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GUITAR & BASSTRANSCRIPTIONS

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G U I T A R W O R L D • J A N U A R Y

V O L . | N O . | J A N U A R Y

C O N T E N T S

FEATURES

36 BARONESS

Three years after a nearly career-ending

bus crash, Baroness return with the epic

soundscapes of Purple, proving they have

come through it all stronger than ever.

44 GRATEFUL DEAD

Jerry Garcia, Phil Lesh, Bob Weir and

other principal players discuss how

they all joined forces to become the

godfathers of the American jam-band

movement.

TREY ANASTASIO

Leader of the jam-band world Trey

Anastasio rings in the new year with

Paper Wheels, the latest feel-good blast

of musical expression from his solo band.

68 JOHN LENNON’SLOST GIBSON JE

The complete and controversial story of

John Lennon’s 1962 Gibson J-160E, which

went missing more than 50 years ago and

was recently auctioned for $2.4 million.

84 SIGNATURE GUITARROUNDUP

Guitar World presents sixteen of the

hottest artist model guitars on themarket!

COVER PHOTOGRAPH

JI MM Y HU BB AR D

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V O L . | N O . | J A N U A R Y

C O N T E N T S

TRANSCRIBED

12 WOODSHED

14 SOUNDING BOARDLetters, reader art and Defenders of the Faith

17 TUNEUPSKillswitch Engage, TesseracT, Gus G., Cage the

Elephant, Dear Guitar Hero with Lemmy, St.

Vincent, and more!

91 SOUNDCHECK

91. GretschG6136T-LTV White Falcon electric93. Orange Micro Dark mini-amp

94. Taylor 612E 12-Fret acoustic

96. Electro-Harmonix Pitch Fork pedal

98. Relish Walnut Jane electric

100. IK Multimedia iRig UA audio interface

100. SalemFuzz Pink Beard pedal

102 COLUMNS102. Emmanuel Dexterity

by Tommy Emmanuel

104. Holcomb Mania

by Periphery’s Mark Holcomb

106. String Theory

by Jimmy Brown108. Shredding with the Alien

by Joe Satriani

110. Acoustic Nation

by Dale Turner

112. In Deep

by Andy Aledort

146 IT MIGHT GET WEIRDThe Gibner Gui’Tardis

DEPARTMENTS

Cage the

Elephant

PAGE

“From the Pinnacle to

the Pit”

by Ghost

PAGE

“The Final Countdown”

by Europe

PAGE

“Down with Disease”

by Phish

PAGE

“Boom Boom”

by John Lee Hooker

Brad Shultz at Guitar World HQ, NYC

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GIVE IT UP

FOR GHOST

IF YOU KNOW me at all, what I am about to say

will come as no surprise: I am a metalhead. Ever since

I was around nine years old and got my hands on a

vinyl copy of Kiss’ Love Gun album, my puny brain being immediately pulverized

by the roaring opening riff of “I Stole Your Love” as soon as the needle dropped, I

was hooked on loud, screaming guitars, piledriving drums, aggro vocals and lyrics

that tapped into the darker side of life. Sure, I listen to all kinds of music when the

mood strikes, and we all have our guilty pleasures—I happily went by myself to

see Madonna at Madison Square Garden back in September—but metal is what I

bleed, for better or worse.

So as we look back on the year that was, it’s only natural for me to survey thehard rock and metal landscape of the past 12 months, and give a nod to what I

thought was the best album of 2015.

Overall I’d say it was a good year for metal: despite there being no new offerings

from Metallica, Megadeth or Anthrax, headbangers had plenty to keep their necks

nice and sore, with solid comeback efforts from elder statesmen like Iron Maiden,

Venom, Motörhead, Clutch and Armored Saint, and a healthy set of releases from

the younger generation including Periphery, Between the Buried and Me, Lamb of

God, Trivium and Act of Defiance.

But no discussion of heavy music in 2015 would be complete without mentioning

Slayer, who came back with a vengeance with Repentless, their first album since the

2013 death of guitarist Jeff Hanneman. We should consider ourselves lucky that,

even after more than 30 years, Slayer continue producing music at such a high level.

I would take great pride in tipping my hat to Repentless as the best metal record of

2015, but that honor—subjective as it is—goes to another: Meliora by Ghost. The third

album by the faceless, nameless members of this Swedish ensemble is, in a word, amasterpiece. From start to finish it’s an epic work of art, with thoughtful song construc-

tion and sonic orchestration rarely found in today’s hard music, and a majestic, praise-

be quality that just makes you want to throw your hands up to the sky and worship.

The year is just about over, but don’t let it end without giving Meliora 41 min-

utes of your time—discovering all that this album has to offer is letting me end

my 2015 in glorious fashion.

And whether you agree or disagree with my assessment of Meliora, be sure to

head over to GuitarWorld.com and vote for your favorite guitarists and records of

the year in our 2015 Readers Poll. Look for the results in the February issue!

—Jeff Kitts

Executive Content Director

EDITORIALEXECUTIVE CONTENT DIRECTOR Jeff KittsEXECUTIVE EDITOR Brad AngleTECH EDITOR

Paul RiarioASSOCIATE EDITORS Andy Aledort, Richard Bienstock,Alan di Perna, Chris GillCONTRIBUTING WRITERS Joe Bosso, Tommy Emmanuel,Dan Epstein, Greg Evans, Randy Harward, Peter Hodgson,Mark Holcomb, Joe Satriani, Dale Turner, Jon WiederhornSENIOR VIDEO PRODUCER Mark Nuñez

MUSIC SENIOR MUSIC EDITOR Jimmy BrownMUSIC TRANSCRIPTIONIST Jeff PerrinMUSIC ENGRAVER Patricia Corcoran

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ONLINEMANAGING EDITOR Damian FanelliEDITORS Brad Angle, Jeff Kitts

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SOUNDI NG BOARD

band after reading the inter-

view with Zach Myers in the

December issue. I found him

to be refreshingly honest about

things he’s gone through, as well

as about the fact that his band

seems to be a bit of a punching

bag for music snobs. He’s right

when he says that Shinedown

have done pretty well for them-

selves these past few years, and

that they shouldn’t be knocked

all the time for the type of music

they play. You tell ’em, Zach, and

keep doing your thing.

—Lou

Ink Spot

This is my tribute to Stevie Ray

Vaughan. The tattoo is the Lenny

SRV guitar. I purchased a replica

from Guitar Center and took pic-

tures of it and went to Pirate Tat-

too in Reno, NV. There, artist Jason

Dugan worked his magic to recre-

ate the SRV Lenny. Now, not only

can I say I own a piece of history, I

can also carry it with me for life.—Rick Barmore

GOT A TATTOO of your

favorite band or guitarist you

want to share with us? Send a

photo of your ink to sounding-

[email protected] and

maybe we’ll print it or post it on

our Facebook page!

Gilmour GuyThanks for putting a true artist

like David Gilmour on the cover

of the December issue. After tear-

ing off last month’s Slayer cover

and throwing it in the trash, I

wasn’t sure I would continue my

subscription. Now I might.

—Jon Melsness

Your current David Gilmour

cover hails the “return of the

king.” However, you previously

crowned Eddie Van Halen in

March of 1988 when you claimed“the king is back!” And in Sep-

tember of ’86 when you declared

Edward, “still the king of rock

guitar.” Come on people, there

can only be one king. Haven’t you

seen Game of Thrones?

—Pete Beck

King SpeechI want to thank you with every

fiber of my being for transcrib-

ing “I’m a King Bee” in the

December issue. I have on occa-sion requested this song for the

last 20 years, so you can imag-

ine my incredible surprise when

I received this issue in the mail.

For those unfamiliar with the

live recording, the transcription

is almost nine minutes of music

complete with every type of lick

any guitarist could learn and stick

in their back pocket for future

use. Bends, pre-bends, bend and

release, pull-offs, hammer-ons,

slides, vibratos, double stops,

partial chord movements, trills

and harmonic fret tapping. Any

part or phrase is an entire lesson

in itself. From the bottom of my

heart, thank you, Guitar World .

Now, if you don’t mind, I have a

lot of woodshedding to do.

—Mark Manzano

I’ve been a subscriber since the

late Eighties and have had five

songs on my bucket list for tabs:

“Starship Trooper” (Yes), “Can’t

You Hear Me Knocking” (RollingStones) and “I’m Going Home”

(Ten Years After) were the first

three, which you finally tabbed

out at different times. I’ve been

waiting quite a while for that sec-

ond to last one, “I’m a King Bee”

(Frank Marino & Mahogany

Rush), and you finally tabbed it

in the December issue! It’s like I

died and went to heaven. Thank

you for this! Now I’ll just have to

wait for that last one…

—Jared Wolfsen

Variety ShowLove the variety in the Decem-

ber issue. It’s always good to see

David Gilmour back on the cover

of the magazine, but for me it

was more about the little things

that made the issue great. The

Inquirer with Bill Steer from Car-

cass, the Dear Guitar Hero with

Coheed and Cambria, and the

back page featuring a military-

themed World War II guitar were

all interesting to me for various

reasons and just reinforced why I

continue subscribing to GW year

after year. Oh, and it took balls—

balls!—to transcribe “I’m a King

Bee”—kudos to you all for that.

—Derek Lutz

PledgeAllegianceIt’s great to see Alex Skolnick

and Dave Ellefson joining forces

for the Metal Allegiance proj-

ect—Testament and Mega-

deth are such huge parts of my

metal upbringing, so I’ll always

pay attention to whatever those

guys are up to. Thank you for

the roundtable interview with

those two legends in the Decem-

ber issue—keep flying the heavy

metal flag, I say.

—Jason Melon

Downwith ZachI don’t claim to be a Shinedown

fan, but I definitely came away

with a new appreciation for the

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guitarworld.com

BONNIE RAITT BY MARGIE GREVE

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

Robby Greicar

AGE 16HOMETOWN Fargo, NDGUITARS Ibanez RG450DX,2000 Fender Stratocaster, IbanezAEF30E acousticSONGS I’VE BEEN PLAYING Metallica“Fade to Black” and “Enter Sandman,”Led Zeppelin “Over the Hills and FarAway,” Styx “Man in the Wilderness”GEAR I MOST WANT A GibsonLes Paul or SG

Jacob Cotner

AGE N/AHOMETOWN Fort Smith, ARGUITARS 1979 Gibson Les Paul Custom,2007 Gibson SG ’61 Reissue, 2002Gibson ES-135, 2006 Fender Highway 1Strat, 2001 Gibson CL Special acousticSONGS I’VE BEEN PLAYING Originalsfrom my bands Anything or Everything,Mainframe Zero and DeprivationGEAR I MOST WANT A vintage Gibson RD

Bobby Davis

AGE 41HOMETOWN Chandler, AZGUITARS Ibanez RG1527, IbanezRG2027X, Ibanez RG8527VV J-CustomSONGS I’VE BEEN PLAYING DreamTheater “On the Backs of Angels” and“Pull Me Under,” Periphery “MK Ultra,”Andy James “The Wind that Shakesthe Heart”GEAR I MOST WANT EVH 5150IIIS

READERART

OF THE MONTH

If you created adrawing, paintingor sketch of yourfavorite guitarist

and would liketo see it in an

upcoming issue ofGuitar World, [email protected]

with a scan ofthe image!

NIKKI SIXX BY JESSE SALAZAR

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www.evhgear.com

H I T T H E

G R O U N D R U N N I N G

L I B E RA T E Y O U R S E L F W

I T H

T H E “ U N C HA I N E D ” C I R

C L E S G U I TA R

N O W A VA I LA B L E A T Y O U R

FA V O R I T E E V H R E TA I L

E R.

F O R M O R E I N F O, C H E C K O U T W W W. E V

H G EA R. C O M

Photo: © Neil Zlozower atlasicons.com

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TUNE-UPS

P H O T O S B Y T R A V I S S H I N N

C A G E

T H E

E L E P H A N T : J I M M Y H

U B B A R D

tktktktkt

AS ONE OF the forefathers

of Western Massachusetts

metalcore, Killswitch Engage

guitarist and producer AdamDutkiewicz has spent almost 20

years representing his scene. So

what’s he doing putting his house

up for sale and moving to San

Diego, California?

“The past two winters have

taught me I don’t like the freezing

temperatures and mass quanti-

ties of snow Massachusetts has to

offer,” he says. “San Diego is beauti-

ful. My girlfriend and I love it. So

we’re getting out.”

Before he leaves the East Coast,

Dutkiewicz plans to finish thefinal edits and mixes for Killswitch

Engage’s seventh album Incarnate,

which is tentatively due for release

in March 2016. The record will be

the second to feature vocalist Jesse

Leach, who replaced Howard Jones

in January 2012. Perhaps driven by

the drama and emotional instability

that precedes relocation, Incarnate

is a more emotionally expressive

album than the band’s thrashy 2013

record Disarm the Dissent.

MOVING CROSSCOUNTRY,DEALING WITH WRITER’S

BLOCK AND TENDING TONEEDY MOTHERS: KILLSWITCHENGAGE DEAL WITH SOMEVERY REAL ISSUES AS THEY

READY THEIR UPCOMINGSEVENTH ALBUM, INCARNATE .

By Jon Wiederhorn

KeepingIt Real

TRACII GUNS

GUS G.

BROKEN

HOPE

LEMMY

KILMISTER

ST. VINCENT

"It felt like wewere back in ouryoung twenties,

playing houseparties."

CAGE THE ELEPHANT

Killswitch Engage (from

left) Joel Stroetzel,Adam Dutkiewicz, JesseLeach, Justin Foley andMike D'Antonio

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G U I T A R W O R L D

•

J A N U A R Y

“We wanted this

album to have a different

weight to it and be more

melodic, but still heavy,”

Dutkiewicz says. “I

wouldn’t say it’s the hap-

piest record we’ve ever

made, that’s for sure.”In addition to dealing

with the stress of a cross-

country move, Dutkiewicz has been tend-

ing to his mother, who is recovering from

complex back surgery. At the same time,

he wasn’t happy with many of the songs he

was writing, guitarist Joel Stroetzel was

suffering writer’s block, and vocalist Jesse

Leach took a while to get inspired.

“This record should have been tracked

in late summer,” Dutkiewicz said. “Not

to rat him out, but Jesse seriously ran out

of ideas and was writing in circles. To his

credit, he didn’t want to slap somethingtogether that he wasn’t really into. And

the record feels a lot more heartfelt now

because he spent the time to make sure

everything was meaningful to him.”

Killswitch Engage started writing for

Incarnate in January 2015. When they were

done demoing the band had 17 songs to work

with. They would have had more, but it took

Dutkiewicz a while to hit full creative stride.

“I finished a bunch of demos and then

threw them all out,” he says. “Hey, some-

times you make turds.

No one can write quality

product all the time. And

if I’m not happy with it

there’s no way anyone

else is going to hear it.”

The heaviest song on

Incarnate is the leadofftrack “Alone I Stand,”

which Dutkiewicz wrote

10 years ago, and which everyone liked but

was unable to translate to an album. While

Killswitch worked in Dutkiewicz’s home

studio, they pulled the song off the shelf,

dusted it off and asked Leach if he could

wrap his head around it.

“It’s fast and aggressive with a lot of

double-bass and it’s in a really odd time

signature,” Dutkiewicz says. “But Jesse fig-

ured out what to do with it and nailed it.”

Upon its release in March, Incarnate

will fulfill Killswitch Engage’s contractwith Roadrunner Records, so now the band

members are debating whether to renego-

tiate with the company, sign to a different

label or release their own albums.

“Some people think doing it yourself is

a really good idea, but we’ve always liked

the comfort of having a record label to

promote us,” Dutkiewicz says. “So we’ll

consider our options. But first I have to

find someone to buy my house before the

winter blizzards kick in.”

NEWS+ NOTES

JAMES MONTEITHOF TESSERACT

1

“Daddy, Brother, Lover, Little Boy(The Electric Drill Song)”

Mr. Big“Not content with being one of the

fastest and slickest speed pickers outthere, Paul Gilbert utilizes a power drillto supercharge his shred—a wonderful

example of the ridiculousness of thelate Eighties/early Nineties. I wonderhow many guitarists have accidentlydestroyed their favorite guitars while

attempting to play this!”

2

“The Ruckus”Technical Itch

“Without a doubt one of the heaviesttracks ever made. Everything from thebone-shaking sub bass to the distortedcymbals is an aural assault akin to a bat-

tering to the head with a sledgehammer.”

3 “Laments of An Icarus”

Textures

“I’ve been a huge fan of Textures fromthe first listen—their masterful construc-

tion of songs with an intelligent yetaccessible foundation is unparalleled bymost, and they have some serious riffs.

The main riff in this song is one of my fa-vorites; clever cross-rhythms, great tight

tone and tons of headbangability!”

4

“Officer Down”Stampin’ Ground

“A perfect mix of hardcore punk andthrash—superfast driving-drum punkrhythms mixed with Discharge meets

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NEWS+ NOTES

What originally inspired

you to pick up a guitar?

When I heard Peter Framptondo the talk box on “Do YouFeel Like We Do” on Framp-ton Comes Alive! My dad hadthat record at home andwhen I heard that, I was like,“Whoa!” For some reason,right there and then, I wantedto be a guitar player.

INQUIRERGUS G


•

J A N U A R Y

What was your first

guitar?

My dad bought me a cheapclassical guitar. I don’t knowwhat it was, but I still haveit. But my first electric guitarI didn’t get until much later,when I was 14. It was a Fend-er Stratocaster, classic FloydRose series model, whichwas—remember those Richie

Sambora models in theNineties? It was kind of like

that, with a humbucker anda Floyd Rose, but it wasa sunburst.

What was the first song

you learned?

Some Black Sabbath song.“Paranoid” or “Sweet Leaf”or something.

What do you recall about

playing your first gig?

It was a high school thing. Iwas 14—it was just months af-ter I got my first electric guitar.I didn’t even dare to look at thecrowd. I wore this yellow shirt

my dad had that went all theway down to my knees. Theworst part of all is I have thaton video. I don’t know why myfamily members did that to me.

Ever had an embarrass-

ing moment onstage, or a

nightmare gig?

Yeah. Everybody has their goodnights and bad nights, but oneof the ones I remember wasone tour in Germany in 2003. Iused to play with this Swedishband called Dream Evil. It wasbefore I could afford to buy awireless. So I tried to do thegood old Yngwie trick, whereI throw the guitar way, wayup in the air. I was playing aWashburn Culprit, this big-assshaped guitar. So I threw theguitar up in the air and it cameright back down and hit mein the face. I’d stepped on thecable, so my guitar didn’t gothat far away. We were openingfor a big band, so I could heara thousand people in the room

just laughing. I fell on the floorand almost passed out. I sawfucking stars all night.

What is your favorite

guitar?

I have a few favorite guitars.The new one I’ve been playingonstage the last couple of yearsis this matte black [ ESP GusG. RS NT-III ] guitar with whitepickups and 24 frets. Usually Ionly do 22 frets, but I’m reallyliking this one a lot lately.

Do you have any advice

for young players?

When you’re younger, you’reimpatient. I’m impatient my-self. So practice and believe inyour music. Remember, thereare no shortcuts in the musicbusiness. If you wanna makeit, you have to put in the time.Be patient and persistent. RANDY HARWARD

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NEWS+ NOTES


•

J A N UA R Y

Daniel Tichenor (left)

and Brad ShultzCage the ElephantWITH HELP FROM THE BLACK KEYS’ DAN AUERBACH, CAGE THE

ELEPHANT PUT A NEW SPIN ON RAUNCHY SIXTIES SOUNDS.

by Alan di Perna

TELL ME I’M PRETTY , the new album by Cage

the Elephant, is a tough and tight set of retro

Sixties pop and garage rock fuzz. It’s their fourth

album to date and their first with Dan Auerbach of the

Black Keys in the production helm. The disc is also the

band’s first recording without their longtime lead

guitarist Lincoln Parish, who left the band shortly

after the making of Cage the Elephant’s Grammy-

nominated 2013 album Melophobia. “That was a

hellacious record to make,” reveals guitarist Brad

Shultz. “I was happy with the end product, but the

process was difficult. But once we got through all that,

I felt I hit a real creative streak. I’ve never stopped

writing songs.”

Many of which ended up on Tell Me I’m Pretty.

The band’s vision for the record, Shultz says, was “to

take it back to a lot of the bands that we cut our teeth

on, but with a different production approach. We

grew up on bands like Tommy James and the Shon-

dells, a lot of Beatles, the Zombies and stuff like that.”

“I could see a band like the Turtles doing some

songs from our new album, like ‘Sweet Little Jean,’ ”

adds bassist Daniel Tichenor. “That Sixties stuff was

definitely an influence.”

To foster this musical direction, the band enlisted

the production aid of Auerbach, a frequent tour-

ing mate and fellow retro aficionado. “Dan is such a

record junkie,” says Shultz. “His musical referencesare very broad. We’d play him a demo of one of our

songs and he’d say, ‘Oh cool, man, that reminds me a

little of this…’ And he’d pull out some Seventies ga-

rage band from South America—someone we’d never

heard of, but just the most amazing music. That

helped us take it to the next level.”

Working at Auerbach’s Easy Eye studio in Nash-

ville, Cage the Elephant were able to draw from the

producer’s legendary stockpile of retro guitar and

recording gear. Shultz borrowed an old Kay electric,

a Fender Mustang guitar and a Gretsch Country Gen-

tleman, while Tichenor played Auerbach’s Fender

Mustang Pawnshop Series bass for most of the album.

Shultz and Tichenor also recorded all their tracksdirect-injected into the console.

“We cranked different preamps to get the fuzz-

tones,” Schulz elaborates, “or we’d keep it clean. I

beat the shit out of the guitar anyway, so even with a

clean sound it’s still very visceral.”

Guitarist Nick Bockrath and keyboardist Matthan

Minster filled the vacancy left by Parish’s departure.

“It was refreshing having them around. They were so

excited.” says Shultz. “It felt like we were back in our

young twenties, playing house parties. I think that

vibe comes through on the album.”

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P H O T O B Y R O B E R T J O H N G U I T A R W O R L D • J A N U A R Y

LEMMY KILMISTERMotörhead’s hard partying, slot-loving, muttonchop-whiskered,Rickenbacker-wielding frontman has lived as wild a life as justabout any rock star in history, but what Guitar World readersreally want to know is… Interview by Brad Angle

You worked as a roadie

for the Jimi Hendrix

Experience when they toured

England in the Sixties. How

crazy was that? And did you

ever party with Jimi?

—Rich Greczi

Oh yeah I partied with Jimi a lot.I used to score acid for him. I’d

bring him ten. He’d give me three

and he’d take seven. [laughs] He

was a good guy, man. There’s a

lot of people that should have

gone before him.

In the Lemmy movie

I saw you playing a

Gibson SG on your tour bus.

It said you were a rhythm

guitarist before you took up

bass. Can you talk about why

you switched? —AK

I went for the job with Hawk-

wind as a guitar player, but they

decided they weren’t going to

get another guitar player, and

Dave Brock was gonna play lead.

So the bass player hadn’t shown

up, because it was a free gig.

But he left his bass and his gear

there like a twat. So somebody

said, “Who plays bass?” And

[keyboardist] Dik Mik said, “He

does,” and pointed at me. And I’d

never picked up a bass in my life.

[laughs] But I got onstage with

it around my neck. I guess I did itall right because I was with them

for five years.

I first saw Motörhead

open for Ozzy Osbourne

during the 1981 Blizzard of

Ozz stop at Detroit’s Masonic

Temple theater. It was also

my first time seeing Randy

Rhoads. What was your

impression of Randy? Did you

think that he would become a

guitar god someday?

—GeorgeRandy was great. He was so

little, you know? You’d see

his clothes on a hanger and

it looked like a doll’s outfit.

[laughs] But he was such a

good guitar player. Considering

the small hands he had, he

still got around it all right. But

he couldn’t play Asteroids for

shit. [laughs] I beat him all

across America.

DEAR GUITAR HERODEAR GUITAR HERO

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guitarworld.com

Longtime fan, and I love

the new record, Bad

Magic. Motörhead is known for

endlessly touring, but I’m

wondering, do you also like the

atmosphere of recording in the

studio? Or do you prefer to be

out there on the road?

—Chuck Small

I like recording a lot better now

that I know a few of the tricks. I

used to hate it. But the last five

albums I’m a lot more into it.

I think your cover of

“Sympathy for the Devil”

[on Bad Magic] is amazing! The

Rolling Stones have a massive

catalog. What specifically

about that song inspired you

to cover it? —Tommy Dean

Triple H, the [WWE] wrestler. He

wanted us to record it for his intro

[walk-out music]. Then after we

recorded it we liked it so much wepinched it and put it on our album.

It’s well known that you

love to play the slot

machines. What is the most you

ever won from slots? —Peter

Fifteen-thousand bucks. In Ve-

gas. No shit.

You’ve had one of most

epic careers in rock and

roll. Based on your experience,

what advice would you give to

a 17-year-old trying to make itin rock? —Randy Fitz

Read all the contracts very

carefully with a solicitor that you

hired. Not one that works for the

record company, because that’s

kinda like sticking your head up

your ass. Just read the contracts

before you sign them. Because

you can change them. You don’t

have to go with the set contract

that they send you.

Motörhead (from left) Mikkey Dee, Lemmy and Phil Campbell

Motörhead is known for

being one of the loudest

live bands ever. Has your

hearing been affected at all

from that? —Mack Anthony

What? [laughs] Nah, I can hear

all right. One ear better than the

other, which faces [guitarist] Phil

Campbell, who’s very loud!

I’m wondering aboutthe design process for

your Rickenbacker 4004LK

signature bass. How did you

come up with the carved oak

leaves in the body? —James M.

I just told them to do oak leaves.

They were supposed to be on

the outside, but they got it

wrong. But it turned out all right.

It’s a beautiful bass.

You’re a big collector of

historical memorabilia.

Jeff Hanneman from Slayerwas also into the WWII stuff.

Did you ever get a chance to

check out his collection?

—Ellis Tufts

Yeah, I talked to him about it. But

I never saw his collection. You

meet a lot of people who are col-

lectors that you’d never expect.

Like John Sykes, who used to be

in Thin Lizzy, and Nikki Sixx also

collects a bit.

You had some health

issues that made you

cancel a few shows. But I was

at your recent show in New

York [Jones Beach] and it was

amazing. What keeps you

going? Could you stop if you

wanted to? —Steven

Obviously anybody can stop. But

what am I gonna do if I stop?

[laughs] I ain’t got no grandchil-

dren, you know.

Your mic placement

seems very high. Did you

start doing that because of

neck pain? —Ben

No, it’s because the voice comes

straight up from the esophagus.

I do it that way so nothing’s in

the way.

You have played

countless shows. But

what was the first live show

you ever saw that inspiredyou to do this for a living?

—Jose DeJesus

Billy Fury, the British rock star.

He had a silver lamé suite, which

I thought looked pretty good in

those days, which were the early

Sixties. And all these chicks were

offering themselves to him. And

I thought, That looks like a job

for me! [laughs] And, as it turned

out, it was!

“Randy Rhoads

was so little. You’d

see his clothes

on a hanger and

it looked like adoll’s outfit.”

HOW DOYOU GETTHROUGH

HARD TIMES?HEARTBREAK,DEPRESSION,WHATEVER.I LISTEN TOMOTÖRHEAD,BUT WHATDO YOU DO?NIKOLAJ

I disregard it andmove on. You gottaget through it what-ever it takes. Foryou it’s Motörhead. Idon’t know what it isfor me. You just findsomething…like a newgirlfriend! [laughs]

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•

J A N U A R Y

DEAR GUITAR HERO

I L L U S T R AT I O N B Y J A C K H U G H E S

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Sonic ArchitectureEXPERIMENTAL ROCK REVIVALIST ANNIE CLARK, OTHERWISE KNOWN

AS ST. VINCENT , REVEALS HOW POSTMODERN DESIGN AESTHETICS AND

NEW WAVE GERMAN POP STARS INSPIRED HER STRIKING NEW ERNIE BALL

MUSIC MAN SIGNATURE GUITAR.

by Corbin Reiff

IN MARCH 2016, Annie Clark, a.k.a. St. Vin-cent, will join the likes of Albert Lee, JohnPetrucci and Steve Morse as the next in a lineof genre-defining artists to release their own

signature guitars with Ernie Ball Music Man. Madewith a body of African mahogany and a rosewood

neck, the St. Vincent signature guitar will debut in oneof two colors, either black or Vincent Blue—a shadethat was hand-mixed by Clark herself—and comes fullyequipped with three mini-humbuckers and a customMusic Man tremolo system. With its slim and taperedwaist, stylishly retro design and instantly playable feel,the Ernie Ball Music Man St. Vincent model is a thor-oughly unique instrument.

It’s a big win for Ernie Ball and an even

bigger win for Clarke’s many fans and aco-lytes. From her humble beginnings playing

around Dallas, Texas, as a young girl, in

the past five years she’s really etched out a

name for herself playing her own instantly

identifiable jagged, new-wave revivalist

sound and paved the way for so many in-

dividually minded artists following in her

wake. By critical consensus, her self-titled

record was one of the most lauded and

celebrated releases of 2014.

Beyond the Grammy nominations and

critics’ best-of lists, however, for Clarke,

the opportunity to create a guitar with

her name on it based off of some of herfavorite designers and design movements

from the Eighties was a real “dream come

true.” Of course, instruments are about

far more than aesthetics and Clark made

it her mission to create something that

would elevate both her own playing and

the playing of anyone who picks it up

and plugs it in. “If you have a great instru-

ment you’re going to play better,” she says.

“You’re going to play up to the level of

the instrument because it makes it easier

for you to succeed.”

guitarworld.com

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G U I T A R W O R L D•

J A N U A R Y

NEWS+ NOTES

At what point were you approached

by Ernie Ball Music Man about cre-

ating your own signature instrument?

It was in the early spring of 2015 that they

reached out about it and the second I foundout about Ernie Ball potentially making a

signature guitar I jumped at the chance. I

was so excited.

What was the first step for you?

I went to the factory, got a tour, saw

how everything was made, saw the working

conditions, which were quite good—it’s a

living wage company. I saw that if I was

going to do business with them I would

not have to hold my nose in any way, shape

or form. They do good business and treat

people well, which is very important to me

as a small business owner.

From the beginning, was it made

clear how much freedom you would

be afforded in the design process?

I really had total free reign. I could have

revamped one of their existing models or

started from scratch and done my own. I

ended up just starting from scratch. My par-

ticular guitar is based a lot on [ Eighties Ger-

man synthpop artist ] Klaus Nomi’s aesthetic,

the Memphis design movement, which was

an [ Eighties ] Italian design movement, those

Sixties and Seventies Japanese designed

guitars like the Tescos and then I went for

classic car colors. I really like cars so I went

for a ’67 Corvette with the color scheme.

At a little over seven pounds, this

isn’t a very heavy guitar. How

important was it for you to create aninstrument that is on the lighter side?

For me a guitar that is not too heavy is re-

ally important because I’m not a very big

person. I can’t even play a Sixties Strat or

Seventies Les Paul. I would need to travel

with a chiropractor on tour in order to

play those guitars. It’s not that those aren’t

great guitars, but they render themselves

impractical and unfunctional for a person

like me because of their weight. They’re

prohibitive, so this is a very light guitar

and the weight is redistributed so that

it has a thin waist. I was always finding

when I was playing onstage and wear-

ing various stage outfits the guitar would

cut across one of the best features of thefemale body, which is your waist. I carry

my guitar pretty high so I had to make all

of these costumes based on the fact that

you wouldn’t be able to see if I had a waist

or not. I wanted to make something that

looked good and not just on a woman, but

any person. And again, I consulted Klaus

Nomi and some of my favorite Eighties

designs to accommodate that.

There’s a real minimalist vibe with

this guitar. It’s got three mini-hum-

buckers, a tremolo system, and only two

knobs and a selector switch. Was it yourgoal to try and pare things down?

Yeah. It was partially visual design and

partly just simply what I use. I wanted it to

remain fairly chopped. You have one tone

knob, you have one volume knob, you have

three mini-humbuckers so you get five dif-

ferent configurations of sound and it really

has a whole lot of tone flexibility as a result.

It’s sort of wired in a counterintuitive way,

but I think it’s the best use of those particu-

lar pickup configurations.

“I’m glad that another

guitar exists that

is sympathetic to the

female form.”

Clark at the Ernie Ball Music Man factory inSan Luis Obispo, California, in April 2015

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Do you generally play more in the

neck, middle or bridge position?

I usually play in the middle position.

Was there a specific designer that

you were working with at Ernie

Ball or was it more of a team effort?

I definitely got some input from [ seniorengineer ] Drew Montell and Sterling Ball.

I would send them an idea and they would

go, “Okay, here’s an option, here’s an option,

here’s an option. Here’s how we can make

it three percent bigger.” And then there’s

so much beta testing involved to make sure

that once we get it to market that it’s the

best possible tool and the most flexible tool.

Things like, because the shape is slightly

unorthodox, making sure that the weight

distribution between the neck and the body

is just right and the most comfortable, so

we messed with different kinds of tuning

knobs to get the weight down even further.

We talked about the particular hardware on

it and the materials we could use with both

design and weight and functionality all in

mind. It’s been a very intensive process. So

far we’ve easily gone through nine, 10, 11,

12 prototypes just to make sure we end up

with the best thing possible.

How did it feel when you finally

got the finished product in your

hands, knowing your name would be onit and it would go into the hands of

other people to create their own music?

The feeling of when you’re a kid and walk-

ing into a guitar store and seeing all of those

shapes and models and colors, it’s better

than a candy store. You feel the possibility,

you feel the excitement, you superimpose

your feelings onto every guitar. and not just,

“What will I sound like with this guitar?

What song will I write with this guitar?”

But, “How will I look onstage with that

guitar?” It’s just so magic and it never gets

old to me. That I have a guitar designed for

my needs, but that my needs are transfer-

rable and other people will get to enjoy it

and have the same kind of connection with

it that I do is just a dream come true.

It’s an unfortunate reality that

many women don't have their own

signature instruments. Nancy Wilson of

Heart comes to mind, as does Joan Jett,

but you’re one of the first women to

design your guitar from the ground up.

Well I’m certainly glad to be a beacon for

women and for anybody who likes musicand my music. I’m glad that another guitar

exists that is sympathetic to the female

form. I’m glad that exists and I hope people,

men and women, will enjoy the ergonomics.

But smaller people and women especially.

Is it true your guitar’s public debut

was at a Taylor Swift concert?

Yeah, that was really fun and wild because

I’m used to playing for crowds, and I think

I’ve maxed out at a festival crowd of about

20,000, maybe? But to walk onstage and be

in front of 35,000 screaming fans, most of

them girls, and her fans are so generous and

so up for anything. If Taylor says “Jump,”

they’ll say, “How high?” She’s got a really

rabid and awesome fan base.

NEWS+ NOTES

G U I T A R W O R L D•

J A N U A R Y

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NEWS+ NOTES

Jeff Hanneman’s GuitarsGet New Life BROKEN HOPE GUITARIST PURCHASES PRIVATE COLLECTION,PLANS TO USE THEM ON NEW ALBUM. By Richard Bienstock

SCORES OF EXTREME metal

bands have been influenced by

Slayer over the years, but JeremyWagner, guitarist for death metal outfit

Broken Hope, has taken his love and

reverence for the band—and, in particu-

lar, guitarist Jeff Hanneman—to new

heights. The guitarist and songwriter is

currently composing music for a new

Broken Hope record, their second since

reuniting a few years back, and he’s doing

it using only guitars that were previously

owned and played by Hanneman himself.

How did these instruments come

into Wagner’s possession? Following

Hanneman’s death in 2013 from liver fail-

ure, his widow, Kathryn, put several of

his guitars up for auction, with proceeds

benefitting one of Hanneman’s favorite

charities, the Wounded Warriors Project.

After hearing of the auction, Wagner

got in touch with Kathryn and the two

hit it off. “She told me, ‘Jeff would have

wanted these guitars to be used, not just

sit in a vault,’ ” he says.

Kathryn wound up selling four guitarsdirectly to Wagner, with the proceeds still

going to charity ($12,000 was the original

asking price for each guitar in the auc-

tion; Wagner paid an undisclosed sum).

The oldest and most iconic of these is

Hanneman’s “punk rock” Jackson, a 1988

Soloist model that he covered with stick-

ers from punk bands. “Jeff used it on the

South of Heaven album and tour, on Season

in the Abyss, and on the Clash of the Titans

tour,” Wagner says. “It’s in the ‘War En-

semble’ video, it’s on the cover of Decade

of Aggression…when I was a teenager, that

was such a legendary guitar.”

Two of the instruments Wagner

acquired are more recent

models: a 1998 ESP

Custom Shop model

Hanneman used during

the recording of

Diabolus in Musica and in the video for

the God Hates Us All track “Bloodline,”

and a “Raiders” logo ESP that, Wagnersays, “was probably one of the last cus-

tom guitars he got from them.”

But the guitar that Wagner has been

using the most for composing the new

Broken Hope songs is one known as

“Killer.” “It’s another ESP custom model,

also done up with Jeff ’s personally

applied stickers,” Wagner says. “It was

built in 2005 and played in the studio for

Christ Illusion. And I just love this thing.

I’ve been riffing out on it, and the riffs are

just flowing out of me.”

Wagner, who also owns one of

Hanneman’s classic amps, a 1986 Mar-

shall JCM800 2203, confirms that the

new Broken Hope record will feature

him playing “100 percent Hanneman

guitars,” he says. “I feel a real responsi-

bility to Jeff and to Kathryn to use these

guitars in a way that honors him."

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SETLIST

TRACII GUNS OF GUNZO

VENUE: Buffalo Rose Saloon DATE: June , LOCATION: Golden, CO

Interview by RICHARD BIENSTOCK

BAD MOTOR SCOOTER

“I wanted to do some Montrose in the set,

and Rudy loves the Seventies stuff. He

does an insane bass solo on this one.”

I DON’T KNOW

“Randy Rhoads is probably my second biggest

influence after Jimmy Page. And I have the dude

who played in Ozzy’s band with Randy right next

to me when we do this! That’s very validating as

a guitarist. My adrenaline goes insane when we

do the Ozzy stuff.”

CRAZY TRAIN

“I get this one right about 99

percent of the time. [laughs]

It just depends from night

to night which Ozzy bootleg

I’m going to pull the licks

from. I’ll do the harmonics

from one Randy show, the

pickup selector switch trick

from another…I’ve lived and

breathed Randy’s stuff since

I was 17 years old. If I was

doing a folk album with a

woman singer I’d still be like,

‘What would Randy do?’ ”

ROCK CANDY

“Another Montrose tune.

That’s where our jam is. We

stretch it out, and my solo

goes from Ronnie [Mon-

trose] to Hendrix real fast.”

OVER THE EDGE

“Another L.A. Guns song. I drag this one

through every band I play with. It has a

character of its own. The framework is

simple—it’s basically a minor-six progres-

sion most of the time, so depending on

who’s playing it, it always has a new life.

There’s a lot of vocals, a lot of soloing,

a lot of feel. This band does the song

particularly well. It offers a different vibe.”

RIP AND TEAR

“Rudy [Sarzo, bassist ] and I did a Randy Rhoads

tribute show together, and then I asked him to

come play some shows with me. But I said, ‘I

don’t want to write any new music right now—

let’s just go out and jam on some hit songs.’ And

that’s how Gunzo came to be. We’ve been opening

our shows with this one, which is an L.A. Guns

tune. It’s a good, mid-tempo rocker that shreds alittle bit at the end.”

NEVER ENOUGH

“One of the biggest L.A. Guns songs, and it’s been

a good closer. The crowd goes nuts. But I gotta

say, doing this set, it doesn’t matter what you put

where, because every song is a hit. Now the trick

is for us to write some songs as good as these!”


• J A N U A R Y

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•

J A N UA R Y

36

JAN

GWPAGE 2016

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More than three years after anearly career-ending bus crash,art-metal outfit BARONESS returnwith the epic soundscapes ofPURPLE , proving they have comethrough it all stronger than ever.

By Dan Epstein

Photography by Jimmy Hubbard

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•

J A N U A R Y

Three years, several operations, and

countless hours of grueling physical ther-

apy later, Baizley and Baroness—whose

lineup currently includes longtime guitar-

ist Pete Adams and the new rhythm section

of drummer Sebastian Thomson and bass-

ist Nick Jost—have finally returned with

Purple, their fourth studio album. While the

life-jarring circumstances preceding the

record’s creation might cause one to expect

a downbeat, introspective effort along the

lines of the quieter moments of their pre-

vious album, 2012’s Yellow and Green, Pur-

ple is actually filled from front to back with

roaring, muscular exultations like “Shock

Me,” “Kerosene” and the lead single, “Chlo-rine & Wine,” all of which make it beauti-

fully clear that Baroness is back and ready to

kick some serious ass.

“We thought about doing a dark, som-

ber record,” says Adams, “but I really just

didn’t want that to happen. I really felt like

it needed to be heavy; we needed for it to be

like, ‘Hey, this is what this band does!’ ”

“For Pete and I, especially, making this

record has been a very, very cathartic expe-

rience,” says Baizley. “But at the same time,

because the music had that energy, vital-

ity, ferocity and immediacy, I felt more com-

fortable reaching deeper levels of introspec-tion, lyrically. To me, it’s a good balance.

Most importantly, that energy’s there—

that’s what we needed, that’s what we were

going for.”

Still, Baizley says, Purple “was a really

difficult record to write. There was the

rehab aspect of it, of course, and then the

new membership aspect; there were a lot

of moving pieces, any of which could have

derailed the quality or the experience of

writing it. At the beginning of the process, I

N AUGUST 15, 2012, THE BRILLIANT CAREER OFprogressive sludge-metal purveyorsBaroness almost came to a sudden andtragic end when the band’s tour bus fell30 feet from a viaduct near Bath, England.No one died, miraculously, but the crashseverely injured three of the band’s fourmembers—including singer/guitarist JohnBaizley, whose left arm was crushed almostto the point of requiring amputation.

John Baizley

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•

J A N UA R Y

believe we were all a little nervous because

we had no foundation on which to base anypresumptions. It was like, ‘All right—let’s

turn everything on and see what happens.’ ”

The first song to emerge from the writ-

ing sessions was the straightforward rocker

“The Iron Bell,” an atypical composition

from a band renowned for its challeng-

ing time signatures and interlocking down-

tuned riffs. “We’d never written a song in

four with a four-on-the-floor kick drum

and a back beat,” says Baizley, “and it’s only

our second-ever song in standard tuning;

we usually tune a whole step down. But

we tried that out and it seemed to work,and then we had a couple of old parts kick-

ing around that became ‘Chlorine & Wine,’

and all of a sudden our confidence level was

boosted. We felt from a very early point that

the music we were making was good. So

then it was like, ‘Okay, what do we need to

do to make this great?’ ”

After an intense period of writing songs

and making demos, Baroness recorded the

album’s 10 tracks with producer Dave Frid-

mann at his Tarbox Road Studios in Cas-

sadaga, New York. Fridmann, best known

for his work with Flaming Lips, MGMT

and Mercury Rev, was more than happy

to encourage Baizley’s experimental bent

when it came to crafting guitar tones.

“With this material, I thought it was

important that we didn’t get locked into

one particular sound—that we really kept

the palette broad,” says Baizley. “Differ-

ent amps, different effects, different miking

techniques, whatever; you’re in the studio,

so you’re only limited by your imagination.”

“John’s got about 15 or 20 shelves in his

basement that are completely loaded with

effects pedals,” laughs Adams. “It’s kind of

insane. We went into the studio and laid ’emall out in categories—fuzz pedals here, fil-

ters there—and then we just dug through

’em. Every song that you hear on Purple’s

got a whole new slew of effects on it. I think

we used a different fuzz for every solo!”

“We recorded a lot of parts with a

very pronounced stereo image,” Baizley

explains. “The Strymon Timeline delay

is a big favorite of mine—I think I got one

the week it came out, because I was so

excited about it—and the Strymon Mobius,

for whatever weird modulation effects I

needed.” Baizley says the “tons of fuzzes

and distortions” on the album included aMXR Custom Badass Distortion, a self-

built Klon Centaur clone, several Death

By Audio effects, and some pedals from a

small company called Philly Fuzz that Bai-

zley has an ownership stake in. “Anything

that made it sound weird was awesome,”

he laughs. “I couldn’t even begin to remem-

ber which one was used where!”

The album also makes the most of Adams

and Baizley’s different-yet-complimentary

mix of styles and sounds. “Pete likes to keep

WE THOUGHT ABOUT DOING ADARK, SOMBER RECORD, BUTI REALLY JUST DIDN’T WANTTHAT TO HAPPEN.” —Pete Adams

Pete Adams

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42 GUITAR WORLD

ing amps, like a Fender Twin and a Vox

AC30, with two dissimilar mics onstage or

in the studio to create the blend that worksfor me and complements Pete.” A longtime

fan of G&L guitars, Baizley used a brand-

new G&L Classic “S” Alnico for much of

Purple, along with a 1962 Gibson ES-335 for

“when I needed something a little warmer,

or with more of a classic feel.”

It took a lot of painstaking work to get

Purple on tape—to say nothing of rebound-

ing from the bus accident—but the band

is incredibly pleased with the results. “I’ll

go on record as saying that this is the first

record that we’re all unanimously excited

about,” says Baizley. “There’s nothing on

there that anybody in the band is ques-tioning. And that’s atypical; usually there’s

some moment where somebody’s like, ‘Uh,

I’m not so sure about that…’ But this one,

we just love it.

“This has been a really positive new

chapter for the band, and we needed it to

be. And it’s been good therapy for me, you

know? I personally needed something to

go right—and this really did. Whatever

happens with Purple, it’s already been a

successful record.”

things very consistent and predictable, while

I’m inclined to take a more alternate path,”

Baizley explains. “As we’ve aged and devel-oped new skills, we’ve become more flexible

with what we’re doing. We still maintain the

twin guitar thing, but we separate the two

instruments in very distinctive ways, so that

they’re fulfilling different roles in different

harmonic registers and frequencies. It’s not

just two Les Pauls and Marshalls.”

Thanks to Adams, however, there’s

alwaysone Les Paul in the mix. “I love Les

Pauls,” he says. “I think they record well, and

I think they play live well. One’s a 1960 reis-

sue Classic with the slim neck; I took the

496s out of it and put a pair of 57s in it, and

that thing sounds great now. And I’ve got an’08 Silverburst Standard with a slim neck

and an ebony fretboard, and I really love it…

“I like being as comfortable as possible in

the studio,” Adams continues, “so I record

through pretty much what I play through

live, which is a Budda 45-watt Superdrive. I

also used my Matamp GTO 120, which has

a big, booming clean sound that I love, and

which I piled up the effects on.”

Baizley, on the other hand, prefers a ste-

reo rig that uses “two very dissimilar sound-

Baroness (from left)Sebastian Thomson,

Adams, Nick Jostand Baizley

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In this exclusive excerpt

from This Is All a Dream We

Dreamed, Jerry Garcia, Phil

Lesh, Bob Weir and other

principal players discuss the

earliest days of the Grateful

Dead and how they all

joined forces to become the

godfathers of the American

jam-band movement.

FROM THIS IS ALL A DREAM WEDREAMED BY BLAIR JACKSON ANDDAVID GANS. COPYRIGHT BY THE AUTHOR AND REPRINTED

BY PERMISSION OF FLATIRONBOOKS, A DIVISION OF MACMILLAN

PUBLISHERS LTD.


(from left) Phil Lesh, Bob Weir, Bill Kreutzmann,Jerry Garcia and Ron “Pigpen” McKernan

perform as the Warlocks, circa 1965

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we had enough amateur talent to start a jug

band; they were popular at the time. We

started practicing that week and got a gig

shortly thereafter. Off it went from there.

BOB MATTHEWS

It goes back to [ TV’s ] The Beverly Hillbillies. In 1960,

people were just transitioning out of being

beatniks into what they didn’t know until

a few years later was being hippies. Folk

music was a key issue. Everybody was buy-

ing guitars and getting guitar lessons. I

heard Flatt and Scruggs playing the theme

song to The Beverly Hillbillies and fell in

love with that hard-as-nails banjo sound.

There were lots of guitar teachers

around. I was trying to find a banjo teacher.

BOB WEIR

I was with a couple of

friends walking the back

streets of Palo Alto on New Year’s Eve at

about 7:30, headed to a coffeehouse to get

some music and celebrate. We heard banjo

music coming out of the back of a localmusic store and just knocked on the door

and got invited in. We knew who it was;

we knew it was Jerry. He was waiting for

his banjo students, and I said, “Jerry, lis-

ten, it’s 7:30 on New Year’s Eve, and I don’t

think you’re going to be seeing your students

tonight.” He agreed and asked if we played

instruments. We all eagerly nodded yes and

broke into the front of the store to grab some

instruments. We played all night and had a

wonderful time. We decided at that point

CAST CHARACTERSO F

CLIFFORD“TIFF” GARCIA

Jerry Garcia’solder brother

CAROLYN“MOUNTAIN

GIRL” GARCIAMerry Prankster,

nd wife of Jerry Garcia

JERRYGARCIA

Grateful Deadsinger/guitarist

ROBERT HUNTEREarly musical

partner of JerryGarcia et al., lyricist for

the Grateful Dead

BILL KREUTZMANNGrateful Dead drummer

PHIL LESHGrateful Dead bassist

BOB MATTHEWSGrateful Dead record-ing engineer/producer

CONNIE BONNERMOSLEY

Early Grateful Deadfamily member

DAVID NELSONNew Riders of thePurple Sage and

Jerry Garcia AcousticBand guitarist

SUE SWANSONHigh-school

classmate of BobWeir, later Grateful

Dead employee

BOB WEIRGrateful Dead

singer/guitarist

My mother, who was teaching first-graders

to read at a local progressive private school

called Peninsula School, had a Stanford film

undergraduate doing a documentary on

her unique teaching, and when my mother

articulated her difficulty [ in finding me a

banjo teacher ], Sara Garcia turned around

and said, “My husband teaches banjo.”

That’s how I met Jerry.Bob Weir and I were really into the jug

bands. We liked Gus Cannon [ of Cannon’s

Jug Stompers, a black, Memphis-based jug

band in the late Twenties ] and Jim Kwes-

kin. The Jim Kweskin Jug Band was play-

ing at the Cabale [ in Berkeley ]. You had to be

at least 18, if not 21, to get in. We snuck in,

and we were up in the front row. The next

day, Bob and I cut class and hitchhiked into

Palo Alto to Dana Morgan Music, where

Jerry was teaching banjo. As we walked

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• J A N U A R Y

During the summer of 1965, a San

Francisco band called the Charla-

tans traveled up to Virginia City,Nevada, a true old West town, and

transformed the Red Dog Saloon

into a psychedelic rock and roll

venue. The band and their friends,

who loved to dress in Edwardian/

Western garb, were heavily into

LSD, and played ear-splitting rock

and country-flavored music at

the Red Dog in front of a primi-

tive light show for several weeks

before the “authorities” essentially

drove them out of town. By the

time they returned to San Francis-

co, psychedelics had taken hold inseveral bands there, too, including

Jefferson Airplane, who debuted

at the Matrix club in August, and

the Great Society (featuring Grace

Slick), who turned up a short time

later. That fall, some of the folks

who had been involved with the

Red Dog and who were now living

in a commune in San Francisco

started putting on dances in the

city as the Family Dog.

Meanwhile, the Warlocks, who

were getting more and more into

acid themselves, and increasinglyenjoying the colorful psychedelic

scene that was fast evolving in

San Francisco, were looking for a

new name. Apparently, “War-

locks” was already taken by some

other band somewhere. When the

group went to record their first

demo tape at Golden State Stu-

dios on November 3, 1965, they

called themselves the Emergency

Crew, but that didn’t cut it.

JERRY GARCIA We were trying to

think of a name for the band. Ourname was originally the Warlocks.

We discovered that there was a

band back East or something like

that recording under that name,

and we decided, “Oh, no, we can’t

have that. We can’t be confused

with somebody else.” So we were

trying to think up names, and for

about two or three weeks we

went on the usual thing of coming

up with thousands and thousands

of very funny names, none of

which we could use, like Skinny

Minnie and the Vivisectionists.We were standing around in utter

desperation at Phil’s house in Palo

Alto. There was a huge Webster’s

New World Dictionary , I believe—

big monolithic thing—and I just

opened it up, and there in huge

black letters was “Grateful Dead.”

It canceled my mind out, kind

of, and I thought, Well… So we

decided to have it, but it was

funny, ’cause we really didn’t

like it too much at first, and it

kinda made us shudder. We were

worried that nobody was gonnago for it, it’s too weird, and what-

ever. But finally, enough people

called us that, and we called

ourselves that enough times, that

that’s who we are now.

BOB MATTHEWS It was time

to change the name. Bazillions

of names, all on pieces of paper,

and everybody kept throwing

them back and forth, and nothing

was making it. There was so much

dissension, and nothing coming out

of it, that Phil stood up and said,

“Enough is enough.”

Phil is a very intellectual person

and always had sources of knowl-

edge around him. One of the things

he had was an Oxford Unabridged ,

on a dictionary stand. [Jerry ] said,

“It’s gonna come to us.” He put hishands over his eyes, went over to

the dictionary, opened the diction-

ary, and still with his hands over

his eyes, moved his finger down,

and stopped in an arbitrary place.

We were there, and watching, and

it was totally arbitrary. He opened

his eyes and said, “grateful dead?!”

And he read the definition. The first

definition was, “ethnomusicological

term dealing with ballads of unre-

quited love.” It’s a very old term.

JERRY GARCIA It’s a genre ballad,like there are “murdered girl” bal-

lads. Well, there are “grateful dead”

ballads. So it tied in nicely in a way.

Plus the fact that a lot of people

have mentioned the Tibetan Book

of the Dead in connection with it,

although I don’t know whether that

particular phrase ever appears in it.

I don’t think it does. It’s also like a

very brief phrase you could describe

as being the psychedelic condition.

Better Off DeadHOW THE WORLD’S GREATEST JAM BAND CHOSE THEIR NAME.

The Grateful Dead perform at WestPark in Ann Arbor, Michigan, onAugust 13, 1967. (from left) Ron

“Pigpen” McKernan, Bill Kreutzmann,Jerry Garcia, Phil Lesh and Bob Weir

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into his little cement cubicle, he was play-

ing banjo—noodling, as he always did. I

think I said, “We went to see the Kweskin

Jug Band last night, and we’re starting a jug

band.” Jerry looked up, didn’t drop a beat,

and said, “Good. I’m in it. I know a great

harp player, this guy named Pigpen.”

ROBERT HUNTERI was offered the position of

jug player, but I didn’t have

the embouchure. So I dropped out and didn’t

pick up performing again for about 10 years.

BOB MATTHEWS

I got to be in Mother

McCree’s Uptown Jug

Champions. First I was washboard player,

and then I was kazoo player, then I was the

second kazoo player. Bobby loved to hyper-

ventilate himself blowing on the jug. He also

played one-string washtub bass—went out

and got a zinc washtub, a broomstick, and a

piece of twine. That was what he did—and

sang and looked pretty. Jerry was playing

the banjo [ and guitar ] and leading the band.

He was playing the five-string banjo. It’s a

different genre of music, but he was play-

ing Jerry Garcia banjo. We were playing

a tune—“Washington at Valley Forge,” or

something—and Jerry leaned over and said,

“Hey, why don’t you take a break?” What

he meant was, “Take a solo.” I thought he

meant “take a break,” so I left the stage.

CONNIEBONNER MOSLEY

I remember in high school, the hallways

would clear when Pigpen walked down

the hallways—with a woman on each arm,

maybe. I remember his last days at Palo Alto

High School, before he was expelled, and

then running into him a few months later at

the guitar store.

BOB MATTHEWSHe was so mean-lookin’. He

was the same age we were,

barely 18, but we could run over to East Palo

Alto, to Maroney’s liquor store, send him in

with money, and he’d come out with what-

ever you asked for. Weir and I used to drink

Green Death—Rainier Ale. We’d pay for

Pig’s Thunderbird, and he’d buy us two or

three big bottles of Green Death.

CLIFFORD“TIFF” GARCIA

Weir and Jerry were both working at the

music store. Weir was giving lessons, Jerry

was giving lessons and trying to repair

instruments but he wasn’t very mechani-

cally inclined. But anything to make endsmeet—[ Jerry and Sara ] had a baby on the

way. I remember seeing Bob there and

hearing him play and listening to him give

lessons. He was just a kid but he was pretty

good. He was still going to school at the

time; Jerry was older and out of school.

Anyway, when I first heard Jerry had got-

ten together with Weir and Pigpen, I knew

it would be a good nucleus for a group.

JERRY GARCIA

I think there are about four

major categories of music

that we actually play, and we boil it down

under the name of jug band music. Actual

jug band music is a sort of early blues-

band music that was recorded during the

Twenties and Thirties, not sophisticated

music; it might feature guitar and har-

monica played blues-style, kazoo, possibly

a five-string banjo, possibly a jug, which

acts as a tuba does in an old-time Dixie-

land band. That is one of our major areas

of material, one of our sources. Another

is early Dixieland; New Orleans jazz.

We get some Twenties, Thirties popu-

lar music, and a certain amount of morerecent blues, from within the last 10 or

15 years, that includes some very recent—

within the last three or four years—

rhythm and blues songs. So we have quite

a large area, and it makes it more fun for

us, and certainly more satisfying, because

it doesn’t restrict us to one particular

idea or one particular style, and the result

I think is pretty interesting, and

it’s great—just a gas.

I think we’ll play the music probably as

long as we’re together; we all live in the

same area. Like I say, it’s fun, it’s reward-

ing, it’s great to get together. We don’texpect to make a fortune at it, or ever be

popular or famous or worshipped, or hit

The Ed Sullivan Show, or anything like

that, or the circuses or the big top, or what-

ever. Anyway, we play at a few places in

the area; I think that we may be restricted

to that, just because it’s impractical to

travel too long a distance. But as long as we

can play, we’ll play, regardless of what it’s

for, who it’s for, or anything. It’s fun for us,

that’s the important thing.

If you wanted to talk about it like

that. It’s any number of things. It’s

just a loaded phrase. It looks good

in print, it sounds good—it’s got a

sort of euphonic thing going for it.

DAVID NELSON Jerry takes me

and Sara into my room and says,

“You’ve got to hear this. I’m re-

ally wondering what the generalreaction is going to be, and I just

want to have an idea.” I remember

his big eyes lookin’ at me. I said,

“What’s the idea?” and he said,

“Grateful Dead.”

I said, “Let me think about it.” I

was lookin’ at the straight world—

the lamebrains and the dodos,

you know. Those people just react

instantly, and they think they’re

right and all that.

But I said, “It’s a fantastic

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