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Q&A With Counting Crows

Sometimes it’s tough to gauge a band’s success. You can count GRAMMY nominations, charting singles or perhaps the size of venue that a band performs at during their tours. In the case of Counting Crows, the most striking statistics are their album sales and RIAA certifications. The band’s debut full-length, August and Everything After sold over 7 million copies. Almost every album the band has released has been certified at least Gold, and in most cases Platinum. However, if you asked lead singer Adam Duritz, if he thought August was their best effort, he would probably say “no.” That’s exactly what we did. Read on to find out why, what his favorite album really is, and why the band chose to perform alongside Augustana and rapper NOTAR, rather than the headline their own tour, during this past summer’s Traveling Circus Tour.

OS: You guys have a really big lineup, obviously…how do you make sure that everyone contributes effectively to a song when you go in to put it together?

AD: The first thing about our band that we drill into everyone is that it’s far more important to listen as musicians than it is to play. I think that playing comes naturally, if you’re good enough. You need to hear what’s going on around you. When we were making our first record, we’d stand around and just play for hours. None of us really come particularly from this background at all, but it’s kind of like jazz, you know, you need to interact with the other guys.  And so then we’ll stop and break everything down and we’ll work on the songs with just acoustic guitars or just the three guitars and we’ll sing together. My vocals are almost always done before we practice them. And on stage, it’s kind of the same thing, you just really have to listen to everybody else. Especially now, with the Traveling Circus Tour, there are 17, 18 guys on stage. It can be a mess.
OS: Your breakout album August and Everything After was a really early release for the band, and you’ve said that it was recorded before the band really had a feel for each other. Was there a point where you felt that the band really did come into its own?
AD: I think we kind of come into our own over and over again. With the first record, we really hadn’t been together very long. As a result, it was brutal to make, but we did spend that time making it…We stripped everybody’s effects off the guitars. We took half the drums off our drummer. Everybody was forced to play much simpler, and we stood around in circles, playing quietly until we got things. And the next album, Ben had joined the band on drums and Dan had started electric guitar right after we finished August, so we had a year to be on the road all together. Ben came much more from like a punk, sort of indie background, which is where the rest of us came from, our drummer didn’t. So by that time, we could play the kind of songs I really wanted to play that we couldn’t do on August and Everything After—like “Catapult” and “Angels of the Silences” and “Have You Seen Me Lately?” That was also a big part of my background, that sort of came from college radio, it came from my band The Himalayans—a much more guitar band, I’d grown up on late ’70s punk music and could play a lot more of that stuff, like those loud songs on Recovering the Satellites. I thought we came into our own a different way there, it was a much more raw, emotional record. In the third album, we really wanted to experiment with what it’s like to just be in the studio and do all the quirky things you can do with drum loops and messing around in a recording studio. Right now we’re learning how to play with 17 guys for the last couple years.
OS: So it’s kind of like an evolutionre-defining yourself with each release?
AD:  With each show. It’s just a constant thing you go through. I think the releases are a better way to market because they’re how everyone sees it, but within the band, it’s a daily thing. It’s almost that Dylan line, “he not busy being born is busy dying.”
OS: Do you put more weight or more stock into your live show then, than a release? Or are they just different things?
AD: I think the simplest way to put it is that there are really three parts to being a musician. I think you have to write songs—and that’s very difficult and requires this whole willingness to open your soul up to things. Then you have to make records and crystallize those songs into something. And then you’ve got to play them live, which is where you take your daily life and you filter your songs through it. I think they’re all equally important, equally satisfying, equally horrible, and equally wonderful. Especially to a band like us, I wouldn’t put one part over the other. You can’t. Without any of the three parts, the whole thing falls apart.
OS: Do you have a release that you feel was most successful?
AD: We were trying to do so many different things on each record…and I felt like we completely succeeded in every way on them except the first one, maybe? People don’t understand what I mean when I say I’m not trying to badmouth that first album, because people mistake it because they think I just played it a lot. I could play “Mr. Jones” every day for the rest of my life and never get tired of playing it. That song is a fucking great song. “Round Here” is an even better song. The only failure on that album is me. It’s just that I wasn’t a good enough singer yet. To me, singing is all about baring yourself, opening up your inside and letting someone see it…with a beat. Two of the songs—”Rain King” and “Mr. Jones”—I know I did sixty-plus takes on those two songs. I could not sing them.  Those songs just kind of jog, they’re not mid-tempo songs but they kind of have to rock and roll at a kind of relaxed pace. But it’s really hard to find that middle ground between rocking out and relaxing. That’s why soul singing is so hard. People think it’s this big, overdone thing, but it’s a lot about restraint. I look back on some of the songs now that I thought I had at the time and go, “shit.” I fucked up three songs, I think. On those songs, I feel like I just wrote it better than I sang it. But I was such a new singer then. I wasn’t quite good enough.
I think, in a way,  the one that satisfies me the most is the second album, Recovering The Satellites, because that’s an album where we made a huge leap towards something we weren’t able to do on the first album. We played songs like “Goodnight Elisabeth,” this really beautiful, long, sort of country rock song. We had “Long December,” which was written and recorded in under 24 hours—we had single takes, there are no overdubs on it at all. Then we had songs like “Catapult,” “Angels of the Silences,” “Have You Seen Me Lately?” “I’m Not Sleeping,” where they’re like, either vicious punk songs or they’re huge departures with strings and all kinds of other weird stuff. We really strove to do things that were outside our comfort zone. It’s an album of a really great breadth. I got cut a lot of slack. I did have a nervous breakdown on the road, I did lose my fucking mind, and I had a really fucking hard time dealing with what happened to us. So I decided to write about it, and we played it with as much passion and conviction as we’ve ever done anything. I’m proud of all of our records, they’re exactly how I wanted them to be, but Satellites really went out there. I love the way the band plays with just, utter abandon on it. I think I love that record the most. Also because we could have completely fallen apart with that first album and not have been able to make that record. Also, not just us, but for the record company, because when you make August and Everything After and sell so many copies, they do not want you to go find The Pixies’ producer to make your second album.
OS: Let’s talk about the Traveling Circus you did this year. Why did you go with a more collaborative effort rather than opener/headliner?
AD: I’ve always thought that format sucks.There was a concert a long time ago at the Fillmore: It was Miles Davis, The Stones and The Dead, I think. It must have been quite the trio of bands, and they’re all very different. People would see them too, because they were really cool bands. Now-a-days there are sometimes outrageously good bands onstage and no one is there. And even co-headliners, all the fans might not be interested. It all seems very unsatisfying to me, especially because all the bands are goods.  I had done the collaborative thing with Augustana before. At first it was the first three hours with all three bands. We started playing with Augustana, flowing in and out of each other. Audiences were listened to all different kinds of music. So, you didn’t miss the great opening bands, because they were all in the middle of the show. This year, we got Augustana again and now the rapper NOTAR. NOTAR can spit too man…I watched a Counting Crows crowd fall in love with hip hop. I can’t tell you what it’s like to tilt your head back and sing in 12 part harmony with 19 other guys. It’s about just loving music. I think it’s a real groundbreaking show. We tried something new. We sold out some places, but not others. It’s sad, but I don’t think we’ll ever be able to do it again.
Coming up, we’ll have the Underwater Sunshine Web site dedicated to indie bands. The indie web is really where new rock is. If we can sell music at a price that music buyers won’t feel like they’re getting ripped off, then hopefully they’ll want to buy it. We’ll put it right up there with the Counting Crows. I want this Web site to be just like a home entertainment center—read magazines and find stuff. There are less ways to find music now, but there isn’t less music.  No one is talking about indie music anymore, except for Web sites like yours of course. You guys are definitely doing the type of thing I want to support with Underwater Sunshine. I’m still fascinated with what we’re doing. It still matters the world to me.
If you missed the Traveling Circus, keep an eye out for the new indie Web site that Counting Crows are developing, and check out which indie bands they think you should know about.

New Music Biz 101: Website Analytics

As a DIY artist, it’s important that you treat your music business like just that, a business. When it comes to marketing your “business,” you need to be constantly collecting data to adjust and improve your strategies. One of the best ways to do this is through using Website Analytics.

For those who aren’t as familiar, Website Analytics such as Google Analytics, allows you to track tons of data about the users who arrive and participate on your web site.

This tool gives you the ability to not only see where the traffic is coming from, but it tells you how long the user has stayed on your web site, what pages they visited and the page where you’re losing the majority of your visitors.

As a musician, one of the ways you should be using analytics is to tell how much traffic you’re generating from your social media sites. You probably are generating new visitors from one site over another and you don’t even know it! This is important information as you can adjust your marketing efforts accordingly, spending more time engaging with your fans on the high traffic sending sites, and thinking of new strategies for some of your slower sending social media. Knowing where your efforts are paying off the most is really a valuable piece of information.

With analytics, you have the ability to find what key words people are using to find you on search engines such as Google, Yahoo, Bing, etc.  You can then optimize your content accordingly based on this information. Ensuring that people are able to quickly find you via search engines is essential to your career. When a fan hears about you, they often use a search engine to find more information. Using Google Analytics to track your keywords and incoming traffic will help you keep closer tabs on your search engine optimization efforts.

The great news about this tool is that the service is free! So, what are you waiting for? Set your analytics up soon and start tracking that data!

Needle in the Haystack Follow Up: Hailey Wojcik

It’s been a fantastic week working with Hailey Wojcik as this week’s Needle in the Haystack nominee on MTVmusic.com. We had a great interview with Hailey yesterday so we put together a video with some sound bites of our talk.  It was definitely an interesting chat, so check it out below!

If you haven’t done so already, download Hailey’s free track “Pumpkinteeth” here and stay tuned for next week’s Needle in the Haystack!

Punk On The Rocks: Glen Matlock & The Philistines “Born Running”

While Sid Vicious may have been the most famous bass player for the Sex Pistols, Glen Matlock was undoubtedly the most talented. Glen is credited by his bandmates as having written most of the music for the bands songs, and is listed as a co-writer on ten out of the twelve songs on Nevermind The Bollocks, Here’s The Sex Pistols, including three of the Pistols biggest hits, “Anarchy In The U.K.,” “God Save The Queen” and “Pretty Vacant.” After leaving the Pistols in early 1977, Matlock continued his musical career, forming new wave band The Rich Kids and playing bass for Iggy Pop, The Damned and, most recently, The Faces.

Rebel, Rebel: Glen Matlock

Matlock’s rock/pop sensibilities are on full display on Born Running, his third record with his band The Philistines. If your looking for a rehashing of “Anarchy In The U.K.,” you’ll be best served sticking to the Pistols back catalog. If, however, you’re into straight ahead rock with catchy melodies and a great guitar sound, give Born Running a spin.

First, it should be noted that Matlock plays nearly every instrument that appears on the album. Born Running’s credits list him as “…Lead vocals, guitars, bass, bass, keyboards, percussion and B.V’s [background vocals].”

All of Born Running‘s twelve tracks are pure rock, but the influences vary. Standout “Something Tells Me” has an almost gospel feel, with layers of strong, harmonizing background vocals while the intro to “Rock Chick” sounds like it could have been lifted off of a vintage Scorpions track. Always a sucker for a sing-a-long, I couldn’t help but dig the bah-bah-bahs and oh-ohs of “Way To Go.”

On the lyrics front, Born Running may leave a little something to be desired (Do we really need another song that rhymes “insane” with “brain”?), but hey, it’s only rock and roll, and I like it.

Born Running is out now on Montreal’s Stomp Records. You can buy Born Running on iTunes here.

Soul Searching: Jeremy James

There are a few important qualities that we search for when “Soul Searching” for artists. Significant industry accomplishments, a unique style and ridiculous vocals to name a few. Jeremy James has all these and then some! James has shared the same stage with an extensive and impressive list of artists including India Arie, Erykah Badu and John Legend. As for Jeremy’s voice, it’s often described as a mix found somewhere between Stevie Wonder and Seal. Although these are two enormous shoes to fill, we can definitely see where they’re coming from!

Jeremy’s music is creative, and it’s apparent that he’s not just a singer— he’s a songwriter and talented overall musician. In his song, “U Should Know” take a listen to the old school/new school mix in both the vocals and backing track. We’ve included four of Jeremy’s tracks below to stream. Which one do you like the best? Any comments for or about the artist are always appreciated. Let us know what you think!

Tune Up: M-Audio Axiom Review

A couple weeks ago, I talked about using software synthesis to beef up your recordings or live sound. However, if you want to perform those synths you’ve built, the easiest way to do so is with a keyboard. How do you connect a keyboard to your computer? Well, most of you probably know that a MIDI controller is a pretty obvious concept. They all do the same thing, right? So you wouldn’t need to worry too much about which one you buy, right? Well, it’s not quite as simple as that. This week, I’m reviewing what have become my favorite MIDI controllers on the market: M-Audio’s line of USB-connected/powered keyboard controllers, branded Axiom.

The Axiom comes in a few different sizes: 25-, 49- and 61-key varieties. They also offer a “pro” line which has comparable features plus a few added perks. For this review, I’ll focus on the Axiom 49 for its affordability, features and flexibility. The Axiom 49 keyboard has enough octaves to give you the ability to play realistic piano lines, but it’s also portable enough to easily carry from show to show or from studio to studio.

Now that we have the right size, let’s look at some important specs for this M-Audio Axiom 49:

  • 49 semi-weighted keys with assignable aftertouch
  • 8 knobs, 9 sliders, all assignable
  • 8 assignable pads
  • 15 assignable trigger buttons
  • snapshot capabilities

While the keyboard has a lot of different specs, I’ve listed things that I look for in a solid MIDI controller. First, you need some solid keys that are velocity sensitive for a realistic feel during performance. Next, you want assignable knobs and buttons, so you can trigger on-screen knobs quickly without fussing with a mouse (e.g., you can set it up so that a specific knob on your keyboard controls a specific knob or function on the software view). You also want to be able to take quick snapshots on the keyboard so you can quickly switch between sounds (much like presets on a hardware synth). Finally, where the Axiom stands out most is its inclusion of trigger pads right on the device. This is unique among most MIDI keyboards out there as it gives you the ability to use drums pads when controlling drum samples, eliminating the need to purchase a separate USB drum pad controller or drum machine.

The keyboard is connected and powered via USB bus, so it’s simple and plug-and-play. There are also MIDI ins/outs as well as a power adapter input for added flexibility. Overall, I have had some of the most realistic sounds, feels and takes with this specific controller. While it is a little heavier than I would like my controllers, it makes up for it in features and size. I strongly recommend this for any live, studio or hobby musician.

Behind the Mic: Mailing List Management

When managed correctly, mailing lists can be the ultimate key to fan engagement. A mailing list is a directory of fan names and their contact information (e-mail address, phone number and city/state are all good to have). The easiest way to collect this information is to bring a “guestbook” with you to every show. You can leave the guestbook at your merch table, or bring it around to the crowd after your set. You should also have a sign up form on your Web site and MySpace page.

Lady Gaga's mailing list updates fans on her latest contest & music video.

To make signing up more appealing to your new fans, you should offer an incentive. For example, announce on stage that anyone who signs up for the mailing list will get a free CD, t-shirt or song download.

Let’s say you’ve got the contact information for twenty new fans. What now?

Create a spreadsheet (we recommend a Google Doc so all band members can easily update the list) and include columns for your fans’ names and all other info you asked for. Make sure you update the list after each show.

Thanks to this text alert, fans found out that the band's set time had changed.

Next, you might want to join a mailing list site, such as BandLetter.com, to help you brand and distribute your mailings in a professional manner. They will also offer well-designed e-mail templates, remind you when to send news out and help manage your contact list.

At this point, you’re probably wondering what constitutes “news”. Use your mail to announce upcoming shows, album releases, new songs, reviews and new merch. You can also use it to promote new videos, blog posts and, of course, your competitions on OurStage!

In addition to email, you can also use texting to reach your fans. Sites such as Mozes.com offer easy-to-use mobile alert creation and are used by artists like Rascal Flatts and Justin Bieber.

Of course, mobile alerts can’t be as in-depth as email newsletters, but the advantage here is guaranteed instant delivery to the palm of your fans’ hands. These updates are perfect for announcing a “flash sale,” last minute set time change or sending a reminder for a day-of album release or show.

Update fans at least once a month and encourage them to follow your social networking sites for day-to-day announcements and show invitations. Keeping your fans in the loop can make a huge difference in your album sales and show turnouts, so always stay in touch!

GuacaMusic: Tangos

Some people say it takes two to tango, but Mikael Berkowitsch masters tango music all by himself. Berkowitsch has been in the Top 10 OurStage charts in 2009 and 2010. His incredible composition “Tango Runing“, serves as a fine example of the exquisite tangos that exist on our site.

If you are familiar with tangos, you know that these are both the most fascinating and the most complicated of all compositions. In a sense, tangos are bitter, sweet, melancholic and joyful, all at the same time. Just think about Berkowitsch’s ”Tango Runing”, didn’t it make you feel gloomy, then cheerful, then happy, then sad?

This is exactly why tango is magic. No other music can make you dig into your emotions so deeply, or move you to tears of sadness and joy.

Although the golden age of tango is considered to be the period between 1935 and 1952, the later decades have seen outstanding pieces, particularly in the recent trends that are often described as electro tango or tango fusion, where the pieces are full of electronic, jazz and experimental influences. Just consider Gotan Project or Bajofondo Tango Club.

If you are ready to take a culinary trip to the world of OurStage tango, you’ve come to the right place. Besides Berkowisch’s spectacular piece, we have some other great tangos to offer:

  • For a traditional taste of Argentinian Tango, try “Tango Azul” by Jordi Torrens, an artist living in Barcelona who wonders why he hasn’t moved to Buenos Aires yet. His music definitely transports us to Caminito in the La Boca neighborhood. Simply delicious.
  • Looking to grab a bite of tango with jazzy influence? We recommend the delicious music of Tangoentres, a trio made up by guitarist Julian Garcia, Marcelo Coceres on the drums, and Santiago Alvarez on the double bass.
  • If what you are craving is something out of the ordinary, savor “Experimentango by Angelini Music, the project of Argentinean artist Mauro Angelini. Mauro’s style combines tango with influences from house music, chill out, lounge, rock, western, Argentinean folklore, reggae and others.
  • Finally, if what you really want to do is seat back, relax and enjoy a good Bife de Lomo, play “Turn Around Tango” by K.R. Percy & The Corporation. Tasty!

Enjoy this playlist. !Provecho!

Q&A With Guster

In today’s age, it’s trendy to be green and environmentally-conscious. The band Guster, however, pursued a career with the environment in mind long before it was “trendy.” In the beginning, two of the band’s original members studied environmental science at Tuft’s University. Years later, guitarist/vocalist Adam Gardner and his wife began a charity called Reverb to focus on how bands can tour and perform without such an adverse effect on the world around them. Activism aside, the band has also acquired a great deal of industry respect with their optimistic, emotionally-driven music and down-to-earth stage presence.

Lead singer/guitarist Ryan Miller took the time to answer some questions about the band’s songwriting, activism and their upcoming album Easy Wonderful. Check out what he had to say!

OS: Being multi-instrumentalists, how do you guys decide what instruments you each play in a given song?

RM: Well, we always kind of joke that we pick the hardest thing to play and just give it to Joe. It’s not necessarily true, but there is something to that. We all write on different instruments. On records, we all play different things, but it’s not necessarily the same instrument we play live. Some people are better at bass, and sometimes I have to sing and it’s hard for me to play that part at the same time. It’s really a trial and error kind of thing.

OS: When you go to record an album then, what is the studio/writing process like?

RM: Songs have genesis in many different ways. Sometimes it’s on guitar, sometimes on a jam and sometimes on a computer. Usually if it starts on guitar, we’ll start there. Sometimes the guitar won’t even be in the final version. It’s pretty open. We don’t really have any rules, except maybe that the best idea wins. That’s the M.O. in the studio. It’s easy to keep the ego out if we just say “best idea wins”.

OS: Guster has always had an interesting “sales rep” program. What does this entail?

RM: We don’t really do it anymore. It kind of started before the Internet was really around. Now that you can kind of get music instantly, it defeats the purpose a little. I’m not sure if we still have any rep’s officially. When we started, we did it because we didn’t have a record deal. We had friends that wanted to support the band, so we would just empower them to do so. I don’t think it really works the same way—we don’t send kids records anymore. There are still people that “spread the gospel” so to speak, but it’s not an officially sanctioned program.

OS: How do your exclusive EP’s (Pasty Tapes) tie in?

RM: That just came as a way to pay back the fans who had been out there “banging on walls” for us. We’re still sort of doing it, but I don’t think it’s a “reward system” as much. It’s just that if you’re a fan of the band, it’s free. Everything is aimed towards “free”. We would put different versions, or songs we hadn’t released anywhere else on the EP’s. They were sort of fan-only B-side compilations.

OS: Please describe the Reverb charity organization and what Guster’s role is in it.

RM: Adam and his wife Lauren started that a few years. Guster were sort of guinea pigs for a lot of its early ideas before they went to Maroon 5, John Legend, The Roots, Willie Nelson, etc. The idea came from the fact that we were touring all the time, and we were leaving this “wake” of garbage. We felt like it was a pretty wasteful enterprise. Adam’s wife had studied environmental programs in college, and they put their heads together to see how we could tour less impactfully. This was years ago, before the whole “green thing” caught on and was trendy. They established themselves as a pretty solid not-for-profit organization that was out to help musicians shrink their footprint a little bit.

They do a tour every summer—The Campus Consciousness Tour. It has a lot of tabling and environmental things involved. It’s like a travelling road show of bands, sponsors and lectures on how to do things more sustainably on campus. We’ve done that a few times as well.

OS: You guys are being selective with your tour dates for the rest of the summer. Why did you choose to play the Life is Good Festival?

RM: We had a very small window. The record is coming out in October. We were just trying to fit everything in—we have four kids and counting between the three original members. There’s a real balance between family and touring. We’re trying to satisfy everybody’s adult needs. That was just sort of our Boston play before the record and then we’ll do bigger shows as the record rolls out. We’re planning a big winter tour, some college dates in the spring, and then a big summer tour. So we’ll be on the road for a good year.

There’s some overlap too with the environmental stuff and the Life Is Good Festival. I know a lot of the proceeds go to a good cause. We like playing festivals where we can play in front of other audiences, there’s a lot of cool bands and the whole “kid” component seems kind of funny.

OS: Easy Wonderful is set to drop in October, and you’ve released a couple of tracks from the album. Why are you giving “Bad Bad World” away to your fans for free?

RM: Things are kind of moving towards “free” at this point, like I mentioned. The best thing to do to promote a good record is to just let people “have at it”. We’re slowly doing that. We’re going to leak a bunch of tracks as we go, and hopefully people will get into it and get excited for the record. It took us a really long time to make it, so we’re trying to get everybody back into the spirit of it.

OS: How do you guys actually choose the tracks you give away for free?

RM: I don’t know. It’s sort of a democratic process—what was really representative of the album, and what doesn’t feel like a subtle outlier or anything. If it were up to me, we would just give away all of our records. I think people mostly steal our music anyway. But, we have a record company, and I don’t think they’d be too psyched about that. We’re trying to figure out a way to make a living playing music (like all the bands out there). We’re trying to find that sweet spot between giving stuff away and giving people a lot of value for their money when they do actually buy stuff.

We’re basically planning toward the end of 2011. So, there’s nothing but plans for the next year and a half to support the record. We had an option to not sign another major label deal, but we decided to do it because we were really proud of the record that we made. We really wanted a lot of people to hear it. We’re really amped up to go promote it in every way—on the road, through video, Internet stuff and TV. We’re excited to do it. “Do You Love Me” will probably end up being the first video.

Catch Guster on tour now!

9/28 – Troubadour, Hollywood, CA

10/1- War Memorial Auditorium, Nashville, TN

10/2 – The Fillmore Charlotte, Charlotte, NC

10/8- Newport Music Hall, Columbus, OH

10/9 – The Pageant, Saint Louis, MO

10/10- Egyption Room at Murat Center, Indianapolis, IN

10/12 – Slowdown, Omaha, NE

10/13 – Beaumont Club, Kansas City, MO

10/15 – Overture Center for the Arts: Capitol Theatre, Madison, WI

10/16- Royal Oak Music Theatre, Royal Oak, MI

Rock ‘n’ Roll Call: Guitar Hero: Warriors of Rock

Rockstar gamers rejoice! Guitar Hero: Warriors of Rock was finally released today.

The game includes over 90 songs from the likes of KISS, Black Sabbath, Rush, Muse, Queen and Megadeth. In addition, it is the first Guitar Hero game to feature a story mode, known as Quest Mode. Narrated by KISS’ Gene Simmons, players will complete songs to move further in their quest to save rock ‘n’ roll.

Warriors of Rock: Here is your brand new axe!

Players can also engage in Party Play and Quickplay+ mode, which offers 13 gameplay challenges for each disc track and many downloadable songs from Guitar Hero World Tour.

As in previous releases, players can choose to play guitar, drums or sing vocals. An exciting new addition to this game is the updated guitar controller, which is now “shredding”-enabled and complete with a swappable body for custom designs.

Saving rock one track at a time!

Guitar Hero is also breaking new ground by collaborating with Soundgarden to release the first video game/album bundle. Soundgarden’s new compilation album Telephantasm is bundled with the first one million Warriors of Rock games. In addition, you can download the entire album to play on Warriors of Rock.

Below is the trailer for the game, for those of you who are still in the dark. If you can tear yourself away from this epic rock adventure, let us know what your favorite songs and game features are!

 


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