Guitar World - Holiday 2015.pdf

GUITAR & BASS

TRANSCRIPTIONS

T H E B E AT L E S

T R I V I U M

R E O S P E E D WA G O N

S C O R P I O N S

the Ultimate

BEATLES GUITAR

GIVEAWAY

IRON MAIDEN

DEAFHEAVEN

HOLIDAY

GIFT GUIDE

TRIVIUM

NEW

ACOUSTIC

COLUMN:

TOMMY

EMMANUEL

ROCK &

ROLL

WARRIOR

CELEBRA

TES HIS

LATEST S

OLO VIC

TORY!

A New Staple

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must-have gear for producers and musicians

alike. Powerful and imposing high-gain with

a crystalline clean channel not normally

found on amps with this much crunch.

ALL TUBE - 2-CHANNEL - SWITCHABLE POWER

© 2015 PRS Guitars / Photo by Mar

c Quigley

For full specs and to see what top artists are saying, go to:

prsguitars.com/archon

Join the legacy | ernieball.com | #iplayslinky

FAMOUSLY SLINKY SINCE 1997.

BRAD

PAISLEY

BRAD

PAISLEY

BRAD

PAISLEY

BRAD

PAISLEY

BRAD

PAISLEY

BRAD

PAISLEY

BRAD

PAISLEY

匀攀礀洀漀甀爀 䐀甀渀挀愀渀 倀椀挀欀甀瀀猀

伀爀椀最椀渀愀氀 䘀氀漀礀搀 刀漀猀攀

㈀㔀⸀㔀ᴠ 匀挀愀氀攀

㈀㈀ 䘀爀攀琀猀

伀椀氀 䘀椀渀椀猀栀攀搀 䴀愀瀀氀攀 一攀挀欀

䴀愀瀀氀攀 䈀漀搀礀

THE

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䨀漀栀渀 䴀愀礀攀爀Ⰰ 倀愀甀氀 䴀挀䌀愀爀琀渀攀礀Ⰰ 吀栀攀 䔀愀最氀攀猀Ⰰ 匀氀愀猀栀Ⰰ 䨀椀洀洀礀 倀愀最攀Ⰰ 䨀漀攀 䈀漀渀愀洀愀猀猀愀Ⰰ 䔀氀瘀椀猀 䌀漀猀琀攀氀氀漀Ⰰ 䌀栀爀椀猀 䌀漀爀渀攀氀氀Ⰰ 吀栀攀 圀栀椀琀攀 䈀甀û愀氀漀Ⰰ 䘀爀愀渀欀 吀甀爀渀攀爀Ⰰ 䈀爀愀搀 倀愀椀猀氀攀礀Ⰰ 䨀 䴀愀猀挀椀猀Ⰰ 

䴀椀欀攀 一攀猀猀Ⰰ 䄀渀搀礀 䴀挀䬀攀攀Ⰰ 倀栀椀氀氀椀瀀 倀栀椀氀氀椀瀀猀Ⰰ 䈀椀氀氀椀攀 䨀漀攀 䄀爀洀猀琀爀漀渀最Ⰰ 䴀愀琀琀 䈀攀氀氀愀洀礀Ⰰ 䄀氀氀 吀椀洀攀 䰀漀眀Ⰰ 愀渀搀 琀栀漀甀猀愀渀搀猀 漀昀 漀琀栀攀爀猀 挀栀漀漀猀攀 䔀爀渀椀攀 䈀愀氀氀 䄀挀漀甀猀琀椀挀 匀琀爀椀渀最猀⸀

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Our Love Affair for the Guitar and

Grape Just Became a Reality

WE’VE TAKEN

DIGITAL WIRELESS

TO THE NEXT LEVEL . . .

THE FLOOR

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For a limited time, experience rock-solid, fi eld-proven digital performance for less. From now through December 31, 2015, any customer purchasing a System 10 Stompbox digital wireless system will get a $50 rebate (no limit). With the tap of a foot on the rugged, metal Stompbox receiver, guitarists can toggle between dual ¼" balanced outputs or mute one output without affecting the other. And, since the System operates in the 2.4 GHz range, it’s free from TV and DTV interference. So go ahead, give it a try – we think you’ll be fl oored.

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C ON T E N T S

FEATURES

DEAFHEAVEN

With New Bermuda, the darlings of the American black metal scene continue their rise to prominence.

50

KEITH RICHARDS

The legendary Rolling Stones guitarist revisits his musical roots with a new solo album, Crosseyed Heart, and documentary film Under the Influence.

60

IRON MAIDEN

In this interview with the triple-ax attack of Dave Murray, Adrian Smith and Janick Gers, the men of Maiden discuss the making of the new Book of Souls double album and the resilience of singer Bruce Dickinson after a recent cancer scare.

70

THE BEATLES’

LOVE AFFAIR WITH

THE EPIPHONE CASINO

How John Lennon, Paul McCartney and George Harrison all fell in love with the Epiphone Casino and made it their guitar of choice during the height of Beatlemania.

80

HOLIDAY GIFT GUIDE

Guitar World presents the most rocking

collection of holiday gifts ever!

COVER PHOTOGRAPH

MARK SELIGER DEAF HEA

VEN: JEREMY D

ANGER

Deafheaven’s Kerry McCoy

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V O L . 3 7 | N O . 1 3 | H O L I D A Y 2 0 1 5

C ON T E N T S

TRANSCRIBED

16

WOODSHED

18

SOUNDING BOARD

Letters, reader art and Defenders of the Faith

21

TUNE-UPS

Kirk Hammett, Doyle, For Today, Dear Guitar Hero with Richie Kotzen, Devil You Know, Trivium, SayWeCanFly and more!

89

SOUNDCHECK

89. Boss Waza Craft BD-2W, DM-2W and SD-1W pedals

91. Jericho Guitars Avenger 7 Pro 26” Seven-String

92. Digitech Trio Band Creator pedal 94. Epiphone Masterbilt AJ-45ME Acoustic/ Electric

96. Kiesel V8 Vader Eight-String 98. Seymour Duncan Jason Becker Humbucker

100

COLUMNS

100. Emmanuel Dexterity by Tommy Emmanuel 102. Holcomb Mania by Periphery’s Mark Holcomb 104. String Theory by Jimmy Brown

106. Shredding with the Alien by Joe Satriani

108. Acoustic Nation by Dale Turner 110. In Deep by Andy Aledort

146

IT MIGHT GET WEIRD

Nolan Symmonds’ Guitar Boy

DEPARTMENTS

38

_Trivium

PAGE

112

“Here Comes the Sun”

by the Beatles

PAGE

118

“Catch Your Train”

by Scorpions

PAGE

126

“Silence in the Snow”

by Trivium

PAGE

134

“Roll with the Changes”

by REO Speedwagon

Misha Mansoor,

Periphery

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JUGGERNAUT ALPHA/OMEGA JUGGERNAUT ALPHA/OMEGA JUGGERNAUT ALPHA/OMEGA

©2015 JCMI. Jackson® and the distinctive headstock designs commonly found on Jackson guitars are registered trademarks of Jackson/Charvel Manufacturing, Inc. (JCMI). All rights reserved.

Photo: Alex Wohleber

jacksonguitars.com

ILL U S TR A TION B Y J OEL KIMMEL

POETRY IN MOTION

IF YOU’RE READING this, you’re holding

some-thing in your hands that is very near and dear to our hearts: print. Despite the modern day push to turn every reading experience into a loud, screaming digital one, there are plenty of us who will always love the printed page: letting our imaginations fill in the blank spaces as ink smudges our fingers. However, if there’s a downside to print, it’s that it doesn’t move; it’s static. Stationary.

Maybe that’s why I get so excited about our recent efforts with regard to video, and I wanted to make sure our beloved print readers are up to speed on what we’re doing on GuitarWorld.com, our YouTube channel and our Facebook page. Yes, we love print, but we love moving pictures too.

Currently, the Guitar World YouTube channel has more than 350,000 subscrib-ers—that’s substantial, and it’s no accident. So what’s all the fuss about? If you head over there, you’ll see for yourself. Artists are coming through our office doors al-most daily, and many are being invited into our studio to film exclusive content for our YouTube channel. Recent visits include Alexi Laiho, who showed us his five fa-vorite riffs from the new Children of Bodom record, I Worship Chaos; Joe Satriani and Tommy Emmanuel, who performed all the techniques covered in their current

Guitar World magazine columns; and Queensrÿche’s Michael Wilton, who talked

about and demonstrated some of his most classic riffs and licks. We’ve also enjoyed having so many guitarists come through and do playthrough videos in which they play guitar to a backing track of one of their songs: recent participants include Atreyu, Crowbar, Shinedown, For Today and Braden Barrie from SayWeCanFly. Add to that all the in-depth gear reviews and demos from our editors, and you have a YouTube channel worth subscribing to.

If you’re looking for something more down-n-dirty, head over to our Facebook page and see what the other 1.5 million followers have been enjoying lately. Every few days we treat our fans to an impromptu “desk jam” featuring one of our tal-ented editors. On any given day you may see gear editor Paul Riario in his cluttered office laying down the solo to an Eighties metal classic, or online editor Damian Fanelli showing off his immense skills as a blues guitarist and hopeless Beatles ad-dict, all filmed with nothing more than my own iPhone 6.

At the end of the day it makes me appreciate all of the incredible talent lurking behind these walls. We’ll always be magazine aficionados, and I hope you enjoy the issue you hold in your print-loving hands—but there’s plenty more to this op-eration, and we hope you get as much out of it as we put into it.

—Jeff Kitts

Executive Content Director

EDITORIAL

EXECUTIVE CONTENT DIRECTOR Jeff Kitts

EXECUTIVE EDITOR Brad Angle

TECH EDITOR Paul Riario

ASSOCIATE EDITORS Andy Aledort, Richard Bienstock, Alan di Perna, Chris Gill

CONTRIBUTING WRITERS Joe Bosso, Ted Drozdowski, Dan Epstein, Greg Evans, Randy Harward, Peter Hodgson, Mark Holcomb, Joe Satriani, Dale Turner, Jon Wiederhorn

SENIOR VIDEO PRODUCER Mark Nuñez

MUSIC

SENIOR MUSIC EDITOR Jimmy Brown

MUSIC TRANSCRIPTIONIST Jeff Perrin

MUSIC ENGRAVER Patricia Corcoran ART

DESIGN DIRECTOR Stephen Goggi

ASSOCIATE ART DIRECTOR Ben Avny

ASSISTANT ART DIRECTOR Natalie Skopelja ONLINE

MANAGING EDITOR Damian Fanelli

EDITORS Brad Angle, Jeff Kitts

PRODUCTION

PRODUCTION MANAGER Nicole Schilling

BUSINESS

VICE PRESIDENT, GENERAL MANAGER Bill Amstutz [email protected]

GROUP PUBLISHER Bob Ziltz [email protected]

ADVERTISING DIRECTOR - WEST Jason Perl 646-723-5419, [email protected]

ADVERTISING DIRECTOR - EAST Scott Sciacca 646-723-5478, [email protected]

ADVERTISING MANAGER Anna Blumenthal 646-723-5404, [email protected]

GROUP MARKETING DIRECTOR Christopher Campana 646-723-5423, [email protected]

SR. MARKETING MANAGER Stacy Thomas 646-723-5416, [email protected]

CONSUMER MARKETING

CONSUMER MARKETING MANAGERKara Tzinivis

FULFILLMENT COORDINATOR Ulises Cabrera NEWBAY MEDIA CORPORATE

PRESIDENT & CEO Steve Palm

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VICE PRESIDENT OF DIGITAL STRATEGY & OPERATIONS Robert Ames

VICE PRESIDENT OF AUDIENCE DEVELOPMENTDenise Robbins

VICE PRESIDENT OF CONTENT & MARKETING Anthony Savona

VICE PRESIDENT OF HUMAN RESOURCES Ray Vollmer

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GUITAR WORLD (ISSN 1045-6295) is published 13 times a year, monthly plus Holiday issue following December issue, by NewBay Media, LLC, 28 East 28th Street, 12th Floor, New York, NY 10016. Phone: 212.378.0400. Fax: 917.281.4704. Web Site: www.nbmedia.com. Periodicals postage paid at New York, NY, and additional mailing offices. Newsstand distribution is handled by Time Warner Retail. Subscriptions: One-year basic rate (12 issues) US: $14.95. Canada: US$29.95. Foreign: US$49.95. Canadian and foreign orders must be prepaid. Cana-dian price includes postage and GST #R128220688. PMA #40612608. Subscriptions do not include newstand specials. POSTMASTER: Send change of address to Guitar World, P.O. Box 469039, Escondido, CA 92046-9039. Ride-along enclosure in the following edition(s): B1, B2, B3, B4, and B5. Standard enclosure: None. Returns: Pitney Bowes, P.O. Box 25542, London, ON N6C 6B2, Canada. Entire contents copyright 2012, NewBay Media L.L.C. All rights reserved. Reproduction in whole or in part is prohibited. NewBay Media L.L.C. is not affiliated with the companies or products covered in Guitar World. Reproduction on the Internet of the articles and pictures in this magazine is illegal without the prior written consent of Guitar World. Products named in the pages of Guitar World are trademarks of their respective companies. PRODUCED IN THE UNITED STATES OF AMERICA. SUBSCRIBER CUSTOMER SERVICE: Guitar World Magazine Customer Care, P.O. Box 469039, Escondido, CA 92046-9039. Online: www.guitarworld.com/customerservice. Phone: 1-800-456-6441. Email [email protected]. BACK ISSUES: www.guitarworld.com/store REPRINTS: NewBay Media, LLC, 28 East 28th Street, 12th Floor, New York, NY 10016. Phone: 212.378.0414

WOODSHED

V O L . 3 7 | N O . 1 3 | H O L I D A Y 2 0 1 5

“Fretlight is the fastest way to

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sible to overcome it. Thank you for putting out such a great magazine.

—Jason Gottstein

Head Case

I have been reading Guitar World for 26 years and have never writ-ten in until now. I have watched the band Decapitated mature from album to album and was hoping you guys could transcribe anything from their latest record,

Blood Mantra. I think Vogg

(gui-tar) has a Dimebag type of energy, sort of like a death metal groove. I am tired of rewinding licks on cassette and would pay anything for real tabs, especially for the rhythmic masterpiece “Blind-ness” or the solo work in “Veins.”

—Larry Franco

Ink Spot

This is my holy trinity of rock and roll guitarists: Chuck Berry, Keith Richards, and Johnny Thunders. That’s Keef’s 1953 Fender Telecaster and Johnny Thunders’ Gibson Les Paul TV, which was a 1958, 1959 or 1960 depending on who you believe.

—Jon Dameron

GOT A TATTOO of your

favorite band or guitarist you want to share with us? Send a photo of your ink to [email protected] and maybe we’ll print it or post it on our Facebook page!

Reign Man

Thank you for putting Slayer on the cover of the November issue. I’ve been a Slayer fan from the first time I heard Reign in Blood, and to me they are the best thrash metal band of all time. Frankly I don’t think they get the credit they deserve. Repentless is an amazing record—a great come-back after the tragic death and loss of Jeff Hanneman. To me, it’s the album of the year.

—Travis Zboril

For Christ’s

Sake

I’m writing in regard to the comment about Ghost made by James Harris in the September issue. I am a follower of Christ and enjoy living in a free nation, and as far as GW covering Ghost, that is a freedom I treasure dearly. I am in contact with peo-ple overseas who are persecuted for their beliefs—thrown in jail just for giving someone a bible. Let’s keep things free in the USA.

—Jim Chumley

Thanks for the amusing diatribe James Harris. The only thing more pathetic than the sour mope who fails to get the joke is the

pre-SEND LETTERS TO: The Sounding Board, Guitar World, 28 East 28th Street, 12th Floor, New York, NY 10016, or email us at [email protected]. All subscription queries must be emailed to [email protected]. Please do not email the Sounding Board with subscription matters.

Got something you want to say? EMAIL US AT: [email protected]

SOUNDING BOARD

tentious mope who doesn’t even bother to experience something before passing judgment on it. It’s painfully obvious that you have yet to actually spin a Ghost album, yet you apparently know what’s best for our guitar loving youth. It must be terribly boring to live in your world where everything is exactly as it appears rendering experience completely unnecessary.

—Kevin Miller

To Be Frank

I’m a longtime subscriber and think you guys do a great job with the transcriptions—would you mind if I make a few requests? I would love to see any of these in

Guitar World: Yes’ “I’ve Seen All

Good People (Your Move),” Frank Zappa’s “Black Napkins” or any of these from Led Zeppelin’s live The

Song Remains the Same album:

“Whole Lotta Love,” “Since I’ve Been Loving You,” “The Song Remains the Same” or “No Quar-ter.” Thanks for all you do!

—Matt Scoggins

I Love Lamp

After seeing the recent Van Halen–inspired garage door, corn-hole boards and mailbox submit-ted by other readers in the Sound-ing Board, I decided to share my

yard lamp. It was inspired by my friend who painted his trash can in the VH style. I told him he puts his trash can in the garage whereas my Van Halen lamp is on proud display year round.

—Eddie Sackss

White Magic

The November 2015 cover pro-claims Slayer as having the “Metal Record of the Year.” Tough to argue that, because

Repentless is a great album…but

personally I will go with Meliora by Ghost. The depth of the song-writing, musicianship and pro-duction are astounding on

Meliora; it is a masterpiece. Many

theatrical bands, like Slipknot, Kiss, Alice Cooper and Marilyn Manson, were initially written off by critics as being all style over substance, but then the music proved that narrative wrong. The Nameless Ghouls in Ghost give insightful and entertaining inter-views and the tab for Cirice in the November issue showcased their nuanced arrangement skills and powerful, tasteful playing. Please continue to feature them.

—Brian Balash

First ’Mate

I’ve been playing guitar for about 10 years, and am currently serv-ing a sentence in the PA D.O.C. Life in here is tough, and you have a lot of time to fill with whatever rec you can get. I’ve also been an avid reader of Guitar World my entire time here. I love the arti-cles and especially the columns. Every month I learn something new and I figure out how to add it to my playing style. The last few issues—especially the cover stories on Slayer and Lamb of God—hit a nerve in me because it was great to read how some of my heroes have overcome bad situations. The sto-ries gave me a sense that, no mat-ter how tough shit can get, it’s

pos-guitarworld.com 19

S T A Y C O N N E C T E D W I T H G U I T A R W O R L D O N

&

A N D G E T T H E L A T E S T G U I T A R N E W S , I N S I D E R U P D A T E S , S T A F F R E P O R T S A N D M O R E !

Are you a Defender of the Faith? Send a photo, along with your answers to the questions above, to [email protected]. And pray!

DEFENDERS

of the Faith

Katina St. Onge

AGE 15

HOMETOWN Montreal, Quebec, Canada

GUITARS Black Fender American Stan-dard Strat, Tobacco Sunburst Fender Squire, Cream Wood Fender Tele, 1972 Fender acoustic

SONGS I’VE BEEN PLAYING Bryan Adams “Summer of ’69,” Kiss “Shock Me”

GEAR I MOST WANT Cherry Sunburst Gibson Les Paul

Trailer Park Vampire

AGE 150

HOMETOWN Tupelo, MS

GUITARS Homemade Super Strats, 1979 Gibson Les Paul Custom

SONGS I’VE BEEN PLAYING Weezer “Hash Pipe,” Ghost “Mummy Dust,” Trailer Park Vampire “Rocking Vampire”

GEAR I MOST WANT Friedman Brown Eye 100-watt amp

Brent Fettkether

AGE 18

HOMETOWN Dunkerton, IA

GUITARS Jackson JS32T King V, ESP/ LTD EX-50

SONGS I’VE BEEN PLAYING Metallica “Am I Evil?” and “Of Wolf and Man,” Megadeth “In My Darkest Hour,” Ozzy Osbourne “Crazy Train”

GEAR I MOST WANT USA-made Jackson Kelly KE2, Dean “Angel of Deth” Dave Mustaine VMNT

READER

ART

to see it in an upcoming issue of

Guitar World, email

soundingboard@ guitarworld.com

with a scan of the image!

DAVE MATTHEWS BY DIANA PASIKOV JOHNNY MARR BY HECTOR LOZANO

Actual size: 11.5”l x 2.5”w x 1.25”h • Weight: 18.6 oz. Not just another version of the Fly Rig 5® simply

bearing his name, the Richie Kotzen RK5 Signature Fly Rig was a close, year-long collaborative effort. Meticulous about every facet of his playing, singing, songwriting and tone, Richie’s attention to the details of this pedal was nothing less.

What distinguishes the RK5 from the Fly Rig 5 is Richie’s Signature OMG overdrive. Tuned specifi cally to Richie’s ear, the OMG section brings in the organic Class A-style distortion, but with a tighter, snappier response. It is designed to articulate every nuance of Richie’s dizzying playing style for all modes and moods, from clean to aggressive and from rhythmic chords to infi nite sustain when it’s solo time.

The RK5 offers the same other essential features as the Fly Rig 5: the all-analog SansAmp™, reverb, delay with tap tempo, and a powerful boost. For fl y gigs across the globe, jamming at the local hang, and running off to last minute sessions, just pop your RK5 into

your guitar case and head for the door. photo by greg vorobiov

PORTRAITS

IN

TONE

The Richie Kotzen OMG Signature Overdrive is also available as a stand-alone pedal.

guitarworld.com 21

T

UNE-

U

PS

KIRK HAMMETT HAS

always been, as he puts it, a “pedal junkie.” At the San Rafael, California, building that Metallica calls its headquarters, the guitarist affirms that he has “shelves and shelves full of effects—hundreds of them, for sure,” he says.

Now, rather than merely col-lecting pedals, Hammett is making his own. The guitarist has paired up with industry vet David Karon, with whom he collaborated on his signature Randall amplifiers some years back, to form a new boutique pedal company, KHDK Electronics. The concept, Karon says, is to build high-quality, USA-made products that are “a little bit special and slightly different from what every-one else is doing.”

To that end, among the first ped-als that KHDK has released is the Kirk Hammett Ghoul Screamer, which, the guitarist says, “is like a Tube Screamer on steroids. It’s something I’ve been wanting to do for years.” The Ghoul Screamer boasts three control knobs (drive, tone and volume), as well as five

KIRK HAMMETT PUTS HIS BEST FOOT FORWARD WITH AN EXCITING NEW LINE OF EFFECT PEDALS. By Richard Bienstock

Pedal

Pusher

GRAVEYARD

22

26

34

FOR TODAY

DEVIL

YOU KNOW

32

RICHIE

KOTZEN

28

TRIVIUM

42

WHITESNAKE

SAYWECANFLY

40

24

_DOYLE

PED AL: MAR TIN K O V ÁL; GR A VE Y ARD: J J K OCZAN

extra switches—bass, high, body, and two for compression—that greatly expand the tonal options. “So you have more ability to shape and mold the sound,” Hammett says. “The most important part for me in that regard is the two compression switches. I like to mess around with compression, and that was always a major thing I felt was missing on a Tube Screamer—to be able to have control over how much compres-sion you want. So that’s one of my favorite components on this pedal.”

Adds Karon, “We wanted to take a cir-cuit that everybody knows and loves, and that Kirk has been using since the begin-ning of Metallica, and create a pedal that offers a little something different than all the other products that are out there.”

Along with the Ghoul Screamer, KHDK has issued two additional pedals, the No. 1 Overdrive and the No. 2 Clean Boost, both of which, Karon says, “are original circuits that we created with our lead engineer, An-tonin Salva [owner of Salvation Mods]. So the line is going to be a mix of pedals that boast completely new circuits, and ones that pay homage to already existing ones.”

Adds Hammett, “We’re going to take ideas and morph them, mutate them, expand on them and see where we wind up.” To that end, the company is currently in the midst of developing roughly 15 new

products, including an octave fuzz and a wah. “And you know how I am about wah pedals,” Hammett says. “I’m addicted to them. So we’re going to take the wah pedal, throw it on the ground, break it open and see where we can go with all the individual components to make something new.”

“Kirk’s strength is his tone knowledge,” Karon says. “He comes to us with an idea, we create the rough draft, and he comes in and perfects it. He has a great ear for these things.”

As for whether or not Hammett will be using his new pedals with Metallica, the guitarist says, “I’ve been messing around with the Ghoul Screamer a lot at home and in rehearsal, and I’ll definitely have it in my back pocket when I go in to start recording leads in a few weeks.”

When asked if that means a new Metal-lica album is imminent, Hammett laughs. “All I can say is that if I’m recording leads, then that means all the backing tracks to whatever batch of songs we’re working on are done. So it’s a pretty good indication that we’re pretty deep into things.”

JOAKIM NILSSON

OF GRAVEYARD

1

“Tensions”

Charles Mingus

“Really cool psychotic wind instrument in this tune, which makes me doubt my own musical skills…and that’s a good thing if you want to keep your feet on

the ground!”

2

“Roscoe”

Midlake

“Nice song to just lie down, close your eyes and listen to. Bonus that it sounds like the theme to M*A*S*H in the

begin-ning.”

3

“On Battleship Hill”

PJ Harvey

“I almost never get blown away by music anymore, but PJ never lets me down. She and her music are as beautiful as ever and also truly amazing live, and that is

extremely rare in my book.”

4

“Raging River of Fear”

Captain Beyond

“Extremely talented musicians, and one of the most underrated bands in history. Great vocals from Rod Evans, who was an original member of Deep Purple. He influenced me a lot when I was younger.”

5

“With You There to Help Me”

Jethro Tull

“Ian Anderson is a genius at making melodies. And it doesn’t hurt that he plays the flute standing on one leg—it’s

how it should be played!”

PLAYLIST

NEWS + NOTES

“It's like a

Tube Screamer

on steroids!”

GRAVEYARD'S NEW RECORD INNOCENCE & DECADENCE IS OUT NOW.

MANDI MAR

TINI

NEWS + NOTES

What influenced you to you pick up a guitar?

Well, I always loved music. My mom was a Fifties kid and when we were little, we used listen to all her 45s.

INQUIRER

DOYLE

And that transpired into, you know, heavier stuff—Alice Cooper, David Bowie and Led Zeppelin and all that shit back in the Seventies. And when I realized I wasn’t

gonna play in the NFL, I picked up a guitar.

What was your first guitar? 

It was a 1955 Les Paul. My

brother got it for me for eighth-grade graduation.

What was the first song you learned? 

“Smoke on the Water.” [laughs]

What do you recall about playing your first gig?

It was at Irving Plaza in New York City. Technically, our first gig was, like, a TV show out on the coast. But Irving Plaza, you had to have a pass to get in. I thought I was at the top. It was totally cool.

Ever had an embarrass-ing moment onstage, or a nightmare gig?

Not really, no.

No fights, equipment fail-ures, falling off the stage…

That shit happens every day—all of that has happened to me. The most recent thing that happened, I was playing at Golden Gods 2013 and, on the last song, I slammed my guitar so hard that it broke into three pieces.

Your last album was

Abominator in 2013. Are

you working on a new one?

Yeah, we just gotta mix it, master it and title it. We’re kickin’ some shit around; we don’t know what we’re calling it yet.

What is your favorite guitar or piece of gear?

Gorilla Snot. It’s this glue that holds the pick in your hand.

Do you have any advice for young players?

Don’t spend your life in your room learning all those arpeg-gios and G clefs and all that bullshit. Learn how to write good songs and get a good singer. —RANDY HARWARD

“I slammed my guitar so hard

that it broke into three pieces.”

JA S ON MA G AE U

NEWS + NOTES

Hate Eternal

CHRISTIAN METALCORE BAND

For Today are no strangers to lineup changes. When guitarist Mike Reynolds abruptly left in 2013, Sam Penner stepped in. But he was asked to leave earlier this year after the band felt he was too divided between family and music. Then it looked like Jim Hughes would be the new rhythm guitarist, until lead guitarist Ryan Leitru realized the ideal rhythm guy was right under his nose: his brother and For Today’s bass player Brandon. “He’s stepping in and playing guitar because he’s always been able to,” Ryan says. “He’s been writing guitar parts with me for the entire time in the band, so he will become the guitar player for all intents and purposes.”

The lineup change hasn’t affected the sound of new album Wake, given that Ryan has always handled the guitar tracking. “It just tends to go faster that way, so we’ve never really gone through a lineup change with that,” he says. But when the band hits the road he expects a new level of precision, power and syn-chronicity. “Every guitar player has their same language, but Brandon and I have the same one because we learned to play together. We have our own little mind-meld thing. We can say things like ‘play the geek chord’ and we’ll know exactly what we’re talking about.”

Leitru’s latest guitar is a sleek black custom Ibanez FR with dual-mode

Fish-man Fluence pickups selected to dial in more refined high-gain and clean tones. “I’ve played RGs for about five years but I like Tele bodies and Ibanez has a really cool line of them,” he says. “It’s a giant chunk of mahogany and it resonates very well: it feels like an adult’s guitar. When it feels like it’s heavy and you have to earn it, you sound so much better for it.” The rhythms were tracked through a Mesa overdrive into an old Peavey 5150 and a PRS Archon. “We shot out 10 different overdrives and about 40 different delay and reverb pedals. It’s those little things that no one will ever notice, but that’s what makes it fun for the guitar dorks of the world!”

For Today

IOWA-BASED CHRISTIAN METALCORE OUTFIT SHAKES THINGS UP ON THEIR SIXTH ALBUM, WAKE.

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guitarworld.com 29 The band’s new song

“Captain Love” reminds me of classic Deep Purple. Do you guys toss around older bands when you’re recording?

—Sherman “Old” Yeller

We don’t. I’ve never consciously said, “Hey, let’s do something like so-and-so…” It probably hap-pens subconsciously, because you have influences, but it’s not planned. That song started happening when I was in the bathroom—I had this idea for three huge power chords that just ring. We tried it out, and be-fore you knew it, the whole thing was there. Actually, I take back what I said somewhat: I thought of the Darkness when writing the lyrics. If you read the words, they’re silly and comical, just like what they do.

The Winery Dogs’ new song “Oblivion” features massive shredding and cool

unison licks. Will you guys ever do an all-instrumental album just for us shredders?

—Perry Blotz

I personally wouldn’t. I feel so far removed from that world, and I have for probably 20 years. That first record I did defined me as a shredder, and it was a blatant, deliberate shred record. Aside from that one and an instrumen-tal record I had to do to get out of a contract, I haven’t been in that genre for a long, long time. “Oblivion” is a clever song that is a shred vehicle, but you can sing the chorus. To me, that’s more valid than an entire instrumental record—a personal opinion. As for an all-instrumental record, no, I wouldn’t want to do it.

You worked with Billy Sheehan before, but what’s been the biggest surprise in working with Mike Portnoy? —B.T. Mosely

How quickly we got along and re-ally understood each other’s per-sonality. With musicians who’ve achieved a certain level of success, sometimes their style or persona is set in stone. I have my thing that I do, as does Billy and as does Mike. Sometimes that can make it complicated to create something new. You’re trying to break out of each other’s established “thing.” I knew Billy, but Mike was a wild card—I didn’t know him. Some-how we hit it off instantly; it was like we knew each other for years. I love Mike. We mess around and have a great time.

Your live guitar sound is always great. What’s the secret? —Timmy Kehoe I think it’s because of what I play and when I play it. On my last few tours, I’ve used different rigs—Marshall Plexis, Fender Vibro-Kings, two Fender Twins— so I’ve changed gear a lot. It really

A WHILE BACK, YOU OPENED

FOR THE ROLLING STONES IN

JAPAN. DID YOU ACTUALLY GET

TO JAM WITH KEITH?

—CAROLYN JENKINS

I didn’t jam with Keith, but Ron Wood gave me a fantastic

compliment. We were all standing together for a group shot,

and he put his hand on my throat and said, “Oh, my God. Mick, did you hear him

sing? He sounds like a cross between Rod Stewart and Bernard Fowler.”

Ber-nard’s an amazing singer who’s been with the Stones for 20 years. After Ronnie

said that, I had a real attitude problem for a couple of weeks.

comes down to how I play within the context of the band. Billy and Mike are very impressive players and can be over-the-top, which fits the music, so I have to find a way to fit into that. I really can’t overplay—it’ll sound like chaos. I know how to listen well, and I know what to do and what not to do. I really think that’s the key to sounding good.

I checked out the Winery Dogs song “Fire”—it sounds like a great, not-cheesy ballad. Have you ever written a ballad and scrapped it because you thought it was cheesy?

—Marco Pinner

Probably. I’ve probably written a lot of non-ballads and scrapped them because I thought they were cheesy. On the other hand, I’ve probably written and re-leased some things that were

to-tally cheesy. [laughs] You never

know. When I listen to something that I’ve done and I like it, I want to put it out. There’s been some things I’ve held on to because I didn’t like them. Whether they were cheesy or not, I don’t know. “Cheesy” is subjective.

You have your own a signature Fender Telecaster. What do you like about Telecasters so much? Do you have a “no pointy guitar” rule?

—Barbara Farmington

I don’t mind pointy guitars. When I was a kid, my fantasy guitar was

RICHIE KOTZEN

He’s released 20 solo albums, played guitar for Poison and Mr. Big, and is now on a “hot

streak” with Billy Sheehan and Mike Portnoy in the Winery Dogs, but what Guitar World

readers really want to know is…

a B.C. Rich—I loved the Warlock and the Bich. I thought they were the coolest things ever. Maybe I should treat myself and buy them now. As for Teles, to me they feel like a blank canvas, particularly my signature Telecaster, which I’ve tweaked a bit. I can make it sound traditional, I can make it sound huge like a Les Paul, and I can do everything in-between. The transparency of the instru-ment is what I love. You can really hear the player.

Do you ever “practice” the guitar anymore—you know, sit down and play scales and work on technique?

—Angel Santori

I don’t do that, no. I look at the guitar so differently than when I was a teenager. Back then, I wanted to practice and play stuff to impress people. Pretty soon, I realized that it wasn’t going to work—there’s so many people with that objective who do it bet-ter than me. I didn’t want to be in a competition I couldn’t win. So I went back to when I was a child, wanting to be creative and make music. The guitar is just one of many tools for me to make songs. If I practice at all now, it’s because I’m trying to take what I hear in my head and make it something I can play and record. But I don’t do scales and all that stuff anymore.

How can we get you and Chris Cornell to record a duet? Your voices are very similar. —Carson McMullen Yeah! How can we do that? That would be fucking cool. We could do a great R&B thing—he’d probably be into that. I could play guitar, he could drum, and we’d both sing. But I think that once people heard us on the same song, they would stop comparing us. First off, I’m nowhere near as good a singer as he is. Second of all, we sing pretty differently. When we scream in a high regis-ter, we have a similar tonality, but beyond that, we’re not the same at all. It would be interesting to try to do something together. I’d be into it.

DEAR GUITAR HERO

when we started going out. I was the one who told Rikki that I was going to start to see her, and that’s when the chaos started and I left the band. But we did bury the hatchet, eventually. I’ve shaken everybody’s hands. Brett Michaels hugged me at one of his shows. I’ve seen Bobby [Dall] a bunch of times—we’ve laughed and joked. I’ve seen Rikki and shook his hand, too. So there’s no issues there.

I saw you guys live and you did “Shy Boy” by Billy’s old band, Talas. Would you ever attempt a Dream Theater song? —Terry Johnston Probably not, because I’m not as familiar with Dream Theater as I am with Steve Vai and Billy Shee-han. I can only do a cover song if I can connect with it on some level. “Shy Boy” reminds me of the Richie Kotzen who was 15, 16 years old, listening to albums like [Vai’s] Flex-Able and trying to figure out how to play like that.

MY

GIRL-FRIEND

THINKS

YOU’RE

HOT, SO

I HAVE A

REQUEST:

CAN YOU

STOP

BEING

SO

HAND-SOME?

THANK

YOU.

—MANNY ALBRIGHT

I’m working on getting

less handsome, and I’m

doing a hell of a job of

it. I weigh more now

than I ever have—I’m

not overweight, but I’m

getting there. I drink a

lot and I smoke a lot,

although I just quit

smoking and haven’t

had a cigarette in eight

days. So I’m doing

everything I can to fuck

myself up. I do have an

18-year-old daughter I

have to look after, so I

don’t want to kill myself.

But as far as fucking up

my appearance, it’s on.

Do you own any guitars that are just for show, or is everything in your collection functional? —Gary Levett I have one that’s functional, but it’s also for show. It was given to me in Japan—I was doing an autograph signing, and a kid gave me a Telecaster that looks like it was made out of bark. I don’t know how they did it. It’s really, really cool. Now that I think of it, I should hang it on the wall in my house. It should be seen.

I understand that you left Poison on less than friendly terms. Did you guys ever bury the hatchet?

—Karl Botwin

I think we did. My leaving the band was a long time ago, and so many stories got out about it. What happened was, I fell in love with Rikki Rocket’s ex. We got married, and my daughter, August, was born two years into the marriage. Rikki and his ex weren’t together at the time

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NEWS + NOTES

Devil You Know

ALL SHALL PERISH GUITARIST FRANCESCO ARTUSATO AND HIS BAND OF METALCORE NOTABLES RETURN WITH A SCORCHING SOPHOMORE EFFORT, THEY BLEED RED.By Richard Bienstock

HRIS

T

O SHINDO

V

THE BEAUTY OF DESTRUCTION, the 2014

debut from Devil You Know, was a fierce slab of technically accomplished metalcore, and lived up to the high expectations set by its pedigreed lineup, which boasts former Killswitch Engage vocalist Howard Jones, All Shall Perish guitarist Francesco Artusato, former Bleeding Through bassist Ryan Wombacher and drummer John Sankey, who has played with Fear Factory, among others.

Now, the metalcore supergroup is back with a follow-up, They Bleed Red, which proves to be both a deeper and also more ferocious effort. Says Artusato, “We wanted to make a record that showed a little more of what we do. This one is a little more intricate in terms of guitar work, for sure, but there’s also some very aggressive, simple and straightfor-ward stuff. There’s a little bit of everything.”

The album kicks off with “Consume the Dead,” a song that Artusato calls “pure energy.” But it’s hardly the heaviest track on the disc. That would be the first single, the blast beat–propelled “Stay of Execution.” Explains Artusato, “John [Sankey] kept saying, ‘I want to have a song that has a little bit more of an extreme kind of sound, with a lot of blast beats.’ ” He laughs. “And we already had some of that, but him being a drummer, he wanted more of it.”

While Artusato says that Devil You Know is now “everyone’s main priority,” he also says that, “musically, we’re still free to do other things.” To that end, Artusato last year released his second instrumental solo album, Our Dying Sun, and is currently working with All Shall Perish on a new record, their first since frontman Eddie Hermida left to join Suicide Silence (says Ar-tusato, “We have a new singer—we just haven’t announced who it is yet”).

Right now, however, he’s solidly focused on Devil You Know. “We’re having a lot of fun and people are really liking the music,” Artusato says. “And next year is looking to be very, very busy for us. So it’s an exciting time, and there will definitely be more records to come.”

• GUITARS Ibanez RGA LA custom shop and RGA427Z seven-strings; Ibanez RGA LA custom shop eight-string; Ibanez RG2750QV and RG520QS (All with Seymour Duncan Sentient pickups in neck and Distortion pickups in bridge)

• AMPS Laney IRT120H head and GS412PS cabinet

• EFFECTS Seymour Duncan 805, Mesa/ Boogie Grid Slammer, MXR Analog Chorus, EBS MultiComp, MXR Talk Box

guitarworld.com 35

Stone Cold Classic

ON THEIR NEW ALBUM, SILENCE IN THE SNOW, TRIVIUM CHANNEL MAIDEN, PRIEST, DIO AND OZZY TO ADD SOME RETRO GOODNESS TO THEIR FIERY BRAND OF AMERICAN METAL. By Dan Epstein

While standing in line to enter the venue, Guitar World makes small talk with a black-hoodied Dutch teen who seems incredibly pumped to be there.

“You stoked to see Metallica?” we ask. “No, man,” he defiantly responds. “I’m just here to see Trivium. I’m going to leave right after they play!”

Nine years later, when Guitar World shares this story with Trivium’s Matt Heafy and Cory Beaulieu, the two guitarists burst out laughing. “The biggest question I have,” says Beaulieu, “Is that kid still a Trivium fan? Does even he follow the band anymore?”

“Yeah,” seconds Heafy with a rueful chuckle. “Anything is possible!”

I

Arn-hem show, Trivium were known chiefly for 2005’s Ascendancy, their acclaimed second album, which contained a ferocious mixture of thrash, metalcore and melodic death metal. But the brash young Florida quartet was also just a few months away from throwing their nascent fanbase a major curveball with The Crusade, an ambi-tious follow-up that completely ditched the metalcore aspects of Ascendancy in favor of a progressive-thrash approach that owed a heavy debt to early Metallica. Critical (and fan) opinion was decidedly split on

The Crusade, but that record essentially

set the course for their next three studio albums—2008’s Shogun, 2011’s In Waves and 2013’s Vengeance Falls—in which each release took a strikingly different artistic and sonic tack from the previous one.

“We don’t want to be the band that writes the same album six times, where ev-ery record has the same production, same type of songs and same formula,” Beaulieu explains. “We don’t want to be a stagnant sounding band. We wanted to make a record that sounds fresh and exciting in 2015, and doesn’t sound like it should have come out in 2005.”

Though Trivium’s never-ending quest to push their own creative envelope has lost them some fans along the way (while also gaining others), it’s kept the band

remark-ably vital, as evidenced by their seventh and latest studio opus, Silence in the Snow. Produced by Matt “Elvis” Baskette, Silence eschews the modern metal precision of the David Draiman–produced Vengeance Falls in favor of punchy, melodic, concisely arranged songs like “Blind Leading the Blind,” “Pull Me from the Void,” “Breathe in the Flames” and the title track, and an organic vibe that is clearly rooted in the hard rock sounds of the late Seventies and early Eighties.

“We’ve always looked to do the opposite of what we’ve done previously, and what everyone else is doing at the time,” says Heafy. “That’s the big reason why there was no screaming, no breakdowns or drop-D tuning on The Crusade, because all the other bands in the world were doing the same style. It was the same thing with

Si-lence; we said, ‘What’s the opposite of what

we’ve been doing, and what’s the opposite of what everyone else is doing?’ And the answer was, ‘Let’s go back to the Seventies and Eighties!’

“We wanted to dig further into the heroes of our heroes,” Heafy continues. “What was Metallica listening to when they were getting into metal? What was In Flames listening to when they were getting into metal? And it all seems to stem back to Iron Maiden, Judas Priest, Ronnie James Dio and Ozzy Osbourne. Those were things that we were already into, but we wanted to delve further into them and truly allow them to influence us, and see what hap-pened to our music when we did that.”

Adding to the “throwback” feel of

Silence is the fact that Heafy, who has

screamed and growled on a sizeable chunk of the Trivium discography, sings only clean vocals on the album. In May 2014, Heafy blew out his voice while perform-ing at Rock on the Range, which forced the cancellation of the band’s subsequent tour

I

T’S EARLY IN the afternoon of June 8, 2006, and a

throng of Dutch metal fans is swarming across the

park-ing lot of the GelreDome, a cavernous, 34,000-capacity

soccer stadium in Arnhem, Netherlands. Metallica, in the

midst of their Escape from the Studio ’06 tour, are headlining

tonight, with Avenged Sevenfold, Bullet for My Valentine and

Trivium making up the rest of the bill.

“You have to always make

what you want to hear,

and not worry about

whether people are going

to love it or hate it.”

S C O TT U CHID A

dates. But after working for over a year with famed vocal coach Ron Anderson, the singer says that he’s regained the ability to scream—it’s just that he chose not to do so on the new album.

“When we were writing and making the album, we said, ‘If this thing requires screaming, we’re not doing it,’ ” Heafy explains. “The screaming style I used to do almost killed me as a vocalist. Luckily, Ron has been able to teach me a new way of screaming, which sounds the exact same but is one hundred percent a different technique. We still do the screaming live on the old stuff, and if we’d needed it, we would have put it on the record. But when we finished all the clean vocals—because we always do the clean vocals first—we said, ‘This record doesn’t need it!’ ”

Recorded at Baskette’s Paint It Black Studio, just a quick drive from the band

members’ homes in Orlando, Silence saw Heafy and Beaulieu sticking with the stripped-down gear arsenal they’ve typical-ly employed in the past, both onstage and in the studio. “I’ve always felt that the least amount of gear between the listener’s ears and the guitar player’s hands, the better,” says Heafy. “Our sound has always been some form of 5150 with a Tube Screamer in front of it, and whatever cab sounds right.” “The rhythm guitars for this record were all done through a 5150 III,” adds Beaulieu. “The melodies were done through a Kem-per profile of a 5150 III that I have; and then all the guitar solos were done on one of those Rhodes Colossus amps, and that’s pretty much it.”

Beaulieu used his signature Jackson King V on all of the tracks, while Heafy recorded his rhythms with a late-Nineties Les Paul Custom (“The same one I’ve

had since I was twelve,” he laughs) and his seven-string parts with his Epiphone signature MKH7; he also used an MXR EVH Phase 90 and a Dunlop Dimebag Cry Baby wah for color. “It’s a very minimalis-tic setup,” says Beaulieu, “but that’s pretty much been our M.O. for our whole career. We know what we want to hear, and we know what equipment we need to get that kind of tone.”

L

has now spanned well over a decade, it becomes apparent that “We know what we want to hear” should probably be Trivium’s official motto. Though their fans might not always agree with their choices, the band has consistently displayed a well-defined sense of musical purpose—even in their early days, when they ruffled a lot of feath-ers in the metal world by telling the press

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that they wanted to be “the next Metallica.” “Yeah, that rubbed a lot of other bands the wrong way,” Heafy recalls. “We tried to dial it back and be a little more humble af-ter that, at least for a while. But what we’ve come to realize is, why should anyone ever be afraid to admit what their goals are?

“When I was a kid and I first heard the Black Album and I first watched Binge

and Purge, I said to myself, ‘I want to be

in a metal band that sells out arenas every single night, and I want to change the his-tory of music and metal!’ That was my goal when I was 12; and when someone sets a lofty goal like that, you should never stray from that path.”

One thing that Heafy and Trivium have never embraced is being pigeonholed into a particular sub-genre of heavy metal. “Early on, people were trying to pin the term metalcore on us,” Heafy says. “ ‘New Wave of American Heavy Metal’ was another one. But we stayed away from that, because we knew that we were always going to try to diversify, and try to progress and see where we’re going as a band.”

“I think why we’ve stuck around this long is that we’ve always focused on writ-ing songs, and not heaviness or ‘Hey, check me out, I’m shredding my ass off!’ ” says Beaulieu. “With us, it’s always been about the overall, and not the individual.”

“We’ve seen whole scenes and genres dis-appear since we started making music,” says Heafy. “We’ve also gone through a number of lineup changes, we’ve had massive crew and personnel and label and management changes—there have been some people along the way that haven’t represented us well, including ourselves at times.

“But nowadays, people know who we are. They know that we’re good dudes, and they know that we have constant motiva-tion, determination and hard work behind us. We just want to play our instruments well, play shows for people around the world, and continue to grow this band. That’s all that we want out of life.”

NEWS + NOTES

“We wanted to make

a record that sounds

fresh and exciting in

2015, and doesn’t sound

like it should have

come out in 2005.”

—COREY BEAULIEU _{Corey Beaulieu S}CO

TT U

CHID

A

NEWS + NOTES

SayWeCanFly

BRADEN BARRIE, THE YOUNG ACOUSTIC SINGER-SONGWRITER BEHIND EMO SENSATIONS SAYWECANFLY, VENTURES OUT ON THE ROAD AND CONNECTS WITH HIS RABID FOLLOWERS.By Greg Evans

“I DON’T BELIEVE in love, so don’t get your

hopes up, darling,” Braden Barrie sings on the title track of his new EP Darling, a lyric

that’s not so much mission statement or midnight confession as a reconciliation with the sacrifices of the road.

Three years after the now-20-year-old singer/songwriter/guitarist from small-town Ontario built a considerable following on social media, Barrie—who performs under the one-man-band name SayWeCanFly—has jumped full-throttle into the life of a touring musician, and all the good-byes required. Barrie is following up his recent gig on the Vans Warped Tour with a September series of club dates from Ontario to Florida. Dubbed the Conversation Tour, the shows will include solo acoustic performances as well as speaking work-shops organized by Hope for the Day, a nonprofit suicide prevention organization.

But despite his angsty lyrics (one of his new songs, “High School,” draws parallels between teen bullying and global violence), Barrie seems altogether happy and grateful—for the pre-tour cottage he rents not far from the friends and fam-ily of nearby Lindsay, Ontario, to the new EP that showcases a steady development of the acoustic songwriting displayed on his first album (Between

the Roses debuted earlier this year at Number 14

on Billboard’s Heatseekers chart and Number Five on iTunes’ singer/songwriter chart). He says he’s especially thankful that the mostly female fans of his whisper-to-a-shout vocals, percussive guitar (he plays a PRS Private Stock Angelus for its clean tones and the durability to withstand his hard-plucking style) have taken the leap from social media to social gathering. Before he began touring, he says, his mental image of his fans was based on little more than Twitter handles and selfies. “I don’t think I’d really formed an idea of who they were,” Barrie says. “A lot of them are just very lost, and very young, so it’s important for me to lay every-thing out lyrically and say, ‘Hey, this is what I’m going through, how I’m feeling, so it’s okay.’ ”

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SETLIST

REB BEACH

OF WHITESNAKE

VENUE: NYCB Theatre at Westbury DATE: July 27, 2015 LOCATION: Westbury, NY

Interview by JOE LALAINA

LOVE AIN’T NO STRANGER

“This is a funky, uplifting song. People know the hook—the crowd absolutely loves this tune! There is a lot of air in the chorus, so it always works live. It’s just a perfect midtem-po rock song.”

BAD BOYS

“It’s a challenge to play this song live because the guitars need to be very tight. Soundmen generally aren’t crazy about songs that are really fast, especially songs with double-kick drums, because they sound huge through the P.A. system and tend to muck up the mix. I wanted the guitars to sound as close as pos-sible to the original album [Whitesnake, 1987], so Joel and I worked closely to get them down pat. We do this song right after ‘Is This Love,’ and it smacks you in the face.”

HERE I GO AGAIN

“David wrote this song with [former Whitesnake

guitar-ist] Bernie Marsden. Bernie

one day showed me a picture of his mansion in England, which he told me he bought with the large sum of money he made from this tune. This is a rock song that will never die. The audience waits to hear it every night.”

STILL OF THE NIGHT

“Every musician in every in-carnation of this band wants to play this song. It’s classic Coverdale, with the band stopping on a chord, and then he belts outs the title of the song a cappella and the crowd goes wild. It’s riv-eting! It’s the ultimate arena song, and every hard-rock guitarist’s favorite riff.”

MISTREATED

“When David said he’d be devoting an entire Whitesnake album to redoing Deep Purple songs, I got super-excited. I put the most into the 'Mistreated' guitar solo—I knew it had to be as me-lodic as possible, and I had to emote. When I first started recording it, I was wailing. Then David pulled me over and said, in his characteristic British accent, ‘Rebel, don’t play too much too soon—this is a long solo.’ My guitar solo shows a bluesy side of my playing that I hadn’t shown in any of my previous bands.”

BURN

“When David Coverdale originally wrote this song in Deep Purple, he didn’t have much control since he was a new band member. On Whitesnake’s new album, The

Purple Album, he did everything how he

wanted it. He wanted another guitar solo section on 'Burn' so both guitarists could play their own part. I wrote a new middle guitar section, but I decided I’d rather play the Ritchie Blackmore solo and let

[co-guitarist] Joel [Hoekstra] play the guitar

part which I wrote. I’m glad I did—Joel kicked ass on it and I got a real kick out of playing the Blackmore solo.”

LIVE: S TEF AN M. PR A GER/REDFERNS /GETT Y IMA GE S