Norse Guitar Feeds

Eight digital doppelgangers of Boss classics can be used simultaneously in a single stomp.

BOSS introduces the PX-1 Plugout FX, an innovative hardware platform that captures the timeless BOSS compact pedal experience in one versatile pedal.This convertible stompbox holds multiple authentic effect recreations from the historic BOSS effects lineup, providing endless fuel for every creative journey. Sixteen effects are included with purchase, and more can be added over time with the BOSS Effect Loader app for iOS and Android devices.

Backed by newly developed BOSS algorithms, each effect in the PX-1 delivers the genuine sound and response of the pedal it’s based on. Every detail is modeled with stunning accuracy, thanks to a powerful DSP engine dedicated to recreating the sound of a single effect at a time. Users can dial in tones fast with the familiar BOSS knob interface, supported by an onboard display for current parameters and internal settings.

The PX-1 offers external control with one or two footswitches or an expression pedal. There’s a Swap function to switch between two effects, and nearly any parameter can be assigned for real-time expressive control while performing. Stereo I/O provides flexible connectivity and enhanced sound for models with stereo operation, while tap tempo and MIDI clock support are provided for time-based effects.

In one of the most iconic scenes in film history, a Gibson ES-345™ Cherry Red guitar took center stage in the film Back to the Future—and today, it’s making history again. To celebrate the 40th anniversary of the beloved Universal Pictures and Amblin Entertainment film starring Michael J. Fox as Marty McFly, and in honor of October 21—officially recognized as Back to the Future Day—Gibson, the legendary global instrument brand, in partnership with Universal Products and Experiences proudly announces the Back to the Future Collection. Featuring limited-edition ES-345 models from Gibson Custom and Epiphone, as well as an exclusive apparel line, the Back to the Future Collection is designed to thrill both guitar enthusiasts and fans of the iconic film. Music and film fans can stop by the Gibson Garage Nashville and London locations to see the entire Back to the Future Collection in person, and worldwide via Gibson.com.

This summer, Gibson and Michael J. Fox launched a global “Lost to the Future” search for the original Gibson ES-345 Cherry Red guitar played by Fox in Back to the Future during the unforgettable “Enchantment Under the Sea” dance scene—a moment that inspired generations of musicians after Marty McFly’s electrifying performance of Chuck Berry’s “Johnny B. Goode.” Despite efforts to find the guitar during the filming of the sequel, the guitar’s whereabouts remained a mystery. Fans worldwide have been submitting tips at www.LostToTheFuture.com, and after thousands of submissions, Gibson has narrowed the search and is actively pursuing a handful of promising leads to locate and authenticate what may be the most significant guitar in movie history.

“Bringing this guitar to life has been a passion project for many years, and it’s incredibly exciting to finally see it become a reality,” says Mark Agnesi, Director of Brand Experience at Gibson. “We couldn’t be prouder of how these guitars turned out—they’re truly special. This is the guitar that inspired me, and countless others from my generation, to pick up playing in the first place.”

The Back to the Future 1955 ES-345 Collector’s Edition from Gibson Custom is limited to just 88 guitars worldwide, a nod to The Time Machine from the film, and features a stunning Cherry Red finish with exclusive design details. The Epiphone Back to the Future ES-345, limited to 1,985 guitars globally, celebrates the year the blockbuster film hit theaters and offers fans an accessible way to own a piece of cinematic and musical history. In addition to the guitars, there’s also an exclusive range of Back to the Future apparel and accessories, including tees, hats, collectible guitar pick tins, a guitar strap, and an AXE HEAVEN® mini guitar that will delight collectors and fans alike.

Back to the Future Gibson Custom Collection guitar case candy includes a flux capacitor, key to the Time Machine, a Casio watch, production still from the film, a guitar strap, picks, posters and a Certificate of Authenticity.

The new Epiphone Back to the Future ES-345 is a replica of the legendary Gibson ES-345 based on the model that Michael J. Fox aka Marty McFly plays in the film Back to the Future. A loving tribute to this cultural icon, the Epiphone Back to the Future ES-345 features a five-ply layered maple semi-hollowbody with a solid maple centerblock for enhanced sustain and improved feedback resistance. The top has four-ply binding with single-ply binding on the back. The mahogany neck has a comfortable Rounded C profile and is topped with a single-ply bound rosewood fretboard with 22 medium jumbo frets and is adorned with pearloid split parallelogram inlays that are a hallmark of the ES-345. The 60s Kalamazoo headstock is equipped with a Graph Tech® nut and Epiphone Deluxe tuning machines with cream Keyston buttons. The Epiphone logo and Gibson Crown are inlaid in mother of pearl. On the back of the headstock, in a nod to the 1985 film, you’ll find a Hill Valley Music store decal. The Back to the Future ES-345 has gold hardware, including an Epiphone LockTone™ Tune-O-Matic™ bridge and a Bigsby® B70 vibrato tailpiece, and just like the guitar in the movie, the original Stop Bar studs are left in place. The Back to the Future ES-345 is powered by two of Epiphone’s acclaimed Alnico Classic PRO™ pickups, each with individual volume and tone controls. A mono Varitone provides even more tonal versatility. It even comes packed in a vintage-style hardshell case with Marvin Berry and the Starlighters graphics. The Epiphone Back to the Future ES-345 is limited to only 1985 units worldwide, and they’re sure to go fast, so unless you have a flux capacitor-equipped Time Machine so that you can go back in time to get one later, you’d better grab yours now while you still can.

Launching alongside the Epiphone and Custom Shop ES-345 guitars, Gibson’s apparel division will release a collection of exclusive, film-inspired merchandise. Ranging from AXE Heaven mini ES-345 Cherry Red guitars to guitar pick tins, straps, T-shirts, and hats inspired by the film, the Back to the Future collection promises to be an exciting addition to any fans collection.

Way Huge didn’t leave much to the imagination when it branded this fuzz the Doom Hammer. But that doesn’t mean it's without surprises. Jeorge Tripp’s latest design is based on an op-amp Big Muff that he modified for a client in the 1990s—primarily with the aim to tighten the low end. You hear Tripps hit that target when you play the Doom Hammer alongside other Big Muff types, which are massive in the low end and can sound comparatively sprawling in that frequency. But rather than merely heavy, the Doom Hammer’s combination of taut lows and the pronounced midrange one associates with op-amp Big Muffs is nasty, buzzy, punky, and brash. For all the desert-rock swagger in the name, the Doom Hammer is just as effective at lending contrast to heavy bass in a mix. And for any stoner rock power trio that has had to work against a wall of bottom-end sludge on stage or in the studio, it’s a practical and intriguing solution.

Fire Breather

Though it’s not hard to hear Big Muff lineage in the Doom Hammer, it can sound vastly different from most Muffs at identical fuzz, output, and tone levels. I didn’t have an op-amp Big Muff on hand for comparison, but in my experience with that circuit, I’ve found they have as much in common with other Big Muffs as they do differences. But Tripp’s recipe puts extra distance between them.

The Ram’s Head and Sovtek Muffs I used to A/B with the Doom Hammer, for instance, each exhibited the creaminess in low-midrange frequencies that makes David Gilmour obsessives ecstatic—particularly with the tone control at more modest levels. The Doom Hammer, however, sometimes has a buzz-saw aggressiveness that evokes a 1960s transistor fuzz swinging on a wrecking ball. And at low output and advanced fuzz levels it can quite convincingly play the part of Tone Bender. More modest fuzz and tone settings strike a more even balance between classic, buttery Big Muff sustain sounds and buzzier ones. And here it’s great for cooking up Carlos Santana and John McLaughlin’s questing lead tangles and Robert Fripp’s snaky synth-like lines. Indeed, the Doom Hammer, for all its midrange emphasis, can be flexible and adaptable.

The Doom Hammer, however, sometimes has a buzz-saw aggressiveness that evokes a 1960s transistor fuzz swinging on a wrecking ball.

Playing a bit more in the spirit of the Doom Hammer’s name (with an SG in drop-D, ’natch) I was still struck by how much less bossy it is in the bass range than a Ram’s Head or Sovtek. But again, this can be an ideal recipe for adding punchy contrast to the bass bomb coming from your bandmate’s Rickenbacker 4003 and Orange stack. It lends snarling aggression to big dumb rock riffs and drones, and detuned guitars sound less buried in blunted, washy overtones.

The Verdict

Jeorge Tripps’ knack for spinning new magic around fuzz formulas—whether with the wild Way Huge Atreides or the more straight-ahead Swollen Pickle—is a gift to fuzz freaks. Because, let’s face it, sometimes ferocious barrages of distortion can start to blur when ears are tired and you’re on the hunt for a different path. The Doom Hammer’s tight bass, and the resulting more prominent midrange, offer a discernibly different texture to work with, however, all while retaining the essential mass and menace that draws a player to a Big Muff in the first place.

Way Huge didn’t leave much to the imagination when it branded this fuzz the Doom Hammer. But that doesn’t mean it's without surprises. Jeorge Tripp’s latest design is based on an op-amp Big Muff that he modified for a client in the 1990s—primarily with the aim to tighten the low end. You hear Tripps hit that target when you play the Doom Hammer alongside other Big Muff types, which are massive in the low end and can sound comparatively sprawling in that frequency. But rather than merely heavy, the Doom Hammer’s combination of taut lows and the pronounced midrange one associates with op-amp Big Muffs is nasty, buzzy, punky, and brash. For all the desert-rock swagger in the name, the Doom Hammer is just as effective at lending contrast to heavy bass in a mix. And for any stoner rock power trio that has had to work against a wall of bottom-end sludge on stage or in the studio, it’s a practical and intriguing solution.

Fire Breather

Though it’s not hard to hear Big Muff lineage in the Doom Hammer, it can sound vastly different from most Muffs at identical fuzz, output, and tone levels. I didn’t have an op-amp Big Muff on hand for comparison, but in my experience with that circuit, I’ve found they have as much in common with other Big Muffs as they do differences. But Tripp’s recipe puts extra distance between them.

The Ram’s Head and Sovtek Muffs I used to A/B with the Doom Hammer, for instance, each exhibited the creaminess in low-midrange frequencies that makes David Gilmour obsessives ecstatic—particularly with the tone control at more modest levels. The Doom Hammer, however, sometimes has a buzz-saw aggressiveness that evokes a 1960s transistor fuzz swinging on a wrecking ball. And at low output and advanced fuzz levels it can quite convincingly play the part of Tone Bender. More modest fuzz and tone settings strike a more even balance between classic, buttery Big Muff sustain sounds and buzzier ones. And here it’s great for cooking up Carlos Santana and John McLaughlin’s questing lead tangles and Robert Fripp’s snaky synth-like lines. Indeed, the Doom Hammer, for all its midrange emphasis, can be flexible and adaptable.

The Doom Hammer, however, sometimes has a buzz-saw aggressiveness that evokes a 1960s transistor fuzz swinging on a wrecking ball.

Playing a bit more in the spirit of the Doom Hammer’s name (with an SG in drop-D, ’natch) I was still struck by how much less bossy it is in the bass range than a Ram’s Head or Sovtek. But again, this can be an ideal recipe for adding punchy contrast to the bass bomb coming from your bandmate’s Rickenbacker 4003 and Orange stack. It lends snarling aggression to big dumb rock riffs and drones, and detuned guitars sound less buried in blunted, washy overtones.

The Verdict

Jeorge Tripps’ knack for spinning new magic around fuzz formulas—whether with the wild Way Huge Atreides or the more straight-ahead Swollen Pickle—is a gift to fuzz freaks. Because, let’s face it, sometimes ferocious barrages of distortion can start to blur when ears are tired and you’re on the hunt for a different path. The Doom Hammer’s tight bass, and the resulting more prominent midrange, offer a discernibly different texture to work with, however, all while retaining the essential mass and menace that draws a player to a Big Muff in the first place.

When Geddy Lee and Alex Lifeson announced Rush’s grand reunion earlier this month, its fair to say that fans ‘rushed’ to bag themselves some tickets; all of the tour dates instantly sold out. But don’t worry – Lee and Lifeson have announced 17 more dates.

Joining the now sold-out run of shows in Chicago, Cleveland, Fort Worth, Los Angeles, New York, and Toronto, Rush will also be performing in Atlanta, Boston, Philadelphia, and Washington D.C., to name a few.

• READ MORE: The guitar influences of Kurt Cobain

The Fifty Something 2026 tour will serve as the band’s official return to the stage after eleven years. As the name suggests, the tour is set to be a celebration of Rush’s 50+ years of music, as well as honouring the legacy of their legendary drummer, Neil Peart.

The tour will will be the first time Rush will perform together since 2015’s R40 tour, which was also the final time the late Peart was able to perform prior to his passing in 2020.

Alongside the new dates, Lee and Lifeson have shared a gracious video thanking their fans. After both uttering their own respective “WOW!”, Lee reflects on how “blown away” the pair feel about their initial announcement selling out. “I cannot tell you how [surprised] and overwhelmed we are,” he says.

Lee also takes a moment to thank fans for accepting their newest member, ex-Jeff Beck drummer, composer and producer Anika Nilles. “The way you guys have welcomed Anika Nilles into the Rush family has been very heart-warming,” he smiles. “I know she’s very appreciative of that and we’re even more excited to get back on stage with her and go through the plethora of songs that we’re planning!”

When first announcing the tour, Lee and Lifeson were keen to emphasise how the Fifty Something tour aims to honour Peart’s memory, and finding the right drummer was integral. “Life is full of surprises, and we have been introduced to another remarkable person; an incredible drummer and musician who is adding another chapter to our story while continuing her own fascinating musical journey,” they reflected.

“Her name is Anika Nilles, and we could not be more excited to introduce her to our loyal and dedicated Rush fanbase, whom, we know, will give her every chance to live up to that near impossible role… No small task, because as we all know Neil was irreplaceable.”

“Lerxst, Anika and myself, along with many of our longstanding crew members have been hard at work rehearsing and designing the kind of RUSH show you’ve grown accustomed to expect from us. We dearly hope you will come along and help us celebrate our history together.”

Peart’s family are also in support of the new era of the band, with both Peart’s daughter, Olivia Peart, and his wife, Carrie Nuttall, endorsing the tour in a statement: “We are thrilled to support the Fifty Something tour, celebrating a band whose music has resonated and inspired fans for generations, and to honour Neil’s extraordinary legacy as both a drummer and lyricist.”

“As the band enters this new chapter, it promises to be truly unforgettable. We are excited to see how their new vision unfolds, and to hear this legendary music played live once again.”

A presale for the newly added shows will be available for Ticketmaster members this Thursday (23 October) at 11:59pm ET. The Artist Presale begins on Monday (27 October).

The post Demand has been so high for Rush’s reunion tour they’ve added 17 more dates appeared first on Guitar.com | All Things Guitar.

A tease last week all but confirmed the imminent arrival of a production run version of the iconic Gibson ES-345 played by Marty McFly in Back to the Future’s famous school dance scene.

Now, coinciding with the 40th anniversary of the sci-fi cult classic, Gibson has officially unveiled the Custom Shop Back To The Future ES-345 Collector’s Edition – as well as a limited-edition Epiphone version for those with slightly more constrained pockets…

• READ MORE: The tastiest guitar tone ever? John 5’s pedalboard has been turned into a cake – complete with an array of edible Boss pedals

Back to the Future has been a heavy blip on Gibson’s radar in the past year after it launched a worldwide search – alongside the movie’s stars Michael J. Fox, Lea Thompson, Christopher Lloyd, Harry Waters Jr. and Huey Lewis – to track down the original ES-345 used in the movie. 

At the time of writing, the search is still ongoing, but these new Custom Shop and Epiphone versions will have to do in the meantime.

Famously, guitar gear nuts have long called out the historical inaccuracy of the Gibson ES-345’s inclusion in Back to the Future. The film’s iconic school dance scene is set in 1955, three years before the launch of the ES-345…

As the story goes, producers sourced the guitar from Norman’s Rare Guitars, and insisted on using it despite Norman Harris notifying them that the dates would be wrong. At the end of the day though, in a movie about time travel, do the dates really matter that much? Certainly not to Gibson, which has even named the new BTTF ES-345 the “1955 ES-345”, celebrating the inaccuracy in plain sight. We love to see it.

“During a high school dance in 1955, a Gibson guitar helped change the course of music history – and even rewrote history itself – in one unforgettable cinematic moment,” writes Gibson. “The ES-345 model featured in Back to the Future became an icon and bridged the past, present, and future in a way that only a great instrument can.”

There’s the background, but by now we’re sure you want to see some specs, and no doubt the price these guitars will set you back. We’ll get to that, but first…

Lightly aged by Gibson’s Murphy Lab, the Custom Shop Back to the Future ES-345 Collector’s Edition – and its corresponding Epiphone version – sport all the hallmarks of the original seen in the movie, including a Cherry Red finish, Bigsby B7 vibrato, gold hardware, varitone switch and 12th fret block inlay.

Further specs include a maple/poplar/maple three-ply body, thin D-shape mahogany neck and bound rosewood fingerboard with split parallelogram inlays, and a pair of Custombucker pickups. There’s also an ABR-1 No-Wire bridge and Kluson tuners. Also included are a Marvin Berry and the Starlighters-style hardshell case, certificate of authenticity, Enchantment Under the Sea poster and even a Flux Capacitor. We’re not sure if this works – you’ll have to try it out.

The Epiphone model does without the Murphy Lab treatment and Custombucker pickups, and swaps out the B7 Bigsby for a B70 Bigsby, instead.

“Bringing this guitar to life has been a passion project for many years, and it’s incredibly exciting to finally see it become a reality,” says Mark Agnesi, Director of Brand Experience at Gibson. 

“We couldn’t be prouder of how these guitars turned out – they’re truly special. This is the guitar that inspired me, and countless others from my generation, to pick up playing in the first place.”

Remember how we said we’d get to the price tag? Well, dig deep, as one of the Custom Shop Collector’s Edition Back to the Future ES-345s will set you back a not-insignificant £17,449. 88 are being made, corresponding with the 88 miles per hour required for time travel as per the laws of physics in the Back to the Future universe.

If nearly 20 grand sounds a little out of reach, the Epiphone version is priced at £949, with 1985 units being made – also the year the original movie was released.

Celebrating the release, Gibson has also launched a range of Back to the Future-branded merch, including T-shirts, pick tins, a guitar strap and more.

Learn more at Gibson.

The post Gibson’s Custom Shop recreation of the iconic Back to the Future ES-345 is finally here – alongside an affordable Epiphone version, too appeared first on Guitar.com | All Things Guitar.

Introducing the Reverend Reeves Gabrels RG-SUS Mark II, reimagined with a new three-pickup layout. It features a 5-way selector for tone options galore. Fire up the acclaimed Sustainiac system for organic, controllable feedback and endless sustain. This system adds a whole new dimension to your playing, and it will pump up your creativity to a new level. If you’re a tone-shaping maniac, you need the Reeves Gabrels RG-SUS Mark II!

Reeves Gabrels has the unusual distinction of meeting David Bowie and forming a band with him – Tin Machine in 1989. He went on to work with Bowie in his solo career and a successful solo career of his own with his band Reeves Gabrels and His Imaginary Friends. He is currently the lead guitar player in The Cure, as well as involved with founding the project Gabrels/Kane/Parker-Wells.

The Reverend Reeves Gabrels RG-SUS Mark II is now available through any Reverend Authorized Dealer.

About Reverend Guitars:

Founded in 1997, Reverend Guitars has been at the forefront of creating instruments that are beyond the ordinary. With a commitment to quality, innovation, and the artistry of music, Reverend Guitars continues to inspire musicians worldwide. Each instrument is a testament to the brand's dedication to the craft, inviting players to explore new realms of sonic possibilities. Well played, indeed.

Turn back the clock, fire up the DeLorean, it's time to save the Hill County Courthouse & Clocktower. The only way to do that is to rock out with a cherry ES-345 like it's 1955!

Back in 2013, a playthrough of Polyphia’s Impassion put the prog metal band on the map. The technical mastery at play instantly asserted guitarist Tim Henson as a young prodigy – and, 12 years on, Henson is keen to find the next wunderkind lurking in the shadows.

In a new interview with The Music Zoo, Henson reveals that he’s scouted a pair of up-and-coming guitarists to feature on Polyphia’s new record: RJ Pasin and Spiro Dussias. Considering Pasin’s intricate, videogame-soundtrack-worthy riffs and metal-infused hyperpop, and Spiro’s jawdropping shredding abilities, they’re sure to be a hit with Polyphia fans.

• READ MORE: Wolfgang Van Halen names his five favourite guitar players

“We’ve brought them in for the Polyphia record, and it is insane – it is such a crazy sound!” Henson explains. “RJ Pasin can shred, and he can do all these [cool] things. And then, through working with [Spiro], I’ve rethought the way that I play.”

In terms of Spiro, Henson praises the gold-star shredder for his economy picking in particular. “One of the things that Spiro really tries for with his playing is, like, how easy can he make it?” he says. “He told me he wants to be an old guy who has no problem just [shredding], and it’s his approach to the economics of motion.”

“I learned economy picking when I was pretty young,” he continues. “And then you see players like Tosin Abasi who take that shit to the next level… then somebody like Spiro comes in, and just takes it up a whole other notch!”

It’s not the first time Henson has publicly praised Spiro. Back in February, the guitarist named Spiro as the next big guitar talent to watch out for. “That guy is fucking crazy,” he told Guitar World. “I’m definitely going to be hitting him up to see what kind of insanity he can bring [to the new record].”

While Henson’s background in classical violin has helped him forge his own unique style, he’s still keen to learn from the young prodigies of tomorrow. He points to Polish star Marcin Patrzałek’s insane percussive fingerstyle techniques and Italian jazz rocker Matteo Mancuso as examples. “They’re taking guitar to new heights,” he insists.

While Polyphia didn’t collaborate with Patrzałek on their upcoming record, Patrzałek has also shone a spotlight on one of Henson’s up-and-coming collaborators this year. The guitarist notably collaborated with RJ Pasin back in July… Small world!

“Every day, we continue to have absolute sicko monster players coming out,” he says. “It’s just getting crazier and crazier and crazier – and it’s awesome… Like, there’s Marcin, and all these other kids that are just absolutely incredible! They just play circles around me!”

“It’s cool, because, this late in the game, I’m so fortunate to feel inspired [by] my peers,” he reflects.

Elsewhere on the new record, Henson has also teased that there will be a collaborative track with System of a Down’s Serj Tankian. “The new record… it’s heavy!” he teased in conversation with Guitar World.

Check out Henson’s full chat with The Music Zoo below.

The post These two players are doing so much to push guitar music forward Tim Henson has drafted them for the new Polyphia record appeared first on Guitar.com | All Things Guitar.

You could say John 5’s guitar tone is pretty delicious – but this is next level. With the Mötley Crüe guitarist turning 55 this year, one fan took on the challenge of transforming his pedalboard into a cake.

While John 5’s birthday was back in July, the cake looks like it was worth the wait. Commissioned by fan Merredith Mooth and made by Angie Martinez Hrndz, otherwise known as Cakes from the Crypt, the cake is a perfect replica of the guitarist’s famously Boss-heavy ‘board.

• READ MORE: Wolfgang Van Halen names his five favourite guitar players

All six of his pedals have been expertly recreated, from his CE-2W Chorus to his NS-2 Noise Suppressor, to his DD-8 Digital and DM-2W Delay pedals. The pièce de résistance, however, seems to be John 5’s pair of SD-1 Super Overdrives. “The Super Overdrive never tasted so good!” the guitarist proclaims in an Instagram clip.

The board even has John 5’s Radial Engineering SGI 44 power supply, for an extra bit of tech to sink your teeth into.

View this post on Instagram

A post shared by john5official (@john5official)

As John 5 notes, the late arrival of the cake also coincides with the birthday of his guitar tech, David Vela. With that in mind, it’s a perfect gift for them to share – although we can’t imagine there’s much left at the time of writing… “Thank you, Meredith for this incredible birthday cake,” John 5 writes on Instagram. “My birthday was in July… David’s was a week ago. We really appreciate it. Thanks again.”

In the past, Vela has praised the Mötley Crüe riffer for his simple, no frills live rig. Speaking to American Music Supply last year, the tech explained: “Essentially, he has four pedals on that thing. You’re looking at six, actually. One of the pedals is doubled up, the Super Overdrive. He doubles up on the Super Overdrive because when he wants really high-gain pinch squeals and harmonics.”

“He’s got that, a delay, a reverb, and a chorus. And the noise suppression, but you don’t really hear anything from the noise suppression.”

Most significantly, Vela explained how “none of the pedals are modded”, which some find hard to believe. “They’re right out of the box,” he insisted. “Fans ask all the time, and I’m like, ‘No, those are just stock pedals!’”

In Vela’s words, “besides John’s fingers”, the secret to the guitarist’s ‘clean’ tone is his EVH 5150 EL34 amp.

The post The tastiest guitar tone ever? John 5’s pedalboard has been turned into a cake – complete with an array of edible Boss pedals appeared first on Guitar.com | All Things Guitar.

D’Addario introduces the Pick Holder 360, a sleek, fun new way to keep your favorite picks organized and visible, easy to reach, and ready to play.

Spin, Grab, Play

The Pick Holder 360 offers rotating, stylish, easy-access storage for guitar picks of all shapes and sizes. Designed for one-handed use, all you have to do is give it a spin, grab your pick, and play. It’s a quick, perfect buy for musicians, custom pick collectors, or anyone simply looking for the perfect stocking stuffer for the musician in their life.

Highlights

• 360° Access: Rotating design keeps every pick within easy reach
• Stylish Storage: Sleek tabletop design fits comfortably in any setup
• Universal Fit: Holds picks of various sizes and shapes securely
• Gift Ready: Perfect for musicians and music lovers alike

Availability & Pricing

• The D’Addario Pick Holder 360 will be available October 13, 2025, through daddario.com and authorized retailers
• Street price: $19.99
• Watch the video: ddar.io/pickholdervideo

Mateus Asato, the Brazilian guitarist, composer, and musical innovator who is celebrated for redefining modern guitar artistry, has released his first official single, “Cryin’” today. The song will be on his forthcoming debut album, due out in early 2026.

About the release, Masato says, “‘Cryin’’is my emotional celebration of life — the first act of being human and the sound of joy, fear, and love all at once. It’s a reminder that life is full of emotions, vulnerability, and movement, and you’re free to feel it your own way.”

Born in Campo Grande, Brazil, Asato began playing guitar at age nine and quickly developed a soulful, melodic style that blends technical mastery with deep emotional expression. After moving to Los Angeles to attend the Musicians Institute, he graduated with top honors and received the Outstanding Guitar Player of the Year award.

His expressive playing and viral Instagram performances propelled him to international fame, earning millions of followers and recognition as one of the most influential guitarists of his generation. Asato has toured and recorded with global superstars including Tori Kelly, Jessie J, and Bruno Mars, performing at venues such as Tokyo Dome and the Grammy Awards as part of Mars’s Silk Sonic band.

Mateus has been named among Guitar World’s Top 10 Guitarists of the Decade and Total Guitar’s Top 3 Guitarists in the World Today. Beyond his technical prowess, he is revered for bringing lyrical storytelling to the instrument — bridging genres from pop and R&B to instrumental fusion — and inspiring a new generation of players worldwide.

Fender has opened its first Artist Showroom in China, in Shanghai’s Xuhui District.

The Fender Artist Showroom Shanghai marks Fender’s fourth Artist Showroom worldwide, following locations in Tokyo, London and Nashville. It will serve both as a working space for Fender’s Shanghai-based artist marketing and product teams, and to offer “elevated services to Fender China’s extensive roster of artists”.

• READ MORE: The iconic rock band Wolfgang Van Halen thinks should have their own “Mount Rushmore”

The new showroom is housed within a two-storey building, with the first floor featuring a product display area, guitar tech station, and amp room – and regularly hosting community events including product trials, musician workshops and live performances – and the second floor serving as the workspace for the Fender China team.

“From London to Nashville, and Tokyo, each Fender Artist Showroom is more than just a physical location, it’s an emotional bridge connecting artists with the brand. It’s a place where musicians find inspiration and support, and where Fender gains direct insight from artists to co-create the future of music,” says Edward “Bud” Cole, President of Fender Asia-Pacific.

“Today, we are proud to extend this bridge to Shanghai – a dynamic, inclusive, and international metropolis. This move is not only a key extension of our global strategy but also a solid commitment reflecting our firm belief in the future of the Chinese market and our long-term investment here.” 

“At Fender, we are committed to accompanying musicians and players at every stage of their music journey,” says Peggy Dai, General Manager of Fender China. 

“With the establishment of Fender Artist Showroom Shanghai, we look forward to listening more directly to the voices of local musicians and players, translating their feedback into enhanced services and products that better meet local needs.”

With its new Artist Showroom Shanghai, Fender says it looks to “deepen artist relations and community cultivation”, while integrating “Fender’s brand spirit with Chinese music culture”.

The post Fender opens its first Artist Showroom in China appeared first on Guitar.com | All Things Guitar.

Pink Floyd remain heavily in the rotation of prog lovers and music fans the world over, but they shouldn’t expect a reunion of any form any time soon.

The relationship between David Gilmour and Roger Waters remains acrimonious, to say the least; in October last year, Gilmour was on record saying he would “absolutely not” perform with Waters ever again, adding: “I tend to steer clear of people who actively support genocidal and autocratic dictators.”

Roger Waters has been accused of supporting President Vladimir Putin during Russia’s ongoing invasion of Ukraine, and even addressed the United Nations Security Council via video link in 2023 upon invitation from the Russian government.

• READ MORE: The iconic rock band Wolfgang Van Halen thinks should have their own “Mount Rushmore”

Gilmour’s wife Polly Samson has also been vocal in her opposition to Roger Waters, writing in a 2023 tweet: “Roger Waters you are antisemitic to your rotten core,” going on to call him a “Putin apologist” among numerous other insults.

Sadly @rogerwaters you are antisemitic to your rotten core. Also a Putin apologist and a lying, thieving, hypocritical, tax-avoiding, lip-synching,misogynistic, sick-with-envy, megalomaniac. Enough of your nonsense.

— pollysamson (@PollySamson) February 6, 2023

Samson became somewhat professionally entangled with Pink Floyd following Roger Waters’ bitter departure in 1985, contributing many of the lyrics to the band’s 1994 album The Division Bell. 

She refused to pursue writing credits, partly due to “an internalised misogyny”, as she explains in a new interview alongside her husband with The Telegraph, and hinting that it was some part due to Roger Waters fans blaming her for his Pink Floyd departure.

“The fans of Pink Floyd at that point were very much a divided community,” she explains. “I mean, they want mummy and daddy not to be divorced anymore,” she says, referring to Roger Waters and David Gilmour.

“I was like some sort of mistress who’d gone along and taken daddy away from mummy.”

“[Fans] still fight like cats and dogs,” says Gilmour, adding that Pink Floyd in the mid ‘90s was “very much still a very misogynistic boys’ club”.

“It was difficult for Polly,” he says. “I don’t think I did my best. I don’t think I’ve done enough to protect her in those ways really but we got through it.”

In other news, David Gilmour recently reflected on how he felt Pink Floyd were never prog rock, as they are often labelled. “To me, progressive rock is very serious players who can really do their stuff,” he said.

The post “They want Mummy and Daddy not to be divorced anymore”: David Gilmour and wife Polly Samson reflect on why fans keep clamouring for him to reunite Pink Floyd appeared first on Guitar.com | All Things Guitar.

Emily Roberts has just landed in London from an exhausting set at Hungary’s Sziget festival. She is, rightfully so, a little weary after The Last Dinner Party, the band for which she is lead guitarist, led a fiery set under the blazing sun. The crowd was hungry for hits; fervently screaming back most (if not all) the words to songs from their debut album Prelude To Ecstasy. But Roberts has a twinkle in her eye this sunny Tuesday evening, despite her full-on day. There’s some big news to discuss.

• READ MORE: Wolfgang Van Halen names his five favourite guitar players

It was during a thunderstorm in Prague last year when an unsuspecting audience heard a piece of The Last Dinner Party’s upcoming sophomore album, From The Pyre, for the first time. The band called themselves the decoy name Yeehaw Interlude for this moment, but the lead single This Is The Killer Speaking had officially been performed. This wasn’t like what happened on the run-up to last year’s debut, when many of the songs on the record had already been played live during the band’s early rise to fame.

This time, The Last Dinner Party were well on their way to becoming a household name, ubiquitously appearing on the radio, on billboards and happily finding themselves atop the charts. So, aside from this one-off performance as Yeehaw Interlude, it means the London five-piece still have no idea how their new songs will be received before releasing them. That’s a new feeling of anticipation they’ve never known.

“We haven’t played about eight out of ten of these songs live before,” says Roberts of the track list on From The Pyre. “With the first record, we always wanted to play the songs live and the recording wasn’t an afterthought, but it came later. At the time, we just wanted to get out and get gigging since it was after lockdown and covid. But with this one, the process is the other way round.”

Roberts, alongside her bandmates Abigail Morris, Lizzie Mayland, Aurora Nischevi and Georgia Davies, is clear on the fact that From The Pyre is not a new era following on from Prelude To Ecstasy. They’re both a collection of abstract, theatrical stories based on personal experiences. But whilst Prelude To Ecstasy was a highly successful test of this format with the songs structured into sections (a prelude, interlude and postlude), From The Pyre ditches any particular order for the tracks and dives deeper into storytelling, telling richer and earthier tales that sound every way from fragile to riotous.

Look Who’s Back

“The start of this record is the opposite to Prelude,” Roberts continues, speaking of opening track Agnus Dei. “Prelude eased into itself and had this dramatic orchestral intro, but it made sense to have Agnus Dei at the start of this one because it just started things off with a bang.” Roberts’ guitar part narrates this track, striking a shiny three-note riff in an effervescent intro backed by crashing cymbals and momentous keys. As Morris slides into her first verse, Roberts drops down into three steady chromatic notes. She climbs them, tumbles back down and then glides beneath Morris’ sultry voice in effortless ease. It’s one way of yelling “look who’s back again” in the breeziest, most nonchalant way you can.

“It’s the most ridiculous song, but not in a negative way,” she laughs. “It’s unapologetic, it’s joyous and it’s silly, but all in a fun way.” Roberts also has a vibrant minute-long solo towards the end of the track – one which took two months to write.

“That solo took a really long time,” she admits. “I was kind of going back and forth. I kept thinking, ‘Is this too silly? Is it too outrageous?’ And because it’s such a long one as well, I realised I’d only ever written short guitar solos. I didn’t know how to write something that long that keeps your attention or tells a story over a length of time. So, that was quite challenging for me, but it was really fun to get to do that because I don’t think a lot of albums coming out in 2025 will have a minute-long solo at the end of a song.”

Roberts took influence from 60s rock for a lot of this record, pulling strands from The Rolling Stones and George Harrison to create a round, sustained sound with a bit of a bite that makes it her own. She used a combination of Music Man St Vincent signature models, a Gibson ES-330 and a Les Paul across the whole album to create a vintage twang throughout, but flavoured by that sharp bite from the St Vincent signatures and their bridge pickups. However, it’s not just her playing that reflects sixties icons – it’s also the way in which she’s written parts of the tracks.

“I definitely took inspiration from George Harrison and the way he writes in the context of a band,” she says. “We all needed to respect each other’s space. Writing my parts was something which was mine, and something I did. I do respect what the writer of the whole song wants but, at the same time, I want to bring my creativity to it as well. I feel quite protective over that. But we’ve just learned to balance those two things.”

Spooky Season

Roberts wrote bits and pieces of the instrumentals throughout From The Pyre, including an eerie, discordant vocal part at the start of Woman Is A Tree. The harmonies are hauntingly beautiful – they start off steady but bend unsettlingly upwards by a semitone. Then, like an elastic band, they snap, and a cold yelp escapes one singer like a gust of air. If you paired it with a horror film (it’s also ghostly a capella) you’d have a hard time sleeping.

“We were very meticulous with writing,” Roberts says. “We didn’t set ourselves many limitations, we just kept adding more layers to things. When I arranged the choir at the beginning of Woman Is A Tree, it was really fun, and it was kind of inspired by the Yellowjackets soundtrack. But I’d probably say it was the most challenging one to sing and to write. We hadn’t really done much of that [choral] stuff before. Lizzie’s usually the only one doing the backing vocal parts, so to have all of us singing in such close harmony was quite experimental and hard for us to do.”

The Last Dinner Party doesn’t choose anything safe or easy – From The Pyre straddles the line between truth and mythos. The record depicts a world where every story is character driven, written from specks of real life and lived experiences.

The characters, including scythes, Mother Earth, saints, cowboys, sailors and even Joan of Arc, may be flamboyant theatrical metaphors, but the true origin of each story lurks down at the core. It forced each band member to surrender themselves to the music and allow it to reach intimate parts of their soul. It meant trusting an individual vision and acting on it.

“I’ve been a lot better at conveying my opinions authoritatively, even if they don’t always end up as the result,” says Roberts. “With Prelude, we were still understanding what we’re each good at. I was definitely a lot more shy then, and I’d sit quietly and observe things. But I think it’s always better to say things and contribute. I learned more about writing parts and what works well in which situation, and how to serve the right energy at the right moment.”

Second Best, the third track on the album, is a perfect example of that expert judgement coming into play. The song starts with a magnificent choral passage whose density and power, this time, completely engulfs the listener. For the guitar part, although she mostly used the St Vincent signatures and the Gibson on this album, Roberts chose a Les Paul to create a classic rock sound that she resonated well with on the last album. “I used that for the lead guitar on the chorus specifically,” she explains. “It gave it that rocky sound because the song is a bit more seventies or eighties, so it needed that kind of energy since it’s got that big, sustained sound.”

Sharper Focus

But since Count The Ways needed something sharper with a definite edge, there was an obvious guitar choice. Roberts has known and loved the St Vincent guitars since Prelude to Ecstasy, so why stray elsewhere and fix what ain’t broke? “I’m a bit stuck in my ways at this point,” she laughs. “What I like about the St Vincent is that it really cuts through a mix, and it’s quite high-end. I think that’s a great quality that it has and it just doesn’t sound like a Fender or a Gibson. I wanted something that, when you hear it, it’s not obvious what it is. I wanted people to go, ‘What is that?’ and for it to sound new.”

As a lover of at least one signature guitar, Roberts has had her hopes set on one day releasing her very own signature model. When Guitar.com interviewed her last in 2024, she admitted she’d want it to be “modern-looking” and to “have the same ease for playing as a female”. Has there been any development on the idea since then?

“I’ve always wanted to design or make my own guitar, I just haven’t had any time to do that,” Roberts laughs. “I’d want it to be an amalgamation of different decades in one guitar, even if that’s really difficult to do. It would be cool to have a guitar that combines elements, like if it had different pickups from each other, or a switchable bridge pickup that changes from a P-90 into a humbucker or a Firebird. Having something with a lot of versatility that captures different decades of guitar playing and guitar history would be really cool.”

Something unique about being the lead guitarist in a popular rock band is that a lot of fans cover your solos. In fact, if you click on YouTube and search for The Last Dinner Party guitar covers, you’ll find countless clips of people putting their own spin on Roberts’ parts. Perhaps it’s not something she’s quite used to yet.

“It’s such an amazing feeling to watch other guitarists, whom you’ve never met, play something that you wrote just alone in your room,” she smiles. “People covered the Nothing Matters solo and added their own personality to it, which I loved. One guy even added these shreddy licks in between phrases, and I just thought that was crazy.”

The Scythe solo, Roberts says, could be one fans tackle next, or perhaps even sing along to since it’s largely melodic and “hooky”. Or maybe it’ll be the jaunty Inferno chorus which Roberts co-wrote with Morris. That’s the thing about releasing an album whose tracks people mostly haven’t heard yet – the next part is unpredictable.

“I’m just excited to put a lot of the new songs onto our setlist,” Roberts grins. “We can now pick and choose a curated set rather than having to fill an hour. We don’t need to play all of our songs plus a cover to fill the time anymore, so it’s going to be really exciting and freeing to use some of that spontaneity.”

So far, it’s just lead single This Is The Killer Speaking that’s out. It’s a smart hint at what else is to come – starting off snarling and mysterious as it creeps towards a more dynamic, groovy chorus. The thing about From The Pyre is that it packages up tonnes of emotions in one record in a way that’s jaggedly contrasting yet entirely fitting. It’s a giant landscape painting with different characters travelling all over it, in different directions. It’s meant to be loud and busy. But it’s honest, truthful, and another clear masterpiece.

From The Pyre is out now.

The post The Last Dinner Party’s Emily Roberts on why she decided to embrace her most “outrageous” guitar impulses on new album From The Pyre appeared first on Guitar.com | All Things Guitar.

Today’s prize is the Brothers AM — a tone‑twinned beast with double gain channels, treble‑booster mode, full MIDI/Expression control, and the soul of a legendary overdrive built “in collaboration with” Analog Man. Enter now for your chance to WIN today’s gear — and don’t forget to comeback tomorrow for another killer giveaway!

Chase Bliss Brothers AM

Made in collaboration with Analog Man himself, Brothers AM is a tribute to the legendary King of Tone overdrive.

It takes that coveted circuit, gives you advanced control, and tosses in a couple exciting bonuses – but it doesn’t mess with what made it so good in the first place.

A stack of sunny saturation that always manages to sound just right.

Julien’s Auctions today announced the unveiling of 18 bass guitars from Adam Clayton’s extraordinary personal collection in a first-ever exhibition in Ireland titled “Played, Worn, & Torn Featuring The Adam Clayton Collection.”

The exclusive three-week exhibition celebrating the U2 bassist and this collection of 18 iconic bass guitars is open to the public at The Museum of Style Icons in Newbridge, Co Kildare, Ireland from today until November 9th.

Following the exclusive three-week exhibition run in Ireland, the collection will head to Nashville where it will be auctioned at the industry’s most anticipated music memorabilia event of the year “PLAYED, WORN, AND TORN,” taking place over two days - Thursday, November 20th and Friday, November 21st 2025 - at the Musicians Hall of Fame & Museum in the historic Municipal Auditorium and online at juliensauctions.com.

Experience the legendary bass-playing journey of Adam Clayton as Julien’s, the industry-leading music memorabilia auction house, in partnership with the bass icon and co-founding member of one of the greatest rock and roll bands of all time, U2, brings together 18 phenomenal axes from his personal collection at The Museum of Style Icons, home to the world’s finest collections of style, fashion and pop culture artifacts. For the first time ever, the largest curated collection of Clayton’s guitars will be exhibited in U2’s native Ireland.

Adam Clayton said – “I’m fortunate enough to have owned many wonderful instruments in my life and I have amassed a very personal collection of basses over the last 40 years. They have all become favourites for one reason or another, a reminder of a particular tour or recording session. I return to them time and time again, it’s a very special relationship, I can’t really explain it…

My only regret is that I don’t get to play them all as often as I would like, a musical instrument needs time and attention… I’ll be sad to see these basses go but this is an opportunity to give each and every one of them a new home in the care of a new owner. And maybe they can become someone else's favourite.”

This remarkable collection of Adam Clayton's illustrious basses, stage-played through the different eras and continents of U2's record-breaking globe-spanning tours, is set to make history once again in this once-in-a-lifetime opportunity to potentially own a piece of the 22-time Grammy Award-winning artist and Rock and Roll Hall of Famer’s legacy. Over 20 items from Adam Clayton’s personal collection, including music instruments, gear, memorabilia and more, will be offered for the first time at auction, with a portion of the proceeds benefiting MusiCares, the leading music charity supporting the health and well-being of the music community.

Highlights include: Clayton’s 2014 Sherwood Green Fender Adam Clayton signature Jazz Bass, played during U2’s Innocence + Experience tour stops in 2015, notably in Dublin, Belfast, Paris, Glasgow, London, Koln, Antwerp, Barcelona, Berlin, Stockholm, Amsterdam, Turin, NYC, Boston, Toronto, Chicago, Montreal, Denver, Los Angeles, Phoenix, San Jose, and Vancouver (estimate: $40,000-$60,000); his 200 Lakland Joe Osborn J sunburst bass, played during the U2’s Vertigo Tour for their classic hit “One,” notably in Dublin on August 27th, 2005 (estimate: $20,000-$40,000); a 2010 Gold Sparkle Fender Adam Clayton Precision Bass deemed a “mistake” by Clayton’s guitar technician due to the Jazz Bass decaled headstock (estimate: $40,000-$60,000); Clayton’s stunning U2 360 Tour 2010 Warwick Gold Reverso electric basses (estimate each: $20,000-$40,000); Clayton’s prized Fender Jazz Basses ranging from 1960s to 1970s models in Sunburst, Ice Blue Metallic, Lake Placid Blue; and more!

Exhibition:

When: October 20th – November 9th, 2025

Where: The Museum of Style Icons in Newbridge Silverware Visitor Centre, Athgarvan Rd, Kilbelin, Newbridge, Co. Kildare, Ireland

Opening Times: Monday to Saturday 9am-5pm and Sunday & holidays 10am-5pm

Information: https://visitnewbridgesilverware.com/about-the-museum-of-style-icons

LIVE AND ONLINE AUCTION

Musicians Hall of Fame & Museum 401 Gay Street Nashville, Tennessee 37219

“Played, Worn, & Torn”

Thursday, November 20th

Session: 10:00 a.m. Central Time

Friday, November 21st

Session: 10:00 a.m. Central Time

For more information please email - info@juliensauctions.com or call 310-836-1818.

Registering to Bid

Registration is required to bid in this auction and can be done in person on the day of the auction, or online before the sale at the Julien's Auctions.

For inquiries, please email info@juliensauctions.com or call 310-836-1818.

Placing Bids

There are four ways to bid in Live Auctions:

• Bid with Julien's Auctions online.
• Bid over the telephone through an auction house representative.
• Bid in person in the room at our auction events.
• Bid in advance by absentee bid. Absentee bid forms are available by calling 310-836-1818

Supercool Pedals has announced the eleventh pedal in their growing lineup: The Cutback – a versatile preamp-style overdrive pedal inspired by the legendary DOD 250 and the golden era of 1980s Australian surf culture.

Carefully designed to deliver a wide array of sounds from warm preamp tones, natural amp-like breakup, all the way to searing distortions, The Cutback is a perfect catch-all drive pedal for any guitarist, no matter the genre of music or style of playing. The Cutback boasts two selectable gain modes: 0.01% for dynamic boosts and responsive overdrives, and 8% for more saturation and intense distortions, as well as a carefully-tuned active 3-band EQ for subtle or dramatic tone shaping.

Developed in collaboration with Blood Brothers Brewing, The Cutback launches alongside the Cutback Aussie Style Ginger Beer — a limited-edition brew sharing the pedal’s name, design, and adventurous spirit. Together, the two celebrate the art of sound, sun, and brewing with a shared sense of surf-inspired fun.

The Cutback highlights include:

• Based on the iconic DOD 250 overdrive/preamp circuit
• Dual GAIN modes (0.01% and 8%) for low or high distortion modes
• Active 3-band EQ (LOW, MID, HIGH) for comprehensive tone shaping
• Wide array of gain uses, from preamp, boost, overdrive, and distortion
• Captivating and nostalgic 1980’s Surf Design
• Glows in the dark for maximum radness!
• True Bypass switching with standard 9v center negative power supply
• Designed and assembled in Canada

The Cutback is the 11th installment in the Supercool pedals lineup with a street price of $199 USD, and is available for purchase with worldwide shipping through www.SupercoolPedals.com as well as in select independent retailers.

With his pioneering of Chicago-based soul music in the 1960s and ‘70s, Christone “Kingfish” Ingram would go as far as to call Curtis Mayfield a “prophet”.

Born in 1942, Mayfield first found success with vocal group The Impressions, before embarking on a solo career which would later spawn albums like his debut Curtis (1970), and the soundtrack to the 1972 movie Super Fly.

• READ MORE: The iconic rock band Wolfgang Van Halen thinks should have their own “Mount Rushmore”

And it’s the latter which Kingfish cites as one of the six blues albums which influenced him most.

“Curtis Mayfield has to be here,” he tells Guitar.com in an interview. “Super Fly is an important album. I always say that Curtis Mayfield was a prophet. History repeats itself and he really prophesied a lot of what we are seeing today for sure man. 

“Not only that but his black piano key tuning and his whole approach opening up the guitar to his melody and rhythm work. This record belongs here for sure. The title track says it all.”

And Kingfish isn’t the only one to rank Super Fly high on his list of top albums. In 2003, Rolling Stone placed the soundtrack at no. 72 in its 500 Greatest Albums of All Time list.

Curtis Mayfield suffered an accident in August 1990, in which lighting equipment fell on him during a live performance, leaving him paralysed from the neck down. He continued to compose and record, and later released his final album, New World Order, in 1996.

Prior to his death in 1999, Mayfield was the recipient of two Grammy awards, and was a double inductee into the Rock and Roll Hall of Fame.

While deeply rooted in the blues, Kingfish wouldn’t regard himself as a blues purist, he explains. 

“I’ve always had a love/hate relationship with ‘purists’ of the genre,” he says. “And that’s simply because I jump back and forth – one day I’ll play traditional blues, the next I’m all rocked up and rocking out.

“But here’s the thing, I will play whatever the hell I want to play, how I want to play it. And not only that, I feel that it’s cool to showcase the influence of the blues as much as the language itself.”

He continues: “We all know that the blues is the roots – all these other sub-genres like soul, blues rock, rock ‘n’ roll, they’re all the branches. Ain’t nothing wrong with showing what the blues has influenced.

“I feel like the more I go out the box musically people will always be able to hear the foundation of the blues in my music because I will always have that no matter what I do. Even if I’m doing a pop record it’s going to have some blues in there somewhere because that’s where I come from.”

The post The unexpected guitarist blues guitar hero Christone “Kingfish” Ingram calls a “prophet” appeared first on Guitar.com | All Things Guitar.

David Ellefson’s views on his soured relationship with Megadeth and Dave Mustaine have shifted, as he now says he would “take his call” if Mustaine were to reach out.

Ellefson was dismissed from the band in 2021, and hasn’t spoken to Mustaine in over four years. However, it seems the recent passing of Ace Frehley has reframed his thoughts on holding grudges.

• READ MORE: “I sat down and wrote it out as one word – and dropped the ‘A’ out”: Early Megadeth guitarist claims he came up with band’s name – here’s his account

During a special episode of The David Ellefson Show titled Remembering Ace Frehley, the bassist was asked by co-host Joshua Toomey if Frehley’s death – as well as other significant and recent losses in music, such as Ozzy Osbourne – make him want to get back in touch with Mustaine.

“I had someone say that [to me] after I finished [playing at] the Ozzy [Back To The Beginning] gig, just saying, ‘Dude, let’s just get over it,’” he says (via Blabbermouth). “The problem of it is me and Dave were always together as a band. We never just hung out just as buddies not in the band. It was always angled with us being in the band together.

“Look, he’s got his own [incarnation of Megadeth], he’s got his own record, he’s got his new music. I’m not part of that. I think he made it really clear in his press statement, he doesn’t wanna play music with me again. And whether that was just a kneejerk anger statement or it was true, I don’t know. But, look, I would take his call.”

He concludes, “For sure it would be nice if things between me and Dave and me and Megadeth, as just an entity, didn’t end on a sour note. I think that’s what [Megadeth’s] farewell statement has [done], sort of raised all those questions. Which is why I said right away, I would be open to [being part of] it, if for nothing else to just sort of close the circle, close the gap.”

Earlier this year, Megadeth announced that their 17th studio album, which will arrive in 2026, will be their final record. A farewell tour will also follow.

In an official statement from Mustaine, he said: “Don’t be mad, don’t be sad, be happy for us all, come celebrate with me these next few years. We have done something together that’s truly wonderful and will probably never happen again. We started a musical style, we started a revolution, we changed the guitar world and how it’s played, and we changed the world.”

The post “Whether that was just a knee-jerk anger statement or it was true, I don’t know”: David Ellefson hasn’t spoke to Dave Mustaine in four years – but admits he would “take his call” appeared first on Guitar.com | All Things Guitar.