Hot off the success of their first studio album release in 20 years, This Is Not The End (and its Top 20 ARIA Album Chart debut), iconic Aussie rockers The Baby Animals are hitting the road for the national Feed The Birds tour. The tour will be filmed for the band’s first ever live DVD, to be called Feed the Birds (Live). And Baby Animals can always be counted on for great guitar moments courtesy of lead guitarist Dave Leslie and vocalist Suze DeMarchi. Dave’s one of those incredibly adapatble players who is able to sound perfectly at home whether he’s playing a simple rhythm part, dishing out the shred or – and this seems to be his most impressive skill – playing the kind of stuff that sounds simple until you try to play it yourself, whereupon you learn that it’s impossibly perfect and unpredictable. I Heart Guitar caught up with Dave right before the tour kick-off to talk shop. Read More …
Is there anything better than a good song intro? Well, yeah. I can think of a few things, and some of them even have something to do with music. But still, there’s just something magical about a great song intro. Whether it’s an unaccompanied slab of guitar wizardry, some kind of unexpected time signature, a chunk of mysteriously atmospheric ambience or even just some kind of silly bit if dialog recorded in the studio, a good intro can set the scene and build anticipation for the song proper. So in celebration of the glories of the intro, here are a few of my favourites, divided in to guitar and bass examples. What are yours?
The other day a photo surfaced on the internets of Black Veil Brides performing with some dummy speaker cabs – empty cabinets placed on stage for visual effect. And I guess BVB are a band who attract a lot of haters for some reason, so a lot of people pounced on them for it. Like they were looking for some excuse to accuse the band of being fakes. But y’know what? I really don’t get what all the fuss is about here. Bands have been using fake cabs to fill in stage space for decades. You think Van Halen or Slayer are really going through all of those cabinets? A wall of speakers is part of the rock vernacular. It’s just something we expect to see. And if you choose to do without it, you have to get creative in order to do something with that empty space, otherwise it’s just going to look bare and boring. Read More …
Would Van Halen I be as iconic if it didn’t kick off with Michael Anthony’s couldn’t-be-more-simple-or-more-cool intro to ‘Runnin’ With The Devil’? …Look, I’m gonna say no. Mike was a huge part of Van Halen’s classic sound, and it’s great to hear him loud and proud in Chickenfoot. Mike now has a signature Peavey bass amp, a nice match for his Yamaha BB3000MA bass, I might add, and it’s an all-tube, 300-watt beast that somehow still manages to weigh in at a manageable 38 pounds.
Here’s the press release.
January 24, 2013, Meridian, MS – Peavey Electronics, known for its commitment to tonal quality and innovation, today announces the new Michael Anthony VB-MA™ signature tube-powered bass amplifier. This 300-Watt all-tube head packs a low-end punch, while weighing in at an extremely portable 38 lbs.
Now, I’ve never played Guitar Hero. While I’m glad it exists and I’ve seen the benefits first hand in terms of getting kids interested in playing real guitar, well, I have real guitars. But the kids of today could do a lot worse than rocking out to Van Halen, what with their Dan Fogelberg, their Zima, hula hoops, and Pac-Man video games.*
*Guess the movie reference. There’s no prize but it’s fun, right?
This from IGN:
US, August 5, 2009 – Activision (via MTV) has unveiled the complete song lineup for Guitar Hero Van Halen. The fourth, and we’re assuming last, Guitar Hero game of 2009 will hit shelves just in time for Christmas on December 22. David Lee Roth will be at the mic.
Songs from Van Halen will dominate the list, but other bands have snuck in as well. Here is the entire list:
Van Halen Tracks
“Ain’t Talkin Bout Love”
“And The Cradle Will Rock”
“Dance The Night Away”
“Everybody Wants Some”
“Feel Your Love Tonight”
“Hang ‘Em High”
“Hear About It Later”
“Hot For Teacher”
“Ice Cream Man”
“I’m The One”
“Loss Of Control”
“Running With The Devil”
“So This Is Love”
“Somebody Get Me A Doctor”
“Spanish Fly” (solo)
“You Really Got Me”
Tracks From Other Bands
Alter Bridge – “Come To Life”
Billy Idol – “White Wedding”
blink-182 – “First Date”
Deep Purple – “Space Truckin”
Foo Fighters – “Best Of You”
Foreigner – “Double Vision”
Fountains of Wayne – “Stacy’s Mom”
Jimmy Eat World – “Pain”
Judas Priest – “Painkiller”
Killswitch Engage – “The End Of Heartache”
Lenny Kravitz – “Rock And Roll Is Dead”
Queen – “I Want It All”
Queens of the Stone Age – “Sick, Sick, Sick”
Tenacious D – “Master Exploder”
The Clash – “Safe European Home”
The Offspring – “Pretty Fly For A White Guy”
Third Eye Blind – “Semi-Charmed Life”
Weezer – “Dope Nose”
Yellowcard – “The Takedown”
You have to have been living in some kind of coop to not have heard about Chickenfoot, the new supergroup featuring Joe Satriani, Sammy Hagar, Mike Anthony and Chad Smith. Far from just being a mixture of Van Halen, Red Hot Chilli Peppers and a certain surfing alien guitarist, Chickenfoot rocks with a distinctive band sound. You get the feeling the ‘foot is in it for the long run,
I Heart Guitar: Hi Joe! Peter from I Heart Guitar here. This is the third time I’ve interviewed you and also, you replied to me on Twitter a couple of weeks ago.
Joe Satriani: (Laughs) Oh fantastic. It’s funny how I’ve taken to doing Twitter while I’m sitting here in my studio practicing, just a crazy thing to do while I’m taking 60 seconds off.
I Heart Guitar: Same, if I’m typing up an article I’m sometimes like, ‘Eh, I just need to blab about stuff for a few seconds.’
Satriani: It’s a strange modern neurosis, isn’t it? Twitter is made for people like us who need to somehow get things out. It’s funny, before these interviews started I posted a picture that I got from these guys at Vox – someone’s girlfriend had given her boyfriend a birthday cake in the shape of a giant Satchurator pedal. It was the funniest picture.
I Heart Guitar: I saw that! So, first question: The album debuted at number 4, how cool is that!
Satriani: Yeah, I swear, I was thinking we were going to be 100-something. So when someone said “You know, I think we might be in the top 20” I was like, “Yeah, right.” Then, “No it’s going to be in the top 10.” Then as it came closer and closer I started getting emails from Gary Arnold at Best Buy saying “You’d better be ready, this is coming out at number 4.” Dave Matthews, Green Day, Black Eyed Peas. Classic rock up against those guys, it’s a great moment for rock.
I Heart Guitar: So you just wrapped up a mini tour?
Satriani: We did this little club tour. We called it a Road Test tour and we played in places that held 400 people, little sweat boxes, and it was so much fun, to take a real rock band like this with a brand new record that no-one had heard and just try to make them hear it and understand it. There’s nothing like feedback from a few hundred people who can scratch your nose during the show if they want (laughs). I mean, you really do have to do your work, but the feedback you get is great, and the fans who came to see us can take pride in being part of the experience that told us how to do it. I’m glad we did it and we’ll take that experience to Europe for this festival tour that’s starting later this week.
I Heart Guitar: Did you learn anything new about the songs after playing them on the tour?
Satriani: What you learn about is which part should stay the same and which parts are flexible. And you learn that with every album. I’ve learned that every time I’ve taken an instrumental record on the road. For instance, you learn that Flying In A Blue Dream has got to be handled very carefully but Ice 9 can be played a million different ways and it still works. You just never really know until you try. It was good for us to get this happening because let me tell you something: between February 2008 when we first played together and then a year later, we had still only spent 43 days making a record and about a week more playing together. We had never played all the songs top to bottom, let alone do a show. So we really were a band that against all odds recorded an album, and then all of a sudden we had to get experience like a normal band would. We condensed it into that little two-week club tour.
I Heart Guitar: And I hear you guys might possibly be coming down here to Australia sooner or later?
Satriani: You know I have made it my personal quest to convince the guys in the band that Chickenfoot needs to tour the world twice before it thinks about taking a break or going in to record another album. I’m the kind of guy who’s toured almost everywhere and I keep telling them, “We’ve gotta go to Australia, we’ve gotta go to New Zealand. I want to take you guys to India and the Pacific Rim. And we might as well do South Africa while we’re at it, let alone South America, North America and Europe.” Sammy doesn’t have a whole bunch of experience touring outside of America. He started out that way in Montrose but Van Halen wasn’t really that adventurous when it came to international touring. I think Chad is the only other one with a lot of international experience because the Chilli Peppers are a worldwide phenomenon.
Satriani: The biggest difference is that in a band like this with the kind of music we’re writing, I knew from the start that the rhythm guitar, the guitar that plays the riff, the intro guitar, the guitar that really plays with the rhythm section, has got to be the heart and soul of the band. It really does. It’s not about the soloist. To me that’s more like an 80s kind of a thing, where the guitarist is always on a self-promotion trip. And that was cool back then. Eddie Van Halen was the star of that: he had the true chops to pull that off. But I didn’t want to just revisit that era. Having lived through it myself I’m not interested in that. So I looked further back, and Jimi Hendrix, Jimmy Page, they created these amazing records with their amazing rhythm guitar parts that really embodied the soul of the music. Then when the solo part came they would freak out and go crazy, but then they’d get back to what you really wanted which was the band rocking riffs. I made it my personal quest to make sure that happened. I wasn’t thinking Chickenfoot was a vehicle for Joe Satriani to fuse his solo stuff with a singer. I wanted it to be something totally Chickenfoot, something totally original with the band. I think everybody felt the same way in their own right. They weren’t out to try to reproduce what they were famous for. They wanted to use the band as impetus to do something new that they hadn’t done before.
I Heart Guitar: One thing I think is really cool about the band is hearing Mike Anthony right up there in the mix, and it’s so great to hear those backing vocals again too. Listening to Chickenfoot reminds me of how absolutely important he was to Van Halen.
Satriani: Yeah I know, he’s the sound, really, the sound of that band. That vocal blend is amazing. His playing, I remember every time we’d finish doing a song I’d say “How come I never heard that on a Van Halen song?” Musically I can see it because Eddie was a more adventurous player and maybe they thought the bass should be simpler so Eddie could be crazier, but the way we structure our stuff, no-one ever said a word to Mike. We just figured he’d play whatever he wants because everything he plays, we love it. It’s great. And then of course, having Andy Johns engineering for us was great because he loves Mike’s playing. He loves to hear that bass sounding big and fat. I think it’s so important.
I Heart Guitar: Well the Van Halen album Andy produced (For Unlawful Carnal Knowledge, 1991) was the only one where you could really hear Mike. So why did you choose Andy this time?
Satriani: It was one of these things where we had this weird schedule where every two months we’d get together for two days and try to learn as many new songs as I had written, and we knew that at some point we were going to want to be in the studio for a month and really finish the record. I was thinking we needed a producer who was a big tall guy with a loud voice who could really take control of this. I thought Andy would be the perfect guy for the things we just talked about with Mike. I thought he was the only guy who could capture Chad, because Chad’s drumming is so intense. When you’re in a room with him it sounds nothing like the Chilli Peppers. It sounds like the craziest, biggest rock drummer you’ve ever heard. So I thought I need a big guy who knows how to record other big guys to capture this. Now, I’d made a record with Andy before (The Extremist, 1992) and I’d made a record with his brother (Glyn Johns), and he’d made a Van Halen record before – although Sammy had fired him at one point! But when I brought his name up everyone was like, “Yeah, let’s do it.” I guess everyone was feeling the same way. Andy came in and he really did bring a lot of wonderful sounds and a lot of great arrangement ideas. He really knew how to capture us when we were good, and he refused to record us if he thought we were sucking (laughs), which was great. When everybody left and it was just Andy and myself in the studio we had a great time doing the overdubs because we felt the same way: that this was a record that, if you needed a banjo, then you would play it. If you needed eight harmonicas, you would play it. If you needed a piano, an organ and twelve electric 12-strings, you just did it. So that’s what we did. We spent about three or four weeks just going crazy every day trying anything to make the songs that much better. He has great experience at that. He really knows how to pick the right instruments for the right job.
He’s got this funny thing where you’ll be trying to do a part and he’s looking at ya, giving you attitude, like, “No, that sucks, don’t play that. Do something else.” Then you play something and he’ll just get so excited, and he’ll say “You know what? That’s it. I’m leaving. You can stay here and waste your time but I’m leaving.” And he’ll just go. And you go “Wow, he’s the weirdest guy ever,” you know? But two days later you listen back and you go, “Oh he was right! Everything else after that did suck. That was the take!” It was good to have him around.
I Heart Guitar: So I wouldn’t be much of a guitar geek if I didn’t ask you what stuff you used on the album.
Satriani: Oh yes, a long list of crazy things. There are songs like Oh Yeah, Soap On A Rope and Get It Up, which basically was my live rig recorded at Sam’s studio. We really thought we were doing demos but they were so charismatic that we used them as our main recording. So that would be the Ibanez JS1000, the Vox pedals and the Peavey JSX. Probably just one head and cabinet, and it was probably just mic’d with whatever was there at Sam’s studio. Then there were songs that were done at the Skywalker studios where we had some other vintage 4X12 cabinets, and we had this Peavey 50 watt prototype that we were working on. The channel switching didn’t work and the effects loop wasn’t wired up – it was really an ugly-looking thing, but it did do this one thing great, which was it had this clean-yet-distorted, right on the edge sound that was just perfect for what we were doing.
I Heart Guitar: Is this the JSX 50 that was announced at Winter NAMM?
Satriani: Yeah but I don’t know when it’s going to come out. We’re still working on it. We’re still trying to make it as good as we can. Then there were some other things thrown in there, like I have two 59 Fender Twin amps that are just great relics. When we need a little slide wah-wah part we plug into that. The harmonicas all went into my Peavey Mini Colossal amp, a great amp for harmonica. When we needed a little extra fairy dust I played a 1966 Fender electric 12-string and a not-so-old Rickenbacker 12-string. Sometimes we’d put them into a Vox AC30. I’ve got a vintage one from 1964. Sometimes we’d just record them direct and sometimes we’d do a blend. I had some other vintage guitars like a 69 Fender Strat, a 55 Gibson Les Paul, a 59 Gibson ES-335 and a 58 Fender Telecaster, and we would sprinkle them in among the songs to, what would you call it… I guess you’re widening the frequency range. There’s a song on the record called My Kind Of Girl, and the main guitar is a JS1000 from 1990. It’s got a snake pattern on it, drop D tuning into the 50 watt Peavey prototype. Then its brother guitar on the other side, on the right channel, is a 58 Esquire into the same amp with the treble attenuated quite a bit because that’s a really bright guitar. The two of them together was great. The Esquire really supported keeping the JS1000 as the main guitar. Then for the solo we used the prototype Ibanez JS24, which is a 24-fret model I’ve got coming out, which has a very thick, heavy sound. As soon as that solo comes on it’s like, “Whoa.” It has its own identity. I still like doing that, and Andy’s a big fan of that, of trying to balance the stereo field with different things. So sometimes we’d do it with guitars, sometimes I’d play piano, or organ, or Wurlitzer electric piano, and double my guitar part with a piano part. There are songs where, I kid you not, there’s three synths, an organ, a piano, six 12-strings and an acoustic, all on one side. You can barely hear them but they’re there, kinda gurgling about.
I Heart Guitar: What more can you tell us about the JS24?
Satriani: It’s a really cool thing. I’ve always liked the idea of having those frets up there but I never wanted to move the humbucking pickup. That’s always been the problem because the humbucking neck pickup really only works where Gibson stuck it on the Les Paul. To me, that’s the spot, and once you start moving it back towards the bridge it starts to become horrible-sounding. Other guitars that have had the 24 frets and they move that pickup, it’s like, you may as well get rid of it, you know? So I was determined to solve this. And what saved us was the DiMarzio Pro Track. Ibanez got this thing right up against the last fret. It’s amazing how they were able to do it. It’s got a little bit more generous cutaway to the body so you can get up there and play up there. We’re still experimenting with the bridge pickup. I’m thinking it might be a Norton, one of the pickups I designed along with the FRED and the Mo’Jo with DiMarzio. Steve Blucher at DiMarzio is a wizard, so when I say I designed the pickups, that’s a euphemism for me requesting something (laughs). I say “Steve, can you just give me something that goes, like, ‘KKRRR-RURRRR’?” and he goes “Okay. Gimmie a couple of days.”
I Heart Guitar: I interviewed him a little while ago and he was really entertaining.
Satriani: Oh he’s amazing. He’s a very knowledgeable yet incredibly funny person. He makes just the greatest pickups ever. He and Larry are just really fantastic people. So anyway, we were just talking about that today in fact, myself and Steve, about trying to just go that extra one last .1%, because we’re so close to having the guitar all finished out. We’ve already picked out the colour of this and the colour of that and all this sort of stuff. But I’m excited about it. It’s really nice. That neck pickup really is like, wow, it really just sounds like the biggest Strat you ever played.
CHICKENFOOT tour dates:
Jun. 20 – Austria Nova Rock Festival
Jun. 23 – Cork, Ireland: Live At The Marquee
Jun. 25 – London Shepherd’s Bush Empire
Jun. 26 – Holland: Heerhugowaard
Jun. 28 – Belgium Graspop Metal Meeting Festival
Jun. 29 – Paris: Olympia
Jul. 01 – Madrid (venue to be confirmed)
Jul. 03 – Pistoia, Italy: Blues Festival
Jul. 04 – Montreux, Switzerland: Stravinski Hall
Jul. 05 – Udine, Italy: Lignano Sbbiadoro
Jul. 07 – Hamburg: Grosse Freiheit
Jul. 08 – Copenhagen: Vega
Jul. 10 – Kilafors, Sweden: Rockweekend Festival
Jul. 12 – Weert, Holland: Bospop Festival
If you haven’t seen one before, an E-Bow is an electronic bow for guitarists which uses ‘direct string synthesis’ (otherwise known as some sort of sorcery involving magnets) to make the note sustain forever – or at least until the 9v battery runs out. You place it directly over the string and let it do its thing. There’s a standard mode as well as a harmonic mode which creates a heavenly overtone.
I’m still learning to use the E-Bow so I’m not going to sully this post with a poorly performed demonstration. But go to the E-Bow website and check out this page for some cool demonstration files which show that the E-Bow can be used for a lot more than just holding notes.
One limitation of the E-Bow is that it only works with single notes. If you wish to sustain chords, you might want to check out the Fernandes Sustainer or the Sustainiac.
Here’s another in my awkwardly-titled occasional series WILTOTWTWT, or “What I listened to on the way to work today.”
At the moment I’m preparing my articles for the next edition of Mixdown Magazine. I’m reviewing, amongst other things, four absolutely amazing Ernie Ball Music Man guitars, including an AXIS model which has completely changed my life. CLICK HERE to see EBMM AXIS models on eBay. The minute I picked it up I fell to my knees and cried like a little girl. Well maybe that’s an exaggeration, it’s probably more accurate to say I cried like a grown man. Anyway, this guitar was what was left after Eddie Van Halen ended his association with the company, and as such it totally reminds me of Van Halen’s ‘For Unlawful Carnal Knowledge’ era.
This was my first Van Halen album – I bought it with my birthday money when it came out in 1991 – and Eddie Van Halen was interviewed about the EBMM guitar in the very first edition of Guitar World I ever read. Between the ages of 12 and about 15 I was pretty much obsessed with Eddie Van Halen.
Anyway, eventually Van Halen released a live album and video (I got it on VHS for a different birthday) called Live: Right Here, Right Now, in which they played pretty much the entire album, with a few other tracks thrown in. Something like that is pretty unheard of today: a well-known band playing primarily their new album to a packed arena full of people singing every word. Most of the time when I go see a band touring behind a new CD they might chuck in between 2 and 4 songs from it, and stick to ‘the classics’ for the rest of the show. But I digress…
Eddie Van Halen played the hell out of his EBMM EVH guitars on that live video and CD (by the way, CLICK HERE to see EBMM Edward Van Halen models on eBay if you want the original version), and playing the AXIS last night inspired me to load the album up on my iPod this morning. What really struck me was not the obnoxiously bright mix of the audience noise (it sounds like rain on tin foil), or the overbearing snare drum sound (it sounds like hail on tin foil). It wasn’t even Eddie’s tragic over-reliance on a chorus-type effect from his Eventide Harmonizer. It was his so-in-the-pocket-it-might-as-well-be-part-of-the-pants rhythm playing. Listen closely during “In N’ Out” and “Man On A Mission” in particular for examples. I’ve always been more influenced by Eddie’s rhythm work than his lead stuff, and listening to this album again reminded me why. The dude knows how to make the guitar do exactly what he wants at any given time in minute detail, and manages to do it while rockin’ the scissor kicks and chain-smoking like a locomotive.
And that’s what I listened to on the way to work today.