love it). But pay close attention to the second tune (starts at 3:47), which is a traditional fiddle tune adapted to guitar. It is almost always played with a capo on the second fret, in D, although played with a C chord.
For more about White, check out "White Lightning: Ode to the Original B-Bender, Clarence White of The Byrds and Kentucky Colonels."
If you'd like to download recordings of White playing "Soldier's Joy," check out the following albums on iTunes: Long Journey Home by the Kentucky Colonels; A Potpourri of Bluegrass Jam by Muleskinner; Live in Holland 1973 by the New Kentucky Colonels; Live at Royal Albert Hall 1971 by the Byrds.
Damian Fanelli is the online managing editor at Guitar World. Follow him on Twitter.
When I turned 40 I felt as if there was a virus I was exposed to that somehow made me question my place in life.
I was confused and foggy… obviously I was sick. What else could it be?
I saw many of my friends going through the same thing. I looked at the symptoms.
I’ve been a goal oriented person my whole life, but right now I was realizing the fact that I’d accomplished many of my original goals, so what now? Was it all downhill from here, or was this just as good as it gets?
I was disoriented just “marking time” as they say, continuing on the path that I had set for myself. All the usual things that had inspired me up until this point were fading away. I decided it was time to do a little soul searching.
I realize that I’ve been given this beautiful and meaningful gift to make a living as a solo artist. I get to make records and tour with my band that I’ve hand chosen and play the music I write for audiences all over the world. What could be better than that? What more could I really want? That’s what I originally set out to do with my life, and seven solo records and countless tours later I’m still going strong. Checkmark!
But yet I wanted more. I felt as if I had become a caricature of myself musically, and I was bored with myself. I needed new inspiration, and I wasn’t sure where to find it. I needed outside influence, but I wasn’t sure how to go after that either, as I was so cozy and safe in my own private bubble as a solo artist. How does one go about reinventing after living a life as a very defined person and artist?
I decided to follow my heart. I knew that if there was more out there, I was going to go after it and find it. But how? I decided that on my off time from my band I’d go do things that made me happy. It seems simple, right? I figured that would lead me either to: (1) A life of obesity due to my overwhelming affinity for ice cream or (2) A promising 2nd career or hobby in something yet to be determined.
I found myself going out to clubs to see bands that I really loved. I needed to become a fan of music again, not just be immersed in playing it. It occurred to me after a number of months that I was mostly seeing rock and blues bands. Hmm.. ok.. note to self…. I did grow up for 12 years hanging with the 8 rock bands that my dad put out on the road every year, and in between those rock tours I watched unearthly amounts of MTV… not the usual path to a career in Contemporary Jazz. Maybe I was now just tapping into some happy childhood memories.
One show I was frequenting was my friend Waddy Wachtel’s band that has played The Joint in Hollywood for 15 years with everyone sitting in from Neil Young’s bass player Rick to Jack Temptien, who wrote all those great songs in the 70’s to Keith Richards.
It became total rock ‘n’ roll zen for me. The loud guitars, the driving force of the drums and the sheer intent of the lead singer…it was a spa day for me, as I put it to Waddy. Somehow in the cacophony of rock ‘n’ roll I found peace and reveled in the sheer abandon of the music being played. Those nights as a fan led to me sitting in with them and becoming a regular fixture in the band.
Of course I couldn’t just watch. It was much more fun to play, and I’d played with Waddy off and on since 1995 when we both joined Adam Sandler’s band. I was officially “moonlighting” from my chosen career as a Contemporary Jazz saxophonist. I loved it. The music we were playing inspired me…Rolling Stones, Mott the Hoople, the Beatles. It was great.
From there I was called by Don Was to play “Old Time Rock ‘n’ Roll” on American Idol with one of the contestants. I knew that I could use my newly found mojo to pull it off, and I did. Steven Tyler called me out in front of millions on TV saying, “Forget about you, who’s your sax player?” I ended up spending two seasons on American Idol eventually playing 7 episodes with Phillip Phillips, who won it all. What an honor.
And on my last day on the set I received a call from Steven Tyler asking if I’d be the first saxophonist to join Aerosmith on tour since 1973. Who could say no to Steven Tyler and the chance to play with a band that I had admired for as long as I could remember? Wow…now I was REALLY moonlighting. I had decided to do what made me happy, so in the spirit of reinvention I took off on the 2012 Global Warming Tour and spent my summer vacation with Aerosmith.
They were nice enough to let me keep my dates that were booked with my band, so I’d take off every now and then to join my band and play. Interestingly, on my band’s shows, I realized that I was playing differently. People in the crowd noticed too and made sure they told me after the show. I was moving differently. I was feeling the music differently. I was even dressing differently. It wasn’t someone else coming out of my body.
It was still me, but a better me. A stronger, more confident and most definitely more inspired me. I had made it through the fire of being uninspired. I had kicked the virus. I had passed the crossroads of feeling like maybe I had achieved all I was capable of and maybe this was as good as it gets. Those thoughts had haunted me, but I now knew that I was on to another chapter in my life. One with new goals that I was ready to reach for with more abandon than my previous ones.
My next inspiration came to me quite organically. I posted on Facebook the day I heard of Clarence Clemons passing. I never met him, but he was a hero of mine as a performer and player. As a saxophonist, it’s more likely and frankly more acceptable that you grow up wanting to be John Coltrane, but I wanted to be the Big Man. And I thank everyone around me for waiting until it was too late to tell me that a little white girl from St. Petersburg, FL couldn’t stand in his shoes.
I was saddened at his passing and as most of America does, Facebook became my vehicle of expressing my sadness. The promoter of an upcoming show of mine saw my post and called almost immediately to ask if I’d be up for sitting in with Max Weinberg in a few days and paying tribute to Clarence with him. I couldn’t have been more honored. I played with Max a few days later and it was an emotional night. I tried to dig deep and really pay appropriate tribute to this man that I so admired.
I ended up joining Max on tour for the next few weeks and even played with him and Bruce Springsteen at the Beacon Theater one lucky night. I was really sinking my teeth into that incredible mojo that Clarence was leaving me. He pushed me to find greater depths of expression. He pushed me to play with total abandon. It was freeing. And for the first time in many years I wanted to practice saxophone.
I sat for hours in my room dusting off old Bruce Springsteen records and playing along. I was playing scales and forming new melodies in my head. I had found a new love affair with my saxophone. That love affair led me to borrow a tenor and baritone saxophone to really capture his power and depth. The alto just wasn’t cutting it. I went through a true rebirth as a player and incorporated so much of Clarence and Max’s power and drive into my playing and spirit. This was work, but I loved every second.
I’ve realized now that I was given these gifts to help me redefine myself and find new inspiration where there had been none before. Change comes to us when we look for it. I just needed to free my mind to take the journey, unsure of where it might lead. I eagerly took the inspiration given me and ran with it…all the way back to my record label, Concord Records.
Watch the Wild Heart album trailer.
I explained the last few years of my life to them. I played them the new music I was writing and explained why this would make a breakthrough record for me as an artist. They were in, and I set out to make a career record for myself. I was joined by people that I never dreamed would play with me on one of my records: Gregg Allman, Joe Perry, Keb’ Mo’, Booker T. Jones, Max Weinberg, Waddy Wachtel, and Trombone Shorty. I had played for them in their world… moonlighting… and now I understood for the first time how they fit into my world as a solo artist. Wild Heart debuted #1 on the Billboard Jazz and Contemporary Jazz charts.
I’m not sure how many times one has the power to redefine and/or reinvent oneself. I’ll have to wait and see, but I’m reveling in my new skin. I’m a new woman. Stronger, more capable, and definitely making music that moves me every day.
Mindi Abair is one of the most dynamic performers on the music scene today. In addition to her acclaimed solo work, she was the featured saxophonist on the 2011 and 2012 seasons of American Idol, jammed with Paul Shaffer on the Late Show with David Letterman and joined rock legends Aerosmith for their 2012 summer tour. More recently, the powerhouse saxophonist/vocalist received a 2014 GRAMMY nomination in the Best Pop Instrumental Album category for Summer Horns, a #1 recording with her friends Dave Koz, Gerald Albright and Richard Elliot. Several more friends join Abair on Wild Heart, her new album that includes guest performances by – and songwriting collaborations with – Gregg Allman, Joe Perry, Booker T. Jones, Keb’ Mo’, Trombone Shorty, Max Weinberg, Waddy Wachtel and others. Find out more at www.mindiabair.com
