General Interest

Guitarist Covers 'Star Wars' "Imperial March"

Guitar World - Thu, 12/14/2017 - 07:32

Tonight, movie theaters around the United States (it has already premiered in select other locations around the world) will premiere the eighth Star Wars film, The Last Jedi.

To get yourself in the mood, check out this endlessly entertaining video of guitarist Cooper Carter covering the "Imperial March."

Carter truly went all out for the cover, which features 70 guitar tracks, 28 orchestra parts and a small army of Ernie Ball Music Man guitars, including the Cutlass, the JP15, JP6, Armada, St. Vincent, StingRay Bass, John Petrucci BFR and Luke 3. You can watch it above.

For more on the guitars used in the cover, stop by For more on Carter, follow along on Facebook.

Categories: General Interest

Terror Universal Premiere "Welcome to Hell" Guitar Playthrough

Guitar World - Thu, 12/14/2017 - 06:57

Terror Universal—a masked metal supergroup comprised of current and former members of Ill Nino, Machine Head, Upon A Burning Body and Soulfly, among other groups—recently announced their debut album, Make Them Bleed. Today, presents the exclusive premiere of the guitar playthrough of one of the album's most explosive tracks, the appropriately titled "Welcome to Hell."

Make Them Bleed—which is set for a January 19 release via minus HEAD Records—is a volcanic record, with vicious moments of sonic bloodletting, and equally tantalizing moments where the listener is in the eye of the storm.

You can see those qualities in this playthrough, which features the band's guitarist, THRAX. You can watch it above.

You can preorder Make Them Bleed here.

For more on Terror Universal, follow along on Facebook.

Categories: General Interest

Check Out Our Ultimate Guitar Gift Guide

TrueFire - Thu, 12/14/2017 - 06:40

If you’re looking for a great guitar gift or need to pick up a special present for yourself or another guitarist, look no further. Our 2017 Ultimate Guitar Gift Guide is just what you need. There are a range of awesome guitar gifts from less than $10, under $500, and even a few big ticket…

The post Check Out Our Ultimate Guitar Gift Guide appeared first on TrueFire's Guitar Blog.

All of Me – Chord and Single Note Soloing

Jazz Guitar Online - Thu, 12/14/2017 - 05:43

Jazz Standard Study Guides Volume 2

There’s something sophisticated and cool about jazz guitarists that solo and comp for themselves over a tune. Players such as Jim Hall, Joe Pass, Lenny Breau, and others have made this type of soloing, mixed chords and single notes, a stable of their jazz guitar voice.

While you may love those players, and mixed chords-notes soloing, you might not know where to start.

In this lesson, you learn about exercises you can work on to develop this side of your jazz guitar improvisational approach.

As well, there’s a study over All of Me that you can learn to bring a practical, musical example of this approach into your studies.

Soloing and Comping Exercise

Before you learn the study below, you can work on creating your own mixed single note and comping solo over this, or any, jazz standard.

To work on this concept in your own playing, use the following outline as a progressive way to work the exercise.

When soloing, you can use any device you’re studying, such as scales, arpeggios, and licks.

As well, you can use any chord voicing that you know or are studying, such as drop 2, drop 3, or 4th chords.

Here’s the breakdown for working soloing and comping over any jazz standard in your guitar solos.

  • Solo for 8 bars – Comp for 8 bars
  • Solo for 4 bars – Comp for 4 bars
  • Solo for 2 bars – Comp for 2 bars
  • Solo for 1 bar – Comp for 1 bar
  • Solo and comp at will


After you work on the study below, or even before if you feel ready, give these exercises a try over All of Me.

Then, take these exercises to any jazz standard you know or are studying to take these concepts further in your practice routine.

Soloing and Comping Study

Now that you know how to practice adding comping to your solos, you can learn a study that mixes single notes and chords over All of Me.

In this study, you solo for two bars and then comp for two bars, running the form with that formula for a whole chorus.

Notice that the single lines start at least an 8th note after the last chord, and end about an 8th note or more before the next chord. This allows you to switch from comping to soloing and back again without tripping up on a fast change. Keep this in mind when working on your own mixed single note and comping solos.

Once you have this study under your fingers, you can expand upon this exercise to use it as a stepping-stone in your own playing.

To do this, follow these steps:

  • Play the chords as written but you make up the single notes.
  • Change the rhythms for the chords but keep notes same.
  • Keep the single notes as written but make up your own chords.
  • Make up your own single notes and chords throughout.


Lastly, because it’s a long solo, 32 bars, start learning it one 4-bar phrase at a time. Learn bars 1-4, then when that’s comfortable, learn bars 5-8. Then, mix bars 1-4 and 5-8 together as you build an 8-bar phrase.

Continue through the study this way to make it more manageable to learn and not overwhelming in the practice room.

Now that you know how to practice this study, have fun learning it!


Backing Track

Play Along




Check out our Jazz Standard Study Guides, 10 eBooks that teach you how to play the chords and solo over 10 classic jazz standards:

Jazz Standard Study Guides Volume 1: All of Me, Autumn Leaves, Corcovado, In a Sentimental Mood, Summertime
Jazz Standard Study Guides Volume 2: Blue Bossa, Four on Six, Misty, Take Five, There Will Never Be Another You

Click here to get a discount and buy the Jazz Standard Study Guides Volume 1 & 2 Bundle


Jazz Standard Study Guides Volume 2

The post All of Me – Chord and Single Note Soloing appeared first on Jazz Guitar Online | Free Jazz Guitar Lessons, Licks, Tips & Tricks..

Vintage Vault: 1950 Gibson ES-300

Premier Guitar - Thu, 12/14/2017 - 03:00
A classic double-P-90 model that helped introduce laminated-wood guitar bodies.
Categories: General Interest

Star Wars: The Last Jedi Imperial March Electric Guitar Orchestra by Cooper Carter

Ernie Ball Music Man - Wed, 12/13/2017 - 14:31

Ernie Ball Music Man artist Cooper Carter just released an electric guitar orchestra tribute to legendary Star Wars saga composer, John Williams. (Just in time for Star Wars: The Last Jedi premiere on Thursday, December 13th). The video features 70 guitar tracks, 28 orchestra parts, and 8 of our Music Man guitars. Let the riffs flow through you….

Music Man Guitars featured:

Cutlass Guitar

The Cutlass features updated vintage spec electronics, a super smooth modern tremolo system and a lightweight alder body.



The JP 15 is powered by twin custom Dimarzio Illuminator pickups, piezo bridge system and on board 20db gain boost.



JP6 is the original Music Man John Petrucci signature model. The basswood body features a high gloss durable finish with stylish lines and an ergonomic scooped arm contour.



The Armada’s combination of tone woods coupled with a set of Music Man designed classic humbuckers delivers a big and beefy sound with a surprisingly sparkly clean tone you may not expect from such a powerhouse instrument.


St. Vincent

The St. Vincent is a unique electric guitar designed with Ernie Ball Music Man tremolo, gunstock oil and hand-rubbed rosewood neck and fingerboard. St. Vincent inlays, Schaller locking tuners, 5-way pick up selector with custom configuration and 3-mini humbuckers.


StingRay Bass

The iconic StingRay Bass features a solid roadworthy construction, massive hardened steel bridge, elegant oval pick guard, 3+1 tuning key configuration, and the ever popular Music Man humbucker.


John Petrucci BFR

The JP BFR is powered by Dimarzio Liquifire & Crunchlab pickups, piezo bridge system and a coil splitting tone pot. Available in 6 or 7 string with Music Man JP tremolo, 3 way Toggle pickup selector and Music Man hardshell case.


Luke 3

Floating vintage tremolo, 5 way pickup pickup selector and 12db adjustable active boost give the Luke 3 a variety of tonal combinations suitable for any musical style.

Four Handy Guitar Pedal Hacks

Guitar World - Wed, 12/13/2017 - 14:03

If you own guitar pedals—and of course you do—you’ve undoubtedly dealt with battery and power-supply issues, bad connections and leftover residue from the Velcro pads used to hold pedals on your pedal board.

If you own guitar pedals—and of course you do—you’ve undoubtedly dealt with battery and power-supply issues, bad connections and leftover residue from the Velcro pads used to hold pedals on your pedal board.

In this video, Phillip McKnight demonstrates four handy guitar pedal hacks to deal with all of these issues and make working with pedals easier. All of the hacks are easy to perform, including two that involve same basic knowledge of electronics and wiring.

Phillip demonstrates how to make a convenient battery power supply for pedals that don’t take batteries by using the barrel connector from a wall wart and a nine-volt battery clip. He also shows how to remove glue residue left on pedals from stickers or Velcro pads, and how to prevent the Velcro pads from damaging or removing the manufacturer’s labels on the bottom of your pedal. He wraps up the video by showing how to make a handy diagnosis cable from a cable end and alligator clips that you can use to find shorts in your pedal board’s signal chain, test speakers and much more.

Take a look. And when you’re done, visit Phillip’s YouTube channel for more of his great and informative videos.

Categories: General Interest

Gear Review: Goldfinch Guitars Kensington, Painted Lady Rhythm Master

Guitar World - Wed, 12/13/2017 - 13:50
The Goldfinch Kensington (top) and Painted Lady Rhythm Master (bottom).

Just like Harley Davidson and Apple, Goldfinch Guitars started out in a garage. Rather than build an expensive clone of something you’ve already seen, Goldfinch wanted to give guitarists an affordable piece of art that captured one sound well without an abundance of knobs and switches.

First up is the Kensington, which gets its name from the Philadelphia neighborhood it was designed in. Other models on the Goldfinch site are listed as limited runs, but the Kensington is here to stay. It features the company’s signature funky reverse headstock, a poplar body and a chunky maple neck. The fretboard is engineered to prevent travel woes.

The Kensington was designed with rhythm players in mind, so shredders should plan accordingly. In fact, no matter how hard you try, you’re not going to get past the 18th fret! Despite the “No high notes allowed” rule, it is a very easy and lightweight guitar to play. Even easier than its playability are the electronics. You’ll notice no pickup switches. With just a volume and a tone knob all three pickups are wired in parallel. The end result is like a loud and bright mega-humbucker!

Next up is The Painted Lady Rhythm Master. Part of a limited run, this is Goldfinch’s first 12 string electric. Following suit of the Kensington, The Painted Lady Rhythm Master has even simpler electronics; a mini-humbucker and a single volume knob. Other features include a poplar body, a set mahogany neck and a maple fretboard. Also, I can’t keep quiet about the Explorer-like body with a matte pink pickguard, it just looks too cool.

While the company has offered some USA-built instruments, both models I reviewed were built in China. Straight out of the box, the necks, frets and action were exceptional on both guitars. I could’ve easily gigged with The Kensington that night. The Painted Lady Rhythm Master needed a few tweaks to the bridge to get the intonation set, but 12 strings are notoriously fussy.

Clip 1: This starts with the Kensington through a Fender Blues Junior about halfway up, followed up with the tone and volume rolled back on the Kensington. To finish up I cranked the volume and tone back and put a Tube Screamer in front of the amp for some overdrive.

Clip 2: Here’s how The Painted Lady Rhythm Master sounds with some slowly picked open chords, which give it a natural chorus effect. At the end of the clip I double-tracked a riff and an open A chord, like I was trying to write my own Sixties TV theme or something.

Learn more about the Kensington ($249) and the Painted Lady Rhythm Master ($425) at

Categories: General Interest

Rig Rundown: mewithoutYou

Premier Guitar - Wed, 12/13/2017 - 13:00
Post-hardcore guitar assassins Michael Weiss and Brandon Beaver talk tone tools with PG’s Perry Bean.
Categories: General Interest

How to Use Open Strings for Blues

Guitar World - Wed, 12/13/2017 - 12:45

The folks over at Texas Blues Alley—makers of "How to Mix Chords with Blues Licks" and "10 Ways to Start a Blues Guitar Solo"—recently (ish) posted a lesson video on the subject of how and when to use open strings in a blues context.

The video takes you through a few keys, and shows you how you can use open strings in each.

Though there are no accompanying tabs with the lesson, the camera angle makes it fairly easy to see exactly what's going on. You can watch the lesson above.

Be sure to check out Texas Blues Alley’s YouTube page for more great lessons.

Categories: General Interest

Seymour Duncan Releases Dave Mustaine Signature Thrash Factor Humbucker

Guitar World - Wed, 12/13/2017 - 11:10

Seymour Duncan has announced the release of its new Dave Mustaine Signature Thrash Factor humbucker. According to press materials issued by the company today, the pickup recreates the unique tone of Mustaine’s favorite Seymour Duncan JB, which was used to record some of Megadeth's most iconic music.

In 1990, Megadeth released their landmark fourth album, Rust in Peace. Its breakneck rhythms, intricate arrangements, shifting time signatures and blazing dual lead guitar lines showcased the band’s mastery of their craft. During the recording of the album, Mustaine relied heavily on one guitar in particular—an ex loaded with a Seymour Duncan JB in the bridge and a 59 model in the neck.

According to Mustaine, that JB had a tone that that was different from an "off the shelf" JB, and it had become part of his signature sound.

Seymour Duncan worked closely with Mustaine to recreate the tone and feel of his favorite JB, ultimately altering the winding process in order to achieve the tone he was looking for. Compared to the standard JB model, the Thrash Factor’s low end is tighter, the mids are slightly scooped and the highs are more aggressive.

"Thrash Factor re-creates the tone of the original Dave Mustaine King V1, the first 24-fret fire-breathing monster," Mustaine says.

The Dave Mustaine Signature Thrash Factor is hand built in Santa Barbara, California. A set costs $199. This signature series comes in multiple options, including:

» Black
» Custom Color
» Set
» Bridge/Neck
» Trembucker

For more information, check out the video above and step right this way.

Categories: General Interest

Alice Cooper Premieres New "The Sound of A" Music Video

Guitar World - Wed, 12/13/2017 - 11:00

Alice Cooper has premiered the music video for his song, "The Sound of A." You can watch it above.

"The Sound of A" is a significant song for Cooper, as it's the very first song he wrote entirely on his own—way back in 1967. It had long been forgotten until Dennis Dunaway—the Alice Cooper Band's original bassist—rediscovered it and played it for Cooper, after which the duo updated the song and recorded it for Cooper's most recent album, Paranormal.

The song will be released as the title track of a forthcoming EP—set to come out February 23—that also will feature four previously unreleased recordings from the Paranormal tour.

For more on Cooper, drop by

Categories: General Interest

Learning to Slide: How This Legato Technique Can Enhance Your Sound

Guitar World - Wed, 12/13/2017 - 10:11

Sliding is a legato technique that allows a guitarist to manipulate the sound of a note after it is played.

Sliding is a legato technique that allows a guitarist to manipulate the sound of a note after it is played.

Slides enable you to connect two or more notes smoothly and quickly, and make for more seamless position changes on the fretboard. They add life to notes and lend a vocal quality to your licks. Sliding is an essential technique for both rhythm and lead playing. As the name suggests, a slide is produced by picking a fretted note and then sliding your fretting finger up or down the string, maintaining contact with it, to arrive at a new note on another fret. When the destination fret is reached, this new note will sound.

In order to produce an effective slide, constant pressure is needed on the string throughout the length of the slide. A slide can be as short as a single fret or as long as the entire length of the fretboard. Slides can also be done with chords. Slides are noted by an upward or downward diagonal line connecting notes in notation or numbers in tablature. They can have the letters "sl." written above them as well.

Successful slides are a matter of touch. When you first pick the string, fret the note as you normally do. As soon as you start your slide, ease up slightly on your fretting finger so it glides swiftly and effortlessly over the frets to the next note. Too much pressure, and your finger won't slide; too little, and you won't create the sound of the slide. Once you reach your desired note, reapply pressure with your fingertip, otherwise the target note won't sound. Below are some basic variations on the slide technique:

Two-note slides connected with a slur.

A slur (curved line indicating notes that are to be articulated with either a hammer-on, pull-off, or slide) along with a diagonal line indicates a legato slide. This means that you pick the first note and then slide into the second without picking the second note. This slide can be executed either ascending or descending.

Let's give it a try: Play the note on the first string, ninth fret. Hold the note for one beat, and then on beat two, while the string is still ringing, quickly slide your fret-hand finger to the twelfth fret, keeping full finger pressure the whole time. This will cause the note at the twelfth fret to sound without you picking it.

Slides connecting two picked notes.

To play slides that are noted with a diagonal line but no slur, you pick both the first and second notes. Again, this type of slide can be executed either ascending or descending. Play and hold the first string, ninth-fret note for a beat. Then, at beat two, slide up to the twelfth fret and strike the string with the pick just as you arrive at the twelfth fret.

Sliding into a slide.

This slide doesn't connect two different notes but rather slides into a note from an indefinite point typically a few frets below, much the same way a baseball player slides into home plate. It is a quick slide and is heard as one note, not two. It isn't in rhythm and serves only to decorate your target note. This slide is noted as a dash preceding a note. What you want to do when beginning this type of slide is to start your hand moving in the direction of your target note before starting to press down on the strings. Begin the slide from two or three frets below your target note. Using the first string, ninth fret note as your target note, and using minimal finger pressure, strike the string with the pick while your fret-hand finger is in motion, somewhere between the starting and target frets (the sixth and ninth frets, in this example). As your finger slides up, gradually increase your finger pressure so that as you arrive at the target fret (the ninth fret), you are exerting full pressure.

Sliding out of a slide.

The opposite of sliding into a slide is sliding out of one. After holding a note for its duration, simply slide your fret-hand finger down the fretboard toward the nut and lift the finger after a couple of frets. This slide is noted as a dash following a note. Using the first string, ninth-fret note, pick the string in the normal manner. After letting the note ring for the indicated duration, slide your fret-hand finger down the string, gradually releasing finger pressure as you go, to cause a fading-away effect. After a few frets, lift your finger completely off the string.

Long slide.

A long slide is simply an ascending or descending slide that goes nearly all the way up or down the neck, releasing finger pressure and finally removing your finger from the string toward the end of the neck at either end of the guitar. At some point during the long upward or downward slide, if you don't release finger pressure and stop your hand, you will end up hearing some note as a stopping point. If you let go of the string, you will end up hearing an open string.

Slide up and back down again.

Here you are sliding up the fretboard and then back down but not really hearing a specific starting or ending note. This is hard to notate specifically. Because of this the notation is usually a little more detailed than the true spirit of the effect. Try sliding to approximately the twelfth fret (if you miss the mark and hit the eleventh or the thirteenth fret, you won't really hear much of a difference), and use the twelfth fret as the point where you reverse direction and take your slide back down.


If you play a slide slowly enough, you produce what's known as a glissando. It's an effect that you hear on harps, pianos, and guitars, where all the notes between the two principal notes sound. Glissando is noted by a wavy line between two notes.  


Sliding is a relatively easy technique that shouldn't take you too long to master, but because you may experience some minor challenges when first learning to slide, here are ways to clear the most common of these hurdles:   If you experience an uneven tone, remember to keep your sliding finger pressed down evenly on the string during the duration of the slide.

If you experience lag in sliding, chances are you're gripping the neck too tightly which will result in a slow slide that won't sound smooth. Relax your hand and lighten your grip. Your fretting hand should be able to move about freely. Press down only as hard as you need to in order for the note to keep ringing. You may discover that you have bad aim when sliding. You either overshoot or undershoot the targeted note. To remedy this, keep your eyes on the slide as you execute it, especially a longer slide, to ensure a more accurate result. Another thing to consider when sliding is what to do with your thumb. It will either make or break your slide.

If you don't have to move your thumb to slide, don't. It provides a stable foundation. If you're sliding short distances, chances are you won't have to move your thumb. If you're sliding longer ones, you definitely will. In this case, remember to relax your hand and grip while maintaining adequate pressure when moving from fret to fret. Your finger and thumb should release just enough to move freely. Go slower until you get the movement down. Finally, be sure to practice sliding with all your fingers. Yes, even your pinky. Don't limit sliding to your just index finger.

Kathy Dickson writes for the online guitar lesson site Guitar Tricks.

Categories: General Interest

J Rockett Audio Designs Introduces the Animal Overdrive

Premier Guitar - Wed, 12/13/2017 - 10:11
A new take on classic British bark.
Categories: General Interest

Andy Timmons Launches GuitarXperience Lesson Site

Guitar World - Wed, 12/13/2017 - 08:45
“I've been dreaming of putting this website together for several years and finally feel ready to tackle it.” —Andy Timmons

“Andy Timmons is one of those rare guitar players that plays all the best right notes," Steve Vai once said. "His intonation is stunning, and that enables his delicious tone to be seductive and comfortable on the ear. Everything resonates so beautifully, but then again, we are what we play—and he is that.”

Timmons—the former Danger Danger and Pawn Kings guitarist who now fronts the Andy Timmons Band—is able to share those “best right notes” with fans, courtesy of his new lesson website,

Actually, is more than a lesson site. The guitarist also uses it as a platform to share details about his musical past, present and future; the site provides fans—serious and casual—with an opportunity to “hang out” with Timmons while picking up some useful pointers.

“I've been dreaming of putting this website together for several years and finally feel ready to tackle it,” Timmons says. “I've had a pretty amazing career in music that has spanned over five decades, and I’m looking forward to examining my prior recordings as well as forging ahead to learn new things and share them with you. I consider myself extremely fortunate to still be doing what I love to do and I thank you for letting me be your coach as you pursue your own musical journey. 

"It's my privilege to share my knowledge and experience with all of you, and I'm sure I will learn a lot on the way as well. Getting back into teaching over the last few years has been really inspiring, and I’m always honored when I have the opportunity to help fellow players find their path and enjoy their music even more. Whether your goal is a career in music or simply to enjoy playing the guitar in a more satisfying manner, I know you will find some very helpful and entertaining material here."

Three membership options are available, starting at $40 per month.

For more information, check out the video above and visit For more about Timmons, visit

Categories: General Interest

Watch Jeff Loomis Discuss Ernie Ball Paradigm Strings

Guitar World - Wed, 12/13/2017 - 08:29

In this video from Ernie Ball, shred-master Jeff Loomis discusses the company’s new Paradigm strings.

As Ernie Ball’s latest string innovation, Paradigm represents the most advanced string technology ever created, and the strings are the first to come with a fully backed guarantee: If they break or rust within 90 days of purchase, Ernie Ball will replace them free of charge.

“I think that with the Paradigm strings, it gives me that much more confidence in the live situation,” Loomis says. 

The strings feature a combination of Ernie Ball’s proprietary Everlast nanotreatment coupled with a breakthrough plasma process that further enhances the corrosion resistance like never before.

Watch the video below, and to find out more, visit

Categories: General Interest

Bon Jovi, Dire Straits, Moody Blues Lead Rock and Roll Hall of Fame 2018 Inductees

Guitar World - Wed, 12/13/2017 - 07:51

A week after announcing the results of the fan vote for its 2018 inductions, the Rock and Roll Hall of Fame has announced its class of 2018. Bon Jovi—who easily won the fan vote—Moody Blues, Dire Straits, The Cars and Nina Simone will all be enshrined at the ceremony at Cleveland's Public Hall on April 14, 2018.

Notable omissions included Radiohead—who were on the ballot for the first time this year—and Judas Priest, who had finished fifth in the fan voting. Sister Rosetta Tharpe—who was also up for induction—will be given an Early Influence award.

"I wasn't surprised, but I was pleased," Jon Bon Jovi told The New York Times of his band's induction.

An edited version of the ceremony will air at a later date on HBO and on radio on SiriusXM.

For more information on the ceremony, stop by

Categories: General Interest

Jake E. Lee Shows What Most Guitarists Get Wrong About "Bark at the Moon"

Guitar World - Wed, 12/13/2017 - 07:25

Above, check out some interesting footage of guitarist Jake E. Lee showing a group of fans the correct way to play "Bark at the Moon," the 1983 Ozzy Osbourne track Lee played on (and, legend has it, co-wrote).

In the footage, which was shot March 13, 2014, in Owasso, Oklahoma, Lee pinpoints the sections of the song that "most people get wrong," starting with the opening riff. Lee also implies that most online tabs of the song are incorrect. "They think it's F# to a D to an E, and it's not!"

Lee, who is playing his signature Charvel model in the video, was on the road at the time with his current band, Red Dragon Cartel, who were touring in support of their self-titled debut album. Late in 2013, Lee chatted with Guitar World about RDC and his days with Ozzy.

"I wouldn’t have missed it for anything," Lee said. "It was very exciting. I went from being just another guitar player in L.A. to playing at the US Festival in front of hundreds of thousands of people and traveling the world. The only thing that would have made it better is if I’d been able to do it all with a group of friends, like everybody else I knew."

We also asked Lee if he clicked with Ozzy on a personal level.

"We definitely were different types of people," he said. "And I’m sure that had a lot to do with it. I mean, I don’t know personally what Ozzy’s relationship with Randy was like, but from the outside it looked like they were brothers. Ozzy and I, we never connected on anything more than, 'Here’s a song, let’s play it.' We never became friends. We never bonded. We worked well together, but I think maybe at some point Ozzy wanted to get a deeper connection with his guitar player. And he obviously got that with Zakk [Wylde], because they spent a lot of years together.

"I was [surprised to be let go]. I didn’t see it coming at all. In fact, it was my roommate, who was my tech at the time, who told me I was out of the band. He came back from the Rainbow one night and he said, 'Everybody’s talking about how you just got fired.' So I called up Sharon [Osbourne], and I was like, 'I just heard the weirdest rumor.' She said, 'Oh, my god. It’s true, it’s true.' I went, 'I’m fired?' And she said, 'Yes.' My whole world got turned upside down."

Lee will be back in action with Red Dragon Cartel soon. Their new album, Patina, is expected to be released in early 2018; it'll be the band's first release with drummer Phil Varone and bassist Anthony Esposito. Darren James Smith is on vocals.

According to Lee, fans can expect to hear some surprises on the new disc.

"I've said this in interviews before and I really look like an asshole," he says. "But my end goal isn't to please people. And I suppose that is what an entertainer is supposed to do—give people what they want. That's not why I do it, that's not why I've ever done it. I do it for me. And it sounds selfish, but I think that's…You have to be true to yourself. I make music that I wanna hear. I just hope other people like it also. If they don't, oh, well."

In the 2017 video above, Lee discusses his "guitarsenal" at the studio in western Pennsylvania where Patina was recorded; in the 2017 clip below, Lee plays a bit of "Painted Heart," a track that will most likely be featured on Patina. Stay tuned for more!

Categories: General Interest

Listen to the January 2018 PG Spotify Playlist

Premier Guitar - Wed, 12/13/2017 - 07:00
Check out the latest tracks from Radiohead, Bootsy Collins, Samantha Fish, and Bloodclot.
Categories: General Interest

Schertler Introduces the ROY Acoustic Combo

Premier Guitar - Wed, 12/13/2017 - 06:24
A 400-watt, 7-channel combo that is equipped with a 1” tweeter and two 8” woofers.
Categories: General Interest


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