Video Playback Error

The Adobe Flash Player is required to watch videos on this page

Tag: "rock music"

home buzz rock pop urban country

Sizzle Pop

 

Goodnight Argent

Pop music is great, but if you’re looking for emotional depth, you may not find it in an LMFAO song. So when Chase Manhattan was recalibrating after his band short-circuited midway to their big breakthrough, he turned his focus to making pop music with substance. Enter Goodnight Argent, a nod to an old studio on Argent Road in the band’s hometown of Pasco, Wash. The band crafts burning, soulful pop, part Justin Timberlake, part Ben Gibbard. “Those Were The Days” is a smoldering look at summer love, driven by a simple back beat and panging piano. “When the sun comes up will the stars remember our love?” Manhattan wonders. Then, like an admonishment, the band fires back with “Don’t Get Sentimental, ” a track filled with spacy sequences and piercing guitars. The only thing these guys have in common with LMFAO is that they’re sexy and they know it.

Shake & Quake

MSF

MSF hails from Boston, so it’s not surprising one of their biggest influences is the seminal post-punk Beantown band, the Pixies. You can hear that influence best in their dark and cheeky track, “Oven Head.” Over piercing guitars that sound like they were recorded in a silo, David Michaels intones, “That’s all I want, to die.” Like the Pixies, the music is galvanizing, fitful and manic, but Michaels’ adenoidal croon brings an element of Elvis Costello to the mix. “Oven Head” is the sound of unraveling, but on the catchy “Walking Jealousy” frothy guitars and galloping, polyrhythmic drums lighten the mood. Who cares if you can’t decipher what the chorus is (“We haven’t got our keys”? “We’ve all forgot our drinks”?)? Your body will move regardless of what your brain understands.

In The Light

Canons

Some bands use music as catharsis, grinding their axe against the injustices of the world. Some use it to broadcast emotion, bearing their hearts for all to see. And maybe some use it to ask questions—to ponder the inner workings of the universe. Canons, out of Tecumseh, Mich., uses music to celebrate their faith. But it’s not all choirs of angels and heavenly trumpets. Their music draws not only from divine inspiration, but from secular bands like Jimmy Eat World and Coldplay. “Someday Soon” is angular and turbulent, a caveat for those wasting their time here on Earth. “Someday we’ll wake up and see the dream is gone,” sings Dustin Lolli over crystalline guitars and thrashing drums. If that’s too dark a thought for you, skip over to “Take Hold Of My Hand,” a power ballad that compels you to wave your lighter in the air. Reverent rock isn’t for everyone, but if the spirit moves you, let there be light.

Tommy Bolin’s Posthumous New Release

This summer OurStage, Guitar Player magazine, and Ernie Ball teamed up to offer aspiring guitarists a chance to win the ultimate Grand Prize with the Guitar Player “Take The Lead” Competition. The judges are deliberating on a winner as we speak! The winner be featured in an upcoming edition of Guitar Player. While you wait for the big news, here’s some exclusive editorial content fresh from guitarplayer.com—enjoy.

“When I was a little kid, I was just consumed by the fact that Tommy Bolin was all over the map,” says producer Greg Hampton, who recently partnered with Warren Haynes to release the labor of love, Tommy Bolin and Friends: Great Gypsy Soul [Samson/429 Records]. “He was incredibly diverse musically, and that’s what attracted me to him. He became a huge influence on me.”

Read more: http://www.guitarplayer.com/article/the-making-of-great-gypsy-soul/148972

Published by Michael Molenda, Guitar Player magazine

 

Jason Becker Super Hero

OurStage, Guitar Player magazine, and Ernie Ball are teaming up this summer to offer aspiring guitarists a chance to win the ultimate Grand Prize. With the Guitar Player “Take The Lead” Competition. The competition is now closed for entries, but fans can still judge and rank their favorite shred-masters for a chance to win a year’s subscription to Guitar Player magazine! If you’ve got an ear for fantastic fret-work, judge now! Throughout the competition, we’ll be bringing you exclusive editorial content fresh from guitarplayer.com—enjoy.

“What do you think he’d be doing if he were playing today?” This is a question guitarists love to ponder when discussing heroes like Jimi Hendrix, Randy Rhoads, Stevie Ray Vaughan, or any other player whose career was cut short by a premature, untimely death. But what if the guitar hero didn’t die? What if, through no fault of his own, a brilliant guitarist was simply no longer able to play guitar? That doesn’t come up in conversation nearly as often, unless the guitarist in question is one Jason Eli Becker.

Read more: http://www.guitarplayer.com/article/jason-becker-super-hero/148973

Published by Matt Blackett, Guitar Player magazine


Staffan Johansson on Minimalism

OurStage, Guitar Player magazine, and Ernie Ball are teaming up this summer to offer aspiring guitarists a chance to win the ultimate Grand Prize, and there’s only one day left to enter! Enter the Guitar Player “Take The Lead” Competition by August 17 for your shot to win your very own feature in Guitar Player magazine, and a year’s supply of strings and accessories from Ernie Ball! Throughout the competition, we’ll be bringing you exclusive editorial content fresh from guitarplayer.com—enjoy!

It kind of sounds like atmospheric rockabilly, but that doesn’t account for the strains of tango, 1920’s jazz, and “Weimar Republic cabaret” that Carver Combo bandleader Peter Murphy (not the Bauhaus lead singer) cites as his band’s influences. In any case, the broad musical spectrum of the Stockholm, Sweden group definitely keeps its guitarist Staffan Johansson on his toes. But rather than attack Carver Combo’s stylistic Smörgåstårta with multi-textural orchestrations, Johansson embraces savvy dashes of minimalism to punctuate the music’s ebb and flow.

Read more: http://www.guitarplayer.com/article/staffan-johansson-on-minimalism/148953

 

Carolyn Wonderland’s Telecaster Blues

OurStage, Guitar Player magazine, and Ernie Ball are teaming up this summer to offer aspiring guitarists a chance to win the ultimate Grand Prize. Enter the Guitar Player “Take The Lead” Competition by August 17 for your shot to win your very own feature in Guitar Player magazine, a year’s supply of strings and accessories from Ernie Ball, and more! Throughout the competition, we’ll be bringing you exclusive editorial content fresh from guitarplayer.com—enjoy!

“When Carolyn Wonderland took the stage at Yoshi’s in Oakland, California, the crowd didn’t know exactly what to make of her at first. She appeared somewhat shy and unassuming, armed with a Tele, a lap-steel, and a tiny Fender combo. As the band went into the opener, the first thing listeners were struck by was her singing voice, an amazing instrument unto itself, with uncommon power, dynamics, and range. Comparisons to Janis Joplin are inevitable, but Wonderland possesses a purity of tone that is all her own.”

Read more: http://www.guitarplayer.com/article/carolyn-wonderland/148795

Published by Matt Blackett, Guitar Player Magazine

Lita Ford Cuts the Crap

OurStage, Guitar Player magazine, and Ernie Ball are teaming up this summer to offer aspiring guitarists a chance to win the ultimate Grand Prize. Enter the Guitar Player “Take The Lead” Competition by August 17 for your shot to win your very own feature in Guitar Player magazine, a year’s supply of strings and accessories from Ernie Ball, and more! Throughout the competition, we’ll be bringing you exclusive editorial content fresh from guitarplayer.com — enjoy!

“THAT HAD NOTHING TO DO WITH ME,” exclaims Lita Ford when I mention her previous album, 2009’s Wicked Wonderland. “It was out of my control. There are so many devices and plug-ins and all kinds of crap on everything. That’s not who I am. When I first started playing, I figured if I couldn’t cut it as a guitar player just plugging straight into an amplifier, then I should stop playing guitar. Effects, layering, stacking—f**k that! Just plug in the damn guitar and play it.”

And that’s just what Ford and producer Gary Hoey did on her new release, Living Like a Runaway [SPV/Steamhammer].

“Gary got me immediately,” says Ford. “So this album was all about what I love about pure and basic rock music. We did vocals and guitars first, to ensure we captured the bare emotion of the songs, and then we cut bass and drums. If playing to a click track took away from the feel I wanted, then we didn’t use one. The other musicians had to play to my time.

“I’m a real feel person, and it was so great to get back to that. In fact, seeing a Pink Floyd documentary on VH1 Classics really inspired me while we were recording. Their stuff was so real—they just went with what was in their hearts and laid it down. That was it. And they’d come up with this beautiful journey of music. After watching that show, I was even more determined that nothing fake or calculated get on this album.”

Ford used mostly comfy “old friends” while tracking Living Like a Runaway.

“My BC Rich ‘Black Widow’ Warlocks are so damn powerful,” she says. “Nothing beats those. They’ve got the beef for big crunch power chords and long, sustaining solos. I’ve got preamp switches built into some of them, and when you click on the preamp, it will blow your ass through the freaking wall. I also used my BC Rich Stoli vodkabottle guitar—which sounds like death—a new DBZ Bolero, and a Taylor Grand Symphony acoustic. My favorite strings are GHS Boomers, gauged .009-.042, and I use this bizarre-looking pick that Ritchie Blackmore once gave me. I loved that pick so much I used it exclusively for three months during a Runaways tour with the Ramones. Happily, Pickboy makes them now—they used to be so hard to come by. For amps, we used Marshall JCM 800s, Peavey 5150s, and old Soldanos. My cables are Monster Cable and custom models from guitarcables.com with kill switches on the jacks.”

After a recent and ugly divorce (“I left with the shirt on my back”) — as well as suffering through career decisions made mostly by her former husband — Ford views Living Like a Runaway as a heartfelt manifesto of freedom and empowerment.

“I’m free to pursue my dreams now, and answer to no one,” she says. “What’s so great about rock music is that there are no rules. You can do whatever you want. So, right now, I’m just being Lita.”

Published by Michael Molenda, Guitar Player Magazine

 

Five Tips for Enlightened Soloing

OurStage, Guitar Player magazine, and Ernie Ball are teaming up this summer to offer aspiring guitarists a chance to win the ultimate Grand Prize. Enter the Guitar Player “Take The Lead” Competition by August 17 for your shot to win your very own feature in Guitar Player magazine, a year’s supply of strings and accessories from Ernie Ball, and more! Throughout the competition, we’ll be bringing you exclusive editorial content, fresh from guitarplayer.com—enjoy!

“Certain people are very mental, ” says legendary guitarist Carlos Santana, “they need to have rules and concepts and directions and scales and theory in order to play. But that’s not what music is about. Music has the same significance as beams of light coming out of the clouds and giving information to plants. Every note should be like a beam of light. You’re giving information to the listener, and you’re reminding them they also have light and significance. That’s improvising to me. The other stuff is just like going ‘da-da-da-da-da.’ It’s nothing.”

Read more: http://www.guitarplayer.com/article/five-tips-for-enlightened-soloing-by-carlos-santana/148513

-Published by Matt Blackett, Guitar Player magazine

 

Wrangled Up & Bruised

Ula Ruth

Brothers Nicholas and Lucas James may have had a wholesome upbringing—home school, Quaker school, Connecticut suburbs—but they didn’t let that corrupt their rock and roll souls. The brothers stood by their “hot sauce-lovin’, God-fearin’, skinny jeans-wearin’” values, joining up with likeminded brethren Kevin Clymer and Dean Miller to form Ula Ruth in 2011. Their rock is steeped in distortion, with banged up and bruised grooves. Exhibit A: “Empty,” a stylish and subversive rocker with zig-zagging guitars engulfed in feedback. Exhibit B: “Call To The Lonely,” where handclaps, reverb riffs, guttural bass lines and throaty hollers combine for the New England version of Kings of Leon. “I always open my mouth instead of walking away,” Nick laments. Be glad he does—Ula Ruth’s rebel yell is worth the listen.

 


Exclusive Interviews
Featured Artists
OurStage Updates
News
Features
Reviews and Playlists
Editors Pick

 

 




 

iAnEAqqqq