5312a.g.w.j.2016
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GUITAR & BASSTRANSCRIPTIONS
PHISH “Down with Disease”
EUROPE“The Final Countdown
GHOST “From the Pinnacle
to the Pit”
JOHN LEE HOOKER
“Boom Boom”
BIRTH F THE
GRATEFUL
DEAD
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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
Trey Anastasio in Brooklyn, NY,October 14, 2015
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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
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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G U I T A R W O R L D • J A N U A R Y
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
ARTDESIGN DIRECTOR Stephen GoggiASSOCIATE ART DIRECTOR Ben AvnyASSISTANT ART DIRECTOR
Natalie Skopelja
ONLINEMANAGING EDITOR Damian FanelliEDITORS Brad Angle, Jeff Kitts
PRODUCTIONPRODUCTION MANAGER Nicole Schilling
BUSINESSVICE PRESIDENT, GENERAL MANAGER Bill Amstutzbamstutz@nbmedia.com
GROUP PUBLISHER Bob Ziltzbziltz@nbmedia.com
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Steve PalmCHIEF FINANCIAL OFFICER Paul MastronardiCONTROLLER Jack LiedkeVICE PRESIDENT OF PRODUCTION & MANUFACTURING Bill AmstutzVICE PRESIDENT OF DIGITAL STRATEGY & OPERATIONS Robert AmesVICE PRESIDENT OF AUDIENCE DEVELOPMENT Denise RobbinsVICE PRESIDENT OF CONTENT & MARKE TING Anthony SavonaVICE 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. Periodicalspostage 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 contentscopyright 2012, NewBay Media L.L.C. All rights reserved. Reproduction in whole or in part is prohibited. NewBay Media L.L.C. is notaffiliated with the companies or products covered in Guitar World. Reproduction on the Internet of the articles and pictures in thismagazine is illegal without the prior written consent of Guitar World. Products named in the pages of Guitar World are trademarks oftheir respective companies. PRODUCED IN THE UNITED STATES OF AMERICA. SUBSCRIBER CUSTOMER SERVICE: Guitar World MagazineCustomer Care, P.O. Box 469039, Escondido, CA 92046-9039. Online: www.guitarworld.com/customerservice. Phone: 1-800-456-6441.Email guitarworld@pcspublink.com. BACK ISSUES: www.guitarworld.com/store REPRINTS: NewBay Media, LLC, 28 East 28th Street, 12thFloor, New York, NY 10016. Phone: 212.378.0414
WOODSHEDV O L . | N O . | J A N U A R Y
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G U I T A R W O R L D • J A N U A R Y
SEND LETTERS TO: The Sounding Board, Guitar World , 28 East 28th Street, 12th Floor, New York, NY 10016, or email us at Soundingboard@guitarworld.com.
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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-
board@guitarworld.com 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 defendersofthefaith@guitarworld.com. 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, emailsoundingboard@guitarworld.com
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
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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
neo-Slayer riffing and huge breakdowns.After 15 years this still sounds heavy as
ever. A great song to drive really fast to!”
What's on My iPod?
PLAYLIST
TesseracT's latest record, Polaris , is out now.
“I wouldn’t say it’s
the happiest record
we’ve ever made.”ADAM DUTKIEWICZ
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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
G U I T A R W O R L D
•
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
G U I T A R W O R L D
•
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.”
P H O T O B YJ I M M Y H U B B A R D
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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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G U I T A R W O R L D
•
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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G U I T A R W O R L D
•
J A N U A R Y
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."
P H O T O G R A P H B YP A U L N A T K I N
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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!”
G U I T A R W O R L D
• J A N U A R Y
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G U I T A R W O R L D
•
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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G U I T A R W O R L D
•
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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G U I T A R W O R L D
•
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.
G U I T A R W O R L D • J A N U A R Y
(from left) Phil Lesh, Bob Weir, Bill Kreutzmann,Jerry Garcia and Ron “Pigpen” McKernan
perform as the Warlocks, circa 1965
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guitarworld.com
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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G U I T A R W O R L D
• 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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