Dhani Harrison released his debut solo studio album In Parallel just a few days ago, and has since begun his promotional efforts with a television appearance on Jimmy Kimmel Live.
A darkly lit stage added to Harrison’s hypnotic and psychedelic soundscape, as he and his backing band showcased a pair of new tracks from the album including a blistering performance of lead single “All About Waiting” and the more ethereal, synth-heavy “Summertime Police.”
Harrison also paid tribute to Tom Petty, taping the initials TP as well as the outline of a broken heart on the body of his Charvel So-Cal.
Watch the clips below, and purchase In Parallel here.
We already knew Angel Vivaldi had mad shred skills but in his new video for “Serotonin” off upcoming album Synapse, the New Jersey guitarist also shows off some smoking dance moves.
The song features a guest solo from Alice Cooper guitarist and We Start Wars founder Nita Strauss, and Strauss appears in the video also, throwing down on the guitar with Vivaldi in dance battle fashion.
Vivaldi conceptualized and designed the well-choreographed shoot, and you can enjoy it below …
In its October issue, UK’s Guitarist magazine takes an in-depth look at Guthrie Govan’s newest Charvel signature models — the Guthrie Govan Signature HSH Caramelized Ash and the Guthrie Govan Signature HSH Flame Maple.
Both models earned a rave review, with the magazine concluding that these bolt-on instruments are “up there with the finest” they’d ever played, and more like a high-performance rifle than a guitar.
The article takes an in-depth look at all the features of these “uber axes,” noting its many subtle and well-thought out details.
“The bridge, initially, looks like an early Floyd Rose (without fine tuners) but is a USA-made Charvel design that centers around a thick brass inertia block, steel top plate and large saddles into which the strings are locked via those long Allen key bolts; once intonation is set each saddle is firmly locked in place,” writes reviewer Dave Burlluck. “It’s back routed too and the whole unit is recessed into the body so the top of the bridge plate is flush with the top of the body. A Tremol-No is fitted so you can prevent upbend, lock it in place as a fixed bridge or, as supplied, just use it as a free floating vibrato with a huge range from floppy to an upbend of approximately a fourth on the G string (it’ll go a bit higher but we stopped there).
“Guthrie Govan’s vision for an all round workhouse that’ll stand up to the rigors of professional touring is superbly realized in this signature. Every detail is wonderfully considered: the over-sized strap buttons, the Strat-like dished output jack placement, the hugely intuitive drive, that secret ‘single coil’ switch, the impressive tuning stability (and startling range) of the vibrato, not to mention the wood choice, graphite reinforced neck and a really unposh working player’s vibe. Is there anything Guthrie hasn’t considered?”
In summary, Guitarist proclaims Guthrie’s signature models as astonishing guitars and a player’s tools of of the highest caliber.
Purchase Guitarist here to read the full review.
In case you ever wondered what the members of Stone Sour would look like in drag, you’re about to get your answer.
In the new music video for Hydrograd track “Rose Red Violent Blue (This Song Is Dumb & So Am I),” the band heads to a seedy strip joint called Cheetahs. Right away, glam metal band Steel Panthers add to the Hollywood Sunset Strip vibe with a cameo appearance as waiters and bartenders.
As the clip progresses, we see shots of Stone Sour performing onstage — both as rockstars and pole dancers.
Check it out below …
Angel Vivaldi and Andy James, who are about to head to Europe for the “Wave of Synergy” tour, have shared a new music video for the track of the same name.
Angel Vivaldi has unveiled the music video for his single “Dopamine,” and it features the New Jersey guitar virtuoso whipping up an instrumental storm with his new Charvel Custom Shop 7-string.
The song also features a killer solo by another guitar maestro as Oli Herbert of All That Remains makes a guest appearance.
The track will appear on Vivaldi’s upcoming album Synapse, due out Oct. 6, and you can get it plus an additional single by placing your pre-order here.
Total Guitar Calls the Joe Duplantier Pro-Mod ‘One of the Most Exciting Mid-Priced Electrics of the Year’
In the July issue of UK’s Total Guitar magazine, editor Jonathan Horsley reviewed the Joe Duplantier Signature Pro-Mod San Dimas Style 2 HH.
Duplantier has described his original signature model as a “killing machine with class,” and the new, moderately priced addition incorporates similar elements. Featuring a single-cutaway mahogany body stacked with a set of super-hot custom-wound Duncan Designed HB-103 humbucking pickups, the new Pro-Mod version is primed for battle.
“Duplantier’s tone balances low-end power with a harmonic brilliance, typified by his trademark pick scrapes and natural harmonics, and those sorts of metal pyrotechnics are mother’s milk to his Signature Model,” wrote Horsley. “Played clean the Pro-Mod is persuasive with lots of gutsy Americana twang from the bridge pickup, with warmer woodier cream in the neck – perfect for creepy intros or blues, while cranking up the gain sees the Duplantier in its element.”
His final verdict?
“Its wholly shreddable playability and monstrous tone make it one of the most exciting mid-priced electrics of the year,” concludes Horsley.
Purchase the latest issue of Total Guitar here to get more terrific product reviews!
That Just Happened caught up with Red Dragon Cartel guitarist Jake E Lee at Obscenic Arts Recording Studio in Pennsylvania where he’s been working on the band’s sophomore album, Patina.
In an exclusive behind-the-scenes interview, Lee dives into his “Guitar-senal,” which includes his signature Charvel guitar, and how his goal is to make music that he wants to hear and to “stir things up a bit.”
Watch the clip below …
Stone Sour guitarist Christian Martucci is currently out on the road in support of fresh album Hydrograd, which debuted at No. 8 on the US Billboard 200 and features hit track “Song # 3.” During one of his recent tour stops, Martucci allowed Charvel the unique opportunity of heading sidestage for a close look at his touring rig.
In the video from that visit (available below), Martucci shows off his road case, which just so happens to be loaded with Charvel guitars — from a Jake E Lee signature guitar to an array of customized USA Select guitars.
“I started playing guitar around 1985, and my favorite guitar players at the time and even still to this day were guys like Warren DeMartini and Jake E Lee so Charvel was like the goal,” says Martucci.
As well as explaining what drew him to the Charvel brand, Martucci also gives a quick rundown of the features of each guitar, shares info about his tuning setups and details how he uses each one live or in the studio.
Check out the clip below, and be sure to enter for the chance to win a USA Select guitar signed by Martucci here.
Charvel continues its long-held partnerships with Warren DeMartini and Jake E Lee with the upcoming release of brand-new signature models. The Warren DeMartini USA Signature Frenchie and the Jake E Lee USA Signature Blue Burst will be unveiled this week at the Summer NAMM Show in Nashville, Tenn., and available to consumers in October 2017.
Warren DeMartini USA Signature Frenchie
Fans have long clamored for a replica of Warren DeMartini’s famed and beloved “Frenchie” guitar, as seen live on tour and on a slew of magazine covers throughout Ratt’s reign in the 1980s. Charvel has responded with the Warren DeMartini USA Signature Frenchie, available in a Snow White and a Gloss Black finish. Both are detailed with cross decals and a tribute quote to James Dean in French that translates “too fast to live, too young to die.”
The Frenchie also offers premium features such as a Dinky™ alder body, one-piece bolt-on quartersawn maple neck and a 12″- 16″ compound radius maple fingerboard with 22 jumbo stainless steel frets and black dot inlays.
Custom-made for the legendary lead guitarist, the Seymour Duncan® Warren DeMartini RTM (“Rattus Tonus Maximus”) bridge pickup is a powerful high-output humbucker that naturally compresses for a well-balanced and even tone, perfect for complex chording and precision soloing. The RTM is boosted by an SSL-4 Quarter Pound neck pickup, adding fat, supercharged punch and extra sustain.
The Frenchie also features a single volume control knob, three-way toggle switching, a Floyd Rose Original locking bridge and Gotoh® tuning machines.
Jake E Lee USA Signature Blue Burst
Jake E Lee’s original Blue Burst guitar gained notoriety during his stint with Ozzy Osbourne, as he recorded and performed live with the famous instrument throughout the band’s pivotal Bark at the Moon and Ultimate Sin years. Charvel® has recreated an unmistakable replica of Lee’s original model down to the very last detail.
The Jake E Lee USA Signature Blue Burst features a poplar body, one-piece bolt-on quartersawn maple neck and a 12” radius rosewood fingerboard with 22 medium jumbo frets and white dot inlays.
Equipped with a versatile customized Seymour Duncan® JB Alnico II humbucking bridge pickup, this model can handle a diverse range of tones from sweet and warm to aggressive and distorted. It’s also supercharged with two powerful single-coil DiMarzio® SDS-1 pickups in the middle and neck for extra gain with a deeper, darker tone. The pickups are controlled with a five-way blade switch and single volume knob.
Available in a mesmerizing Blue Burst, this signature axe also features a brass Charvel hardtail bridge and output jack plate, and black Gotoh® tuning machines.
Charvel is proud to welcome solo American guitarist and songwriter Angel Vivaldi to the artist family.
“Working with Charvel has been incredible,” he said. “It’s an honor to work with a historic company that has had such an impact on the guitar community. What we’re currently designing together is nothing short of breathtaking… this prototype is already seeing a lot of miles on it! Humbled and excited to enter into this new era of my career with Charvel.”
Fans can catch Vivaldi out on the road with Andy James this fall on THE WAVE OF SYNERGY TOUR. The duo will hit 22 cities, which will also include joint VIP guitar clinics, complete with Q&A sessions, meet and greets, tour memorabilia and more.
Fans can also expect to hear brand new material from Vivaldi’s upcoming album Synapse. Get the details and tour dates here.
Charvel signature artist Guthrie Govan is currently in the middle of a summer-long Hans Zimmer Live tour, but he found a few minutes for this quick chat about the gig and his newest signature models.
Q: Is it a true story that when Hans Zimmer first contacted you on Facebook you thought it was a joke?
A: Yeah, it might sound paranoid but my experience with Facebook – I’ve had a few episodes like that where people purport to me that which they are not so experience taught me to be suspicious and it just seemed so farfetched.
Q: How did you reply then?
A: I think it was something along the lines of, “Come on, we both know you are not Hans Zimmer. You are wasting my time and your time. You are not really Hans Zimmer so who are you and what do you really want?” And he replied, “no, no it really is Hans, the dodgy German composer. Here’s my phone number, please call me,” and I did.
It sounded authentic somehow, something about the second message and the persistence— like okay, he’s keeping up the charade, maybe it is really him.
Q: How did that call go when you rang him?
A: Very encouraging, very flattering because this is what Hans does. He stays up until 5 in the morning watching YouTube videos and looking for weird new musicians that he might want to work with and he found some clip of me playing fretless guitar and he liked the eccentricity of it. Originally he was looking for people playing fretless guitar because he wanted to reinvent the Thelma & Louise soundtrack and on the original recording it was played by Pete Haycock. Pete was very good friend of Hans and is no longer with us so it’s a very emotionally charged piece of music for Hans. So he went to all of this trouble to look for someone who could play slide guitar in a different way and then realized the piece of music was close to him that he didn’t want to do it in the set —he wasn’t ready and so we did a whole European tour last summer and only on the last gig of the tour did we play Thelma and Louise. I guess I didn’t screw up too badly because its back in the set every night now.
Q: How familiar were you with his work before getting the gig?
A: I don’t know if anyone is familiar with ALL of his catalog because he’s just such a prolific guy but yeah, I was fully aware of his work and what he does. The funny thing is—even people who don’t the name have been exposed to that music. You can’t really escape it, he’s such a big deal in the world of Hollywood scoring.
Q: Is there a certain song in the set that is your favorite?
A: Everything is fun in a different way. From a guitar’s perspective, where I have the most spotlight if anyone’s curious, is the Thelma and Louise piece. It’s just a six-minute guitar solo. And there’s some stuff in Crimson Tide and Angels and Demons that I enjoy.
It’s just an interesting gig because it’s like acting almost. You have to be a different musician for each song. If you listen to the original soundtrack, there’s not that much guitar going on. When Hans gives you the gig, he just says, “I’ve hired you because I believe in you. I trust your mind, and I trust your fingers so you’ll know what to do. I’m not going to micromanage you. Do what you think is right and if I disagree, don’t worry, you’ll know about it.” So it’s flattering and high pressure. I’ve found a mindset that work, which is I just have to imagine what type of guitar player would complement that song and then become that guitar player for its duration.
So, it’s a really good contrast. Before I started this tour I was going around India and Japan playing my solo stuff with a trio of local musicians. This is completely the opposite in every way. I think balance is a healthy thing. I’d be tearing up the furniture if I just had to do one thing for the whole of my musical life—variety helps to keep things fresh.
Q: What led you to guitar to begin with?
A: It kind of found me. I started playing when I was so very young. I don’t remember choosing a guitar but there was a guitar in the house. My dad knew about five chords. So it was just part of growing up — a matter of thinking “What’s that object I see every day in the living room, and I need to learn how to operate it.” Then I discovered you could use it to play Elvis songs and the rest wrote itself.
Q: What was it that brought you to Charvel?
A: I just had a good vibe the first time I met people from the company and I sensed they actually wanted to work, and cooperate and collaborate to make a guitar that is perfect for me. It felt like they would listen to all of my input, and we spent about two years just fine-tuning and tweaking. They probably did get tired of me but they didn’t say so, and I think there is a unique and versatile instrument that came out of all of that process.
There are other companies I could have worked with, but it would have been more like “Here’s our flagship heavy metal guitar, we can put your initials on the 12th fret – what kind of paint would you like on it?” That would never feel quite right. If I’m going to stick my name on the back of a headstock, it feels so much better to have input into everything.
The most painful part of the genesis of my signature guitar was the tremolo. We spent a lot of time attaching different arm attachments and stuff like that. I can remember being on tour with Stephen Wilson, the guys would send me a new bridge and metal working tools and I’d be there changing the size of the hole where the arm goes into the bridge plate and leaving a pile of iron filings on the carpet when I checked out of the hotel. It was a lot of back and forth, but we got there in the end. The thing that really cheers me up is occasionally I’ll see a YouTube video of a respected player who doesn’t do the kind of thing I do and they found this guitar and found something about it that works for them.
I was very happy when I heard John Mayer bought one. I was like, “Okay, you are not really the target audience for this guitar but you found merit in it – that’s great.” That’s the proud parent feeling.
Q: You’ve got two new models out now. Can you talk a bit about what you were going for with the Signature HSH Caramelized Ash and Signature HSH Flame Maple guitars?
A. Yes, the Caramelized Ash … I like an ash guitar – it has a different frequency response, and I have also always liked the neutrality of basswood with a little bit of maple on the top. I think you can get pretty close to the sound of a lot of different guitars with that wood because there’s no EQ bias anywhere with that wood combination. Ash has a bit more of a character and asserts itself in a bit more noticeable way. It just kind of works for me. When we did the last Aristocrats album I deliberately wrote all of my contributions using a bolt-on guitar with three single coil pickups, which will go nameless, because guitar tones will make you play differently and you get a different kind of inspiration when the voice of a guitar is sounding a certain way. I very much went down that, okay, I’ll say it, the Strat route, and I thought for playing that live, wouldn’t it be really cool to have the GG but with a little more of that single coil DNA? Also, I really like the new secret switch — it kind of makes the humbuckers sound like single coils without the hum you would normally associate with those.
Q: How many guitars do you have in your collection in total?
A: I don’t know. Not that many. More than 10, less than 20. In touring and flying around so much, it gets confusing and sometimes I have no choice but to leave a guitar in a certain destination and I’ll see it in a year when I come back. My Charvel signature model in the Britannica Red – it’s currently in one of the Charvel offices. I’ve got a couple of these guitars stationed in unfeasible parts of the world right now.
Q: Are you one of those guys who will play guitar incessantly?
A: Not really. I like the idea of walking on stage and picking up a guitar and being pleased to see it. If I’m recording, yes, a lot of playing and your fingertips feel the difference and you are changing strings twice a day. Day to day life, sometimes I’ll take the guitar in the hotel room on a day off, sometimes I don’t. I’m always thinking about music. A lot of the practice I do now is just listening to musically actively or thinking about music and imagining how something would sound, and the actual guitar playing aspect of it is just motor skills. As long as you do some playing every day, you remain gig fit. I’ve never been one of those people to warm up for 8 hours before a show. Sometimes I’ll just walk on stage, plug in the ear-monitors and go.