METALLICA

Congrats for your induction to the prestigous R n R Hall Of Fame.
Good Job.

bucketHead

If you grew up listening to the groundbreaking grunge albums Louder Than Love or Badmotorfinger, you’re in for quite a shock. Chris Cornell, the vocalist who rose to fame with Soundgarden and experienced a similar success with Audioslave, has gone where few rockers dare: The world of electronic pop. Cornell’s 3rd solo album Scream has replaced the usual guitar-driven tunes of his past with tracks that are heavily based in dance beats and R&B grooves, a switch that undoubtedly was partially influenced by producer Timbaland (Justin Timberlake, M.I.A.).

Since Scream was released on March 10, critics and fans have expressed passionate views, and often times, drastically opposing opinions. You only need to take a peek at a few publications’ reviews to see just how divided the public is when it comes to Scream. While the Los Angeles Times explained that the album is a "fascinating but heartbreaking document of how many wrong decisions one can make in writing," Entertainment Weekly wrote that Cornell almost succeeded in creating "his very own Thriller."

It was evident during a recent interview with Cornell, however, that this is one musician who cannot be flustered easily. Rather than taking offense at the negative reviews, he has been looking at each comment analytically and sociologically. This is not an entertainer who is about to second-guess himself, particularly when he explained that his current live set (which includes a good batch of his old and new material) has made him the "happiest" he’s been in a good while. When Cornell talked with UG writer Amy Kelly, the singer’s time was quite limited, but he didn’t hesitate to provide our questions with candid, thorough responses – some of which might just have you thinking differently about Scream.

UG: Your new album Scream hit stores on March 10 and has already been evoking quite a bit commentary from critics and fans alike. When you pursued this project, were you prepared for the controversy that might develop by working with Timbaland?

"It’s not a simple album in terms of understanding what’s going on musically."

Chris: Yeah. I definitely did that math pretty quickly in my head when I made the decision to do it. I didn’t know that the album was going to sound like it does. None of us knew. It was different than I even expected because the combination of influences kind of came from a lot of different directions. It’s not a simple album in terms of understanding what’s going on musically. It’s not as simple as rock-world-meets-hip-hop-world or any other sort of set or combination of components. It doesn’t really work like that.

Having said that, I sort of expected controversy, and Timbaland expected it. He’s been through it obviously before. I think he really felt that it was going to come more so from my album than other people he worked with. When you’re rooted pretty much entirely in rock and you make a dramatic move – or what seems like a dramatic move like that – it’s going to ruffle some feathers. I’m really glad that it has, though. I would actually have been disappointed if it didn’t. It kind of came out and everybody was all smiles about it. It wouldn’t have been as interesting.

Now it’s like this sociological experiment. You get to look at the different statistics, as opposed to just what people are saying. It’s like, “Okay, this is what they’re saying, but who are they? Where are they from? How old are they? What country is it? What period of my career were they a fan of first?” There were a lot of different periods, and all those different periods had different kinds of music. All of that is really interesting. Even though I’m a guy who comes from what someone could easily say is the rock world, the music that is in that is very different. I’ve released and written a lot of songs that are very non-hard rock inside that world. So then it starts to come down to, “Oh, so it’s really more about guitars versus not guitars, or guitars versus lots of synths or dance beats.” It’s really interesting to look at it from all these different angles, and then try and come up with my understanding of why people are responding in some ways.

The really obvious ones are the most negativity and the most positivity. In other words, the most polarization is definitely in the U.S. Outside of the U.S., people are used to hearing remixes from every rock band. I mean there are Metallica remixes if you go to Ireland. They’re used to it. So it hasn’t been as polarized.

In the U.S., there is also that we’re a country that loves the underdog. There are people who will hear negative stuff, and they’ll come back with, “This is the best thing he’s ever done.” Even that is sort of tough in that I have to gauge, “Well, is this person saying that because they want to be encouraging or it’s because they really believe that?” Some of the comments that I hear from people I really believe. Other ones I feel like they may love the record or it may not be their favorite record, but they don’t like it when somebody gets picked on. So it’s all been pretty interesting.

I recall in past interviews that you’ve mentioned many of your songs start out in a rather traditional rock way – with a few chords from your guitar. So many of the tracks on Scream are beat-driven, which probably changed the entire songwriting process. How did you form the groundwork for most of the album? Did you concentrate on the percussion or vocal elements first?

Basically everything was beat-based. So Timbaland would kind of work from home on beat ideas one at a time. As he was doing that, he would bring them in. Sometimes he would do it in the studio and sometimes he would do it at his home studio. He would bring them into where I was, in the studio where I was working, and play them. Generally, it was like a 2-track, stereo file with his percussion and maybe like one other part already kind of mixed in there. I would write and sing all my parts over that. Some of them, like on the song “Ground Zero,” were actually nothing except drums and this one little keytar note that would sometimes not be there. So as you’ve just said, the vocal harmonies and the vocal melody dictated the key changes to the song. It was like writing a song entirely with just vocals, and other parts were added later.

In a song like “Never Far Away” or “Scream,” there would be much more lush music that we’d write, and it would have much more of an already-arranged-song feel. Working in the computer environment to this degree was different for me because a lot of the song arrangements kind of happened as we’d go. I would write down lyrics for what I felt was a song and sing the parts. When we were kind of figuring out what is the bridge, how many times should the chorus be, when it should come in, what should the length of the verse be, and all of it had been more or less arranged, Jeff would be in cyberspace versus a band standing there trying all the different ways to see how it sounds.

"Basically everything was beat-based."

Another difference, too, was that none of this album was ever performed by a group of people in a room and then recorded and rehearsed – which I’d never done ever. The only thing that I’ve ever done that’s like this is when I would demo at home. I will write songs, using a recording device for the process of writing. I’ll write out lyrics and be singing, but I’ll still kind of have to read lyrics off the sheet since I just wrote it and didn’t remember it yet. Whatever is going down on the tape is what I put as my first impression of the song. I actually have a knack for that.

I’ve had a hard time sometimes with demos as a vocalist because I want to sort of feel like I know how to sing the song and know what I’m doing. Sometimes there’s something sort of missing and in trying to find it, there’s something in there that’s more exciting. I’ve had producers over the years tell me that some of my demo performances were better. I used some of that on the album. There’s certainly a freshness to every vocal on it that’s not like something rehearsed or over-rehearsed.

I actually had to rehearse quite a bit once the album was finished. I just wanted to get used to performing the songs. I did the whole album at several shows on the tour, so I had to rehearse that. The main difference is that you were writing the song and recording the song at the same time.

In listening to Scream, I did have to wonder how you were planning to translate the album into a stage show. Are you going to add quite a few additional bandmates to your usual lineup?

I’ve done it where I had just keyboard players – 2 and then where I had 1. Basically what it is now is using some of the synth tracks and backing tracks and playing to those, and then having guitars sort of mimic synth parts and just replay those parts. Then the drums are just live and we’ll have sort of a reproduction of what’s recorded. That’s been the best way. There’s something about it, too, that it translates really well. The feeling of the song and the feeling of the album come through, but it’s also about a band playing. Therefore I can go in and out of new and old material pretty much effortlessly, and it’s not weird at all.

That was my only concern in this whole process. How am I going to bring this live and mix it up with my old material? Being able to do what I like to do, which is like a 2-and-a-half-hour set, how am I going to get in and out of it? I came up with a lot of ideas before I tried it. One was that I could do an acoustic set where I could just play lots of new music and mix it up. You can get in and out of anything with that. But when we started playing, not only was it not a problem, it’s actually become this huge bonus to the live show. It’s really dynamic and it’s a new level sonically and rhythmically. To me, it’s just kind of broadened my live set to where I’m the happiest that I’ve ever been.

You’re probably not looking too far ahead with the new album just being released, but have you reflected on your next possible move? Is it possible that you might even push the envelope further by exploring more new musical genres?

Yeah, I’ve already had a couple of ideas of what I would do next. At the time I’m focused on the album, so I can’t make any predictions – but I will take this experience me wherever I go.

Interview by Amy Kelly
Ultimate-Guitar.Com © 2009

Kirk Hammett with an Explorer?

Dave Mustaine and Metallica Kiss and Make Up

by Paul Cashmere - March 2 2009
photo by Ros O'Gorman

If you thought hell froze over when the Eagles got back together, well here is something for the devil to put his ski boots on again for. Dave Mustaine and Metallica are friends again.

Mustaine had a short stint in Metallica for two years from 1981.

Next month Metallica will be inducted into the Rock and Roll Hall of Fame and have buried the hatchet to invite Mustaine to join them.

He cannot, due to touring commitments, but published a letter to the band at his official website.

He says:

“Metallica, as you know has been selected to be inducted into the Rock and Roll Hall of Fame (on April 4th). So, it is with much respect that I say congratulations!

I also had the nice surprise of hearing that they called to invite me to the pre-ceremony party the night before, and then to the actual ceremony. Unfortunately as you all know, I will be winding down our European tour with Judas Priest so I will be unable to attend.

However, I’d like to say to Lars (Ulrich) and James (Hetfield), I am so very proud of all you have accomplished. I will continue to pray for the very best for you and your families as I always have.

Thank you for the invitation and thinking of me.

Respectfully yours,
Dave Mustaine”

Mustaine co-wrote four of the songs on ‘Kill Em All’ and two on ‘Ride The Lightning’. He claims to have written ‘Leper Messiah’ from Master of Puppets but is uncredited. He also claims it was his idea to turn the children’s song ‘Now I Lay Me Down To Sleep’ into a Metallica song. Years later they did just that with ‘Enter Sandman’.

Mustaine was fired from Metallica for his alcoholism and drug abuse that led to fights with James and Lars.

Supergroups

I adore supergroups. If I can choose mine it will be this line up:

Mike Patton (Faith No More) -VOCALS
James Hetfield (Metallica) - Guitars
Stone Gossard ( Pearl Jam) - Guitars
Robert DeLeo (STP) - Bass
Dave Grohl (Foo Fighters/ Nirvana) - Drums

I dunno if this would work, but I have the right to fantasize don't I.
It will definetly be Rhythm heavy..
What's yours?

From Guitar World..

Led Zeppelin IV, 1971 (Led Zeppelin)

Call it Led Zeppelin IV, Four Symbols, Runes, Sticks, Zoso, Four or even Untitlted. By any name, Zeppelin's fourth effort is widely considered rock's Holy Grail, fusing hard rock, Celtic folk, boogie-woogie rock and roll and blues into one staggering, beguiling, epochal, masterpiece. (For the record, Jimmy Page has been known to refer to it as simply Led Zeppelin IV.)

The album was released in the States on November 6, 1971 (November 19 in the U.K.), and for Led Zeppelin, the timing couldn’t have been better. The public’s tepid response to the folky, acoustic-drenched Led Zeppelin III was a letdown, considering the wild reception that greeted the band’s smash-hit predecessors. (And forget the music press, which famously hated the band.) Zeppelin needed to come back strong.

Led Zeppelin IV was rehearsed and partly recorded at Headley Grange, a two-story, mostly stone structure, built in 1795 and located in the village of Headley in eastern Hampshire, England. While the rest of the band initially balked at the less-than-luxurious conditions, Jimmy Page was smitten: “Right from the early days of working at Headley Grange, it was very, very spooky. It had been a workhouse. The whole place was very grey and damp. There was no heating...I thought it was fantastic!”

While the old country workhouse undoubtedly influenced laidback numbers like "The Battle of Evermore" and "Going to California," Jimmy Page found that the 18th-century structure's acoustics perfectly suited rockers like "Black Dog," "Rock and Roll" (featuring an uncredited Ian Stewart on piano) and "Four Sticks." When it came time to track "When the Levee Breaks," Page had John Bonham set up his drum kit in the stone stairway that connected the floors. The resulting sound is one no studio in the world has been able to replicate.

Of course, the album’s apogee is “Stairway to Heaven,” renowned as much for Robert Plant’s curlicue poetry as for Jimmy Page’s fluid compositional structure. Remarkably, what has become radio’s most-requested song came together late one night in the most relaxed of settings. As Robert Plant recalls, “It was done fairly quickly… Jimmy and I just sat down by the fire and came up with a song which was later developed by the rest of the band in the studio.”

Thirty-five years after its release, Led Zeppelin IV stands as a marvel of rock record making. The music comes at you from all directions: Jimmy Page’s limitless array of riffs, Robert Plant’s air-raid screams, John Bonham’s chest-pounding drumming and John Paul Jones’ Rock of Gibraltar bass playing. It is as powerful, magical and oddly elusive today as when it first appeared.

WHAT THEY SAID Jimmy Page: “We were recording something else—I can’t remember what it was...and John Bonham just started playing the opening bars of ‘Keep a Knockin’,’ by Little Richard. I heard that and just started playing what you know as the riff of ‘Rock and Roll.’ The other song was just totally forgotten about and we did ‘Rock and Roll’ in a matter of minutes.”

Zakk Wylde Flying V

Here are the specs for this guitar:

• Solid mahogany body
• Ebony finish with white bullseye
• Nickel hardware
• Grover kidney tuners
• Floyd Rose tremolo
• 3-piece maple neck with no finish
• Rounded neck profile
• 24 3/4″ scale length, 1 11/16″ nut width
• 22 fret ebony fingerboard
• Pearl block inlays with single-ply white binding
• Custom-style headstock inlay
• Gold Zakk profile on back of headstock
• EMG-81 and EMG-85 pickups
• 2 volume, 2 tone, 3-way selector switch
• Includes Custom Shop case and care kit
• Certificate of authenticity

I am proud to be a Malaysian because...

.... largely because of our mouth watering food spread...(yummy)

But mainly because of Tun Dr. M, CeriaTone and because this is the best, most safe place on earth.

Founded in 2002, CeriaTone has grown from just selling circuit boards on eBay to a multi-million business that exports complete vintage amplifier kits to more than 50 countries.

CeriaTone started using DHL's logistic service in 2004 when it was shipping only 10 amplifiers per month. Today, it exports more than 100 amplifiers, excluding parts and components.

Managing director Nik Shazwan Azam said: “It is important to work with a partner that can deliver products not only on time but also safely to our customers.”

Well, Tun Dr M doesn't need any intro.

From blabbermouth

The cover story in Guitar World's April 2009 issue features two hard rock guitar gods — METALLICA's Kirk Hammett and TOOL's Adam Jones — reminiscing about surfing together in Hawaii, obsessive fans, and occult symbols. A couple of excerpts from the article, which doesn't go on sale until next Tuesday, February 10, follow below.

Jones: "We opened for METALLICA in Korea and decided to hit Hawaii on our way back to do a couple shows. Kirk was heading to Hawaii, too, but I didn't see him on our plane. After we landed, I was getting my luggage and I felt this tap on my shoulder. It was Kirk, and he said, 'Are you the guitarist in TOOL? I love your band. Would you like to come to dinner?' And I was like, 'Yeah!'"

"He lent me a long board and took me out to this spot where all the old-timers surf. I'm from California, so I've never had to paddle 30 minutes anywhere. [laughs] And you have to go out real far in Waikiki to catch the good waves. My arms were getting so tired, and I was so worried I was gonna look like a pussy!"

Guitar World: I'm wondering what, in your opinions, are the upsides and downsides to becoming a cult phenomenon?

Jones: "[laughs] I know, sorry. I think the downside is that there's a real potential to forget your roots and why you started playing in the first place. It's important to remember where your head was when you first started, because when you get successful and spoiled it's easy to forget the excitement of when you were first writing songs. And that's why his band and my band go into hiding­to write songs and try to find that spot again. We do this so we don't just keep writing what we wrote last time that was successful and start sounding like a cover band of ourselves. We have to constantly go back and find ourselves."

Hammett: "I guess you can say 'Death Magnetic' is METALLICA reaching back to our cultish days, as well. I don't know if you can even call us a 'cult band' now, because we're a very popular band. Can you be a cult band and still be popular? I don't know."

Jones: "It probably depends on who you ask. I think the word 'cult' comes from an outsider's perspective. When someone on the outside looks at METALLICA, they would say they have a cult following. Because METALLICA have had years of success and have a dedicated fan base, it could almost seem like people are following them out of blind faith, but I don't think this is exactly correct. TOOL has had that too. I've heard stuff like, 'How can a band that a lot of people never heard of have gold and platinum records?' That's when they'll say, 'It's because TOOL has a weird cult following.' To me it's just a term people use to describe something they don't quite know how to explain…which is not necessarily a bad thing."

Guitar World: It also seems a cult band can become an easy target for disgruntled fans when it grows beyond being their "pet band."

Hammett: "I know that a lot of people who are cultish types are really obsessive. They really want a certain thing, or feeling, and they find this thing in a band. When the band grows bigger­and maybe more personally inaccessible as a result­these cultish people try even harder to get this thing or feeling from the band. There's a certain type of person who is obsessed with METALLICA who spends all of their time trying to get this one thing outta our music, and when they don't get it they become passionately pissed off. [laughs]"

Jones: "For me, there's nothing wrong with obsession as long as you're getting something out of it that's positive. And when your expectations are let down because you didn't like this record as much as the last record…well, you just have to be a little more forgiving, or move on."

Hammett: "'Forgiving' is totally the right word, because after all it is just music. You can live through it."

Guitar World: Speaking of mysterious subject matter, Kirk, you brought a pretty tripped-out ESP guitar with you today, which goes well with this issue's cult heroes theme.

Hammett: "More like occult heroes. [laughs] Basically, for this guitar, I gave the artist [American painter] Mark Ryden a list of topics, and I said, 'Translate these ideas into your vision and paint it onto the guitar.' There's a bee, which is symbolic of knowledge; the raven, symbolizing secret knowledge; and then the all-seeing eye, symbolic of universal knowledge. Caduceus [a symbol formed by a short staff entwined by two serpents] symbolizes the tree of life, but if you notice it also resembles a DNA strand [a double helix]. Then there's the hand from heaven, the Rosicrucian rose and my astrological sign, Scorpio, as well as assorted skulls and a yin-yang. It's full of numerology, astrology, occult and religious symbolism."

Jones: "It's an amazing-looking guitar. I love all the light sources beaming off of the female shape, and the design at the center, over the pickups, which I see as a life-and-death thing. Mark Ryden is really the icon of this current underground, up-and-coming art movement, and he's paved the way for a lot of people who have similar approaches. I've seen his paintings in person in Seattle, and he is a master at what he does. I'm glad he's now getting the recognition. And Kirk's going to play it and scratch it all up? He should just put it under glass and hang it on his wall. Or better yet, give it to me. [laughs]"

Hammett: "It's gonna see some wear and tear, but that's its purpose. Plus, Mark said he'd do touch-ups when they're needed."

Guitar World: It seems you're both very thoughtful when it comes to studying hermetic philosophies. Do you find them useful in adding order to your lives outside of the musical realm, too?

Jones: "The order is already there. It's just that we're making ourselves aware of it. Sacred geometry is basically studying anything and breaking it down to its purist form, be it a symbol, shape, color, vibration or sound. That's what our life is. It goes outside who we are as people, the earth or the universe, into the spiritual realm or even an unconscious collective realm."

Guitar World: Going back to your guitar, Kirk, what specifically fascinates you about symbolism?

Hammett: "Well, as far as symbolism goes, there are different schools of thought, like how colors can influence your mood or perspective. Different symbols, like the all-seeing eye or the rose, will trigger different things in your psyche or unconscious. All this stuff is influential on some level and has an impact on the person surveying it, whether on a quantum level or a more overt level. I'm really interested in that sort of thing. Another good example of this is Jimmy Page's use of the ZoSo sigil, which he had written on his outfit. [A sigil is a word or symbol of supposed occult power. Page's ZoSo symbol first appeared on the packaging of 'Led Zeppelin IV' and later on his stage outfits.] He thought that it helped his music and artistic direction. I'm totally into how certain images can influence the subconscious mind. On a very basic level, if this guitar was stark white I would feel completely different about it. The fact that it has this amazing graphic on it inspires me and moves me."

SuperGroup !!!!!

HI,
I kinda like to discuss about supergroups. What is supergroups? According to wiki "a rock music group whose performers are already famous from having performed individually or in other groups. Supergroups tend to be short-lived, often lasting only for an album or two. Additionally, supergroups are often formed as side projects that are not intended to be permanent.
Among the one I love are cream,derek and the dominoes, newer ones like audioslave and velvet revolver. And the one everyone is waiting is chickenfoot, comprising Joe Satriani, Sammy Hagar, Chad smith and bassman Michael Anthony. I think it is going to be awesome. Here is some press about it -

By MICHAEL CHRISTOPHER Times Music Columnist

What group is just as good as Led Zeppelin and ten times what Van Halen ever was? If you believe Sammy Hagar, who used to front the latter, it’s his new band, Chickenfoot.

And despite the terribly unfortunate moniker, there are some instantly ready for primetime players involved that could make this a rock act for the ages.

Joining Hagar is his fellow ex-Van Halen bandmate, bassist Michael Anthony, Red Hot Chili Pepper Chad Smith on drums, and guitar virtuoso Joe Satriani.

“When people hear the music, it’s Led Zeppelin,” Hagar told the Canadian Press last year. “I know that’s a mighty bold statement, but it’s as good as that – we could rival Zep.”

The tequila entrepreneur later distanced himself from the statement, saying he might’ve been indulging a bit the day of the interview, which was during a press day in Toronto to discuss the selling of his majority share in Cabo Wabo Tequila.

“I got (expletive) ripped and I said something stupid,” Hagar later told Guitar World magazine.

“I told (Satriani), ‘I’m so enthusiastic about this band, I might’ve said something.’ But I was buzzed up. What are you gonna do?”

He seems to be sticking beside his other statement though, that, “It’s 10 times Van Halen, because it’s functional — we all like each other.”

The Chickenfoot debut is due to drop at some point this spring, possibly in April, with a rumored nine songs already mixed and ready to be pressed.

The first snippet of music that has been released on the still-under-construction Chickenfoot homepage is a moody, grinding beat that isn’t short on providing instant goosebumps.

Hagar doesn’t do any singing, instead speaking over the riff he asks, “Is that that new thing Joe? It better be. Huh? Talk to me chief — is that it Joe? Well that’s cool Joe … we like it.”

Satriani, while highly respected in music circles and drooled over by guitar geeks everywhere, has never been part of a group that attained any degree of mainstream success. Sure, there was a brief stint in Deep Purple after Ritchie Blackmore bailed for the umpteenth time in the early ’90s, but this will be the first time that he’ll join a true cast of heavyweights in creating something from scratch.

“For years now I’ve wanted to do something with a real vocalist and a real band, and I came close a few times but nothing really panned out,” Satriani told MusicRadar recently.

“This time is different. What I’m doing with Sammy and the rest of the guys feels right. We get together, we have a lot of laughs, and great things happen musically.”

The Red Hot Chili Peppers’ current hiatus, or “disbanded for the moment” status, according to singer Anthony Keidis, leaves Smith free to bring the funky grooves which have distinguished that band from any other out there.

But the real secret weapon is Michael Anthony, who besides his solid abilities on the bass, is hands down one of the best backing vocalists in rock and roll.

His missing harmonies were the only thing that kept Van Halen’s reunion with David Lee Roth last year from being truly amazing as opposed to just great.

Anthony has always been in lockstep with Hagar, whose voice still sounds youthful and full of energy at the age of 61.

The only worry is whether or not the lyrics by the Red Rocker, which in the past have ranged from deep and insightful to embarrassing and bland, will equal what has the potential to be a truly great supergroup.

Defining a supergroup

The union of the musicians in Chickenfoot has the word “supergroup” popping up in most articles. But some people are saying that it can’t possibly be worthy of the title, because it’s really just a second tier former member of Van Halen, a solo singer who got lucky in having success with that same band, a guitarist that while technically brilliant, most people haven’t heard of, and a drummer whose main gig may or may not have closed for business.

Make no mistake about it: Chickenfoot is a supergroup —- at least for the time being. The definition of a supergroup is any gathering of artists already well-known for being in another act that combine their individual talents to create an album or two of material. The rule of thumb is that at least three quarters of the group come from somewhere recognizable.

Blind Faith from the late ’60s is a good example, with Steve Winwood, Eric Clapton and Ginger Baker, all no strangers to playing arenas, with bassist Ric Grech the only real unknown at the time. Only one record resulted from the collaboration, the self-titled “Blind Faith,” and it’s considered a classic to this day.

The members of Blind Faith went on to have even more success in the wake of the dissolution of the group, but the question is, why start them in the first place?

First of all, it’s a no-brainer, especially when there’s the instant money making machine factor to be considered.

Look at Audioslave, which dropped ex-Soundgarden singer Chris Cornell in front of the mic for the core of Rage Against the Machine, whose singer Zack de la Rocha split in 2000.

Fans of both artists flocked to shows, and were rewarded for their interest, but it was limited to three studio recordings, and an unceremonious end fraught with tension and, according to Cornell, “personality conflicts.”

Still, the group was a cash flow for everyone involved, with chart topping singles, videos and tours around the world packed into an intense five years.

Then there’s the case of the artists that just need to step away from their respective bands to further express creativity, sometimes out of a common interest.

Such was the case with Mad Season, a Seattle-bred ’90s supergroup that had Alice In Chains’ Layne Staley linking up with fellow grungesters Barrett Martin, drummer for the Screaming Trees, and Pearl Jam guitarist Mike McCready, who had met bassist Baker Saunders in rehab and decided to form the outfit.

The common interest in that case was drugs.

Unfortunately, it was also responsible for its downfall.

After a near masterpiece of a debut, “Above,” Saunders checked into the hereafter after a relapse while battling a long addiction heroin. Staley followed him a few years later.

Most supergroups tend to muster up enough common ground to last just two albums though, it seems like that is the standard shelf life no matter how strong the intentions; and the second one is almost never as good as the first.

The Firm, with Jimmy Page and Paul Rodgers, managed just two records, the second which didn’t even hit shelves, passing go and heading directly into the dreaded cut-out bin.

An all-star cast of top-tier musicians created The Traveling Wilburys, but the combined talents of George Harrison, Bob Dylan, Tom Petty, Roy Orbison and Jeff Lynne could only sustain for a pair of albums. They get a pass though; despite Orbison’s death in 1988, the group soldiered on, but it just wasn’t the same.

More recently, Velvet Revolver completed a successful world tour for its sophomore release and celebrated by parting ways with vocalist Scott Weiland, who went back to his original group, Stone Temple Pilots.

Ex-Guns ‘N Roses members Slash, Duff McKagan and Matt Sorum, along with guitarist Dave Kushner, are supposedly still looking for a new frontman, but haven’t found one yet, and might come to the conclusion that that sort of lighting only strikes once.

But sometimes it happens twice – sort of.

Crosby, Stills and Nash were an example of a traditional supergroup, where all the members come from reasonably successful bands. Then Neil Young of Buffalo Springfield joined the ranks in 1969, and the supergroup arguably became a super-duper group.

CSN, and sometimes Y, ended up releasing a fair number of studio albums; over a half-dozen at last count, and that alone is a rarity.

And what happens when a supergroup makes it past the two albums? Well, then they become a full-fledged band — but that’s harder than it sounds.

Bad Company pulled its members from Free, King Crimson and Mott the Hoople for a string of successful albums and charting singles in the ’70s, but when Paul Rodgers went off to join The Firm in 1984, the group continued on in various incarnations, leaving its legacy as nothing more than a band with its best days 30 years ago.

It’s clear that eventually, all supergroups come to an end. Then what?

For the most part, the individual musicians end up on their feet, often becoming more prolific.

Cornell is currently prepping the release of his second solo album since leaving Audioslave in 2007, and routinely performs the group’s hits “Like a Stone” and “Cochise.”

Weiland completed a successful reunion tour with STP and is now on the road to support a solo effort. Rodgers isn’t missing Bad Co.; he’s doing quite well as the current singer for Queen.

And the members of Crosby, Stills and Nash regularly play together, with the ever busy Young still joining them on occasion.

Music columnist Michael Christopher appears Thursday nights at 9:45 on 1210-AM “The Big Talker” with Dom Giordano. To contact him, send an e-mail to rockmusicmenu@hotmail.com

guilty pleasure!

That's not my name,That's not my name,That's not my name,Thats NOT ....... MY NAME!
Argggggh, damn you ting tings.
I just couldn't get the song out of me head.

Shredder

Now there is so many shredders out there its unbelievable, compare during the 90's, the time when I first learned the guitar. Guitar solos are definetely back. It's exiting times now. I have a few new favourites now such as John 5 (On top of my list), Buckethead ( I love that he plays melody too) and Bumblefoot ( at first I was very sceptic, but he is so great, checkout youtube to see him shred). Both John 5 and Buckethead inspired me to try learn country licks, and make me realise you don't need the tremolo or whammy bar to do divebombs and make those weird bends.
Suddenly country is cool, even Hetfield love country.
Another turn over point for me is seeing Jim Root and John 5 playing Telecaster. Who would play metal on a Tele.Wow,that made me look back at it, and even bought it one, but not their signature models. Tele definetely kicks ass, I love the shape more now and it sounds great too.
Great stuff!

Distortion Pedals etc

I collect guitar pedals, they are my passion. I've went the digital/multi effects road few years back, but now i'm back to stompboxes. I've sold all my multi effects. I've always like to try new toys at guitar stores, I remember once I tested a DOD ring modulator me and the tech at the store look at each other laughing at the sound. It is very very weird. I could buy it , but where could I put the effect, it is so strange like R2D2 or something.
But one of my main aim is to find the most sweet sounding overdrive/distortion/treble booster /booster pedal. I've bought around 5 of them, i've sold 3 (the DS1, Turbo Distortion and DOD supra distortion) and now waiting for my tube screamer. I don't know if I have an ear problem, but after a while purchasing the pedals, I don't like the sound, some frequencies are not gelling.
If the Tube screamer isn't working I will have to purchased the RAT.
I am a Metal Player, but I don't like to push the gain too much, because the tone will have no definition and in some instances become thin instead of bigger. I know that if I have a great tube amp (read Mesa-Boogie), I can throw out my distortion pedals, but for now they are my only hope.
One thing for sure, the quest for tone will never cease to stop.


p/s- check out satriani and vai signature doistortion pedals, great stuff!!

Scales and Modes etc

I love guitar to death, but my skills are somewhat limited.
I don't know that many modes or scale. I do know pentatonic,blues, major,minor,dorian and harmonic minor,( maybe a lil' bit of phrygian dominant).
I cannot sweep pick.I cannot play super super fast. I cannot sing and play heavy,fast riff the same time like Hetfield or Mustaine. That to me is the ultimate shit. Bass players that can sing (eg sting,tom araya,lemmy etc) is much much more cooler to me. Damn thats very hard.
Mainly I am a rhythm guitarist. Thats what I do best. Playing riffs is my ultimate satisfaction. Thats why I admire guys like Hetfield,Gossard,Mustaine,Izzy Stradlin,The Edge and bands like soungarden,audioslave,VR bands that are riff oriented. I've also notice many of my favourite players like Jack White (white stripes), Chris Cornell (soundgarden.audioslave) and even Dick Dale started out as drummers. They have time and rhythm, hence are great guitar players.
Flash is great, but feel and melody is always the best.
But I do love guitar solos, I've always love Satriani,Friedman,Vai,Hendrix,Kenny Wayne,Slash,Dimebag and my favourite Kirk Hammett. I love solos that are meaningful and played tastefully. Something hooky, with great phrasing, note choices and dynamics. Not just speed all the way, like Yngwie's playing now.
Melody is another thing that is great. Players like Slash can pack full emotion in his solos.
The bottom line is if your solos is remembered and crowd can even sing them, you've made it!

Valve Amplifier

What is a valve/tube amp?

from wikipeda :A valve amplifier or tube amplifier is a type of electronic amplifier that make use of vacuum tubes instead of solid-state semiconductor devices (such as transistors). As any other electronic amplifier, they serve to increase the power and/or amplitude of a signal.

Which is best, Solid-state or Tube?

Here the traditional thinking is that solid state circuitry can produce superior clean power at a much more affordable price, while the scarcity of vacuum tube manufacturers today tends to make tube-based amps more expensive in a comparably powered amplifier. This has led to some interesting hybrids in which the basic tone is produced by a tube-driven preamp, while the power amp is solid state. Still, the majority of "serious" players will almost always lean towards a tube amp

Should I get a combo amp or a head and cabinet?

This one is actually pretty simple, as it really depends on just how big a venue you are planning to play in. For club dates and even small halls, today's combos are well-equipped to deliver plenty of power to deliver powerful sonics that will be heard all the way in the back. If your goal is to have enough sonic firepower to fill a giant auditorium or even an open arena, there's no question that you'll want a high-powered stack with at least a 4 x 12 cabinet, like the Marshall DSL100 with a 1960A cabinet. As a caveat to that, some players still prefer a smaller amp - such as a Vox AC30 Custom Classic - for its specific tone, and then simply mic the amp and run it into the PA system (provided the PA will handle it, of course).

Malaysia has its own tube amp manufacturer , www.ceriatone.com. You could buy a full spec amp or if you are a DIY fanatic you could purchase the tube kit. It's quite good from what i've heard and read at harmony central. and very cheap compare to other company.

All my favourite players use tube amp, even Dimebag uses krank tube amp during the last years of his career. Among favourites are the Marshall JCM 2203,2204 and my personal love the Mesa Boogie Mark II C+.

OUIJA Guitar

James of METALLICA Iron Cross Guitar

• Set-Neck
• 24.75” Scale
• Mahogany Body
• Maple Top
• Mahogany Neck
• Ebony Fingerboard
• 42mm Bone Nut
• Thin U Neck Contour
• 22 XJ EVO Frets (Gold) Ni-Free Alloy
• Distressed Gold Hardware
• Sperzel Locking Tuners
• Schaller Straplocks
• Tonepros Locking TOM & Tail
• EMG 81 (B) / 60 (N) Active p.u.
  w/Distressed Gold Covers
• Finish: Distressed BLK
  
  NOTE: Toggle in Upper Position Inactive

The guitar is based on his customised 1973 ‘Iron Cross’ Gibson Les Paul. It will be officially unveiled at Winter NAMM 2009. I wish Gibson would replicate this great piece of guitar. But rumours was Gibson was unwilling to make a signature model for Hetfield. What a bad move if thats true, cause they could also make a replica of his old V's and Explorer signature.
I love to grab one if i could. Go to esp.com for more info.

My Favourite Guitar

The Epiphone Les Paul Special II.This is my first electric. I bought way in 1997 with my University tuition money!! Whoa was my parents piss. It cost me RM 550.oo back then.
I have bought and sold Ibanez, Gibson Explorers, Fender Strats but this will always be in my collection I think. It sounds and plays really great. I love the skinny necks. The only thing that irritates me is the guitar cannot stay in tune, especially the G string!
I made a mod in it, so I have 2 volume knobs- no tone control. Now the bridge pick up is dead. I've yet search a new pick up maybe i'll install a Seymour Duncan JB or something like that. Now I just play the neck pick up, but its great because the sound is bright not muddy.
I don't know if i'll ever gonna afford a Gibson Les Paul, I sure hope so!

My New Tremolo Pedal

My new tremolo pedal, made by Mr Jimmy Ko. Nice effect, I can dial in all those 60's and surf music that I love. Also the audioslave and Radiohead tremolo sound. It is actually based on the Demeter Tremolo. It is also a true bypass pedal, which doesn't suck your tone and can be used as a buffer to stabilise the signal in your effects chain.
It sounds different if you hook it before/after the overdrive so i hook it after my Boss Metal Zone and before my Marshall JackHammer.

Fun Guitar Question

Tom from pedalboards.com answers :

Burger king or McDonalds, starbucks or dunkin dounuts, Bud or coors light, hell, Ginger or Maryann. It all comes down to personal preference. Larry Carlton can plug into a pignose and still sound like Larry Carlton.

Fun Guitar Questions

This answers are from Mr Jimmy Ko of pcb4diyeffects.blog.com, my pedal guru friend.

1) Analog or Digital?

Analog

2) Rosewood fretboard or maple?

Maple

3) Tube or solid state?

Solid, but dying for a tube amp.

4) Single coils or Humbuckers?Why?

Single coil ...flexibility. Aiming to add a Les Paul in future.

5) Multieffects or pedal/stompboxes ?

stompboxes. (well of course, he is the pedal guru-guitaril)

What is your holy grail of guitar equipments ?
vox ac15 + gretch dual jet

Fun Guitar Questions

This is my answer,

1) Analog or Digital?

Analog for effects, Digital for recording.

2) Rosewood fretboard or maple?

Rosewood ,I love warm the warm tone from using it. All my heroes uses them, except Jimi Hx

3) Tube or solid state?

I never tried a Tube amp, but i believe I will love it. (i am still gathering fund for a ceriatone, do wait for me Nik)

4) Single coils or Humbuckers?Why?

Humbuckers, I am a metal player. All my guitars are humbuckers except for my ibanez middle pickup, which i never use!

5) Multieffects or pedal/stompboxes ?

I've use them all, I will say pedals- for the easy tweaking on the spot and reliability and sturdiness. It's simple,and looks a hell a lot cooler.

What is your holy grail of guitar equipments ?

Mine is the mesa boogie mark II C+) Metallica Killer Old School Tone.

For Palestine - Boycott US goods

Everybody knows, the US are close allies with Israel.
Boycott the Israel and the US.

That's the least we could do.

My new toy

customize guitar

Schecter C-1 FR















I am in a process to get my own signature guitar , customize by a luthier who should be anonymous for now. We see a lot of artist's signature guitar among others that i like such as
John5 telecaster,Jim Root tele, Kirk Hammett's ESP and EVH among others.
But the 1 guitar i really thing suits me, and the 1 i am modelling after is the soul power guitar, mr tom morello's guitar.
Except that i substitute the pick ups with 2 humbuckers,maple neck and i want a thin white finish.

The specs are as below:
Mahagony Body Strat style ( thin white finish)
Maple neck and fretboard ( No finish, bare neck, neck V profile)
Medium frets (maybe stainless steel)
Grover tuning machine
Floyd rose
Seymour Duncan pickups
2 Volime knobs, 1 tone control for the neck pick up only
3 way toggle switch ( for the on-off stuttering sound)


I'll post more about this later.

Great Acts

I suggest you to go here,http://www.youtube.com/watch?v=3XSJjzheHs8
here,http://www.youtube.com/watch?v=JrxZtzXtg6w
and here, http://www.youtube.com/watch?v=LEAtk6moKtw