General Interest

[Editor’s note: Heritage Guitars and Guitar.com are both part of the Caldecott Music Group.]

Back in September, Heritage Guitars unveiled its Standard II Collection on its 40th anniversary, bringing a number of upgrades to its celebrated Standard Series. The Standard II Collection kicked off with the refreshed H-150, followed in November by a trio of electric guitars, the H-150 P90, H-535 and H-530.

Now, the Kalamazoo-based brand is continuing that momentum with the introduction of the latest Standard II model, an updated version of the original hollowbody Standard H-575.

• READ MORE: Ace Frehley’s number-one Les Paul headlines upcoming auction at Julien’s – and could fetch half a million dollars

Offered as a “compelling entry into the world of American-crafted archtops”, the Standard II Collection H-575 arrives with refined aesthetics following the Standard Series’ H-575, as well as newly unveiled Heritage Custom Shop 225 Standard Archtop Humbuckers.

These pickups are specifically voiced for modern jazz, prioritising “clarity and dynamic response”, with 42 AWG poly wire and Alnico 2 magnets with chrome covers “perfectly complementing” the guitar’s hollowbody resonance.

Credit: Heritage Guitars

Crafted at the brand’s legendary 225 Parsons Street facility in Kalamazoo, Michigan, the Standard II Collection H-575 sports a new headstock veneer with the Heritage logo for a “more refined and elevated aesthetic”, a standard C neck profile for a “comfortable and effortless” playing experience.

Priced at $4,499 and available via the Heritage Guitars website and authorised Heritage dealers, the brand says the Standard II H-575 “stands confidently” beside its more elite archtop offerings, including the Heritage Custom Shop Core Collection H-575 and H-717.

Credit: Heritage Guitars

The Standard II Collection has already made a strong impression on the Guitar.com team; in November, we checked out the Standard II H-150, which has seen the brand shift somewhat from its philosophy of vintage revivalism to something a little more contemporary. In our review, we gave the guitar a 9/10, praising its quality tonal palette, useful array of switching options and comfortable light weight.

Will the Standard II H-575 measure up the same way? You can learn more at Heritage Guitars.

Heritage Guitars Standard II Collection. Credit: Heritage Guitars

The post “A compelling entry into the world of American-crafted archtops”: Heritage updates its Standard II Collection with new H-575 model appeared first on Guitar.com | All Things Guitar.

In the Metallica discography, there’s one album that attracts critics more than any other, and that’s 2003’s St. Anger.

The record – which followed 1997’s Reload and the band’s 1998 compilation album Garage Inc. – has divided the Metallica fanbase since it arrived 23 years ago, with many critical of its off-kilter mix and, in particular, the sound of Lars Ulrich’s snare drum.

• READ MORE: “I saw UFO play with Van Halen in the ’70s – they got their asses kicked”: George Lynch recalls seeing Eddie Van Halen’s “mind-bending” playing up close

But inspiration often comes from unusual places, as discovered by Avenged Sevenfold guitarist Zacky Vengeance, who praises the album in a new interview on WRIF’s Meltdown.

Avenged Sevenfold have toured numerous times with Metallica since the early 2000s, most recently on their 2017 WorldWired stadium tour.

“Honestly, and this is gonna be controversial, but we were touring in a van. And we were driving across the country playing small shows, and it was right at the time when St. Anger came out, and that was the most divisive Metallica album since Load and Reload, and since the Black Album,” Vengeance says [via Ultimate Guitar].

“And you look back and people were like, ‘What are they doing with the Black Album.’ ‘What are they doing with Load? And then with St. Anger… it was the craziest sounding [album]. And then we fell in love with it.”

He continues: “It might not be our favourite Metallica album, but the thought behind it and the fact that it was so different and it had to be listened to, and they were just going for this thrashy raw sound using tones that weren’t perfect…

“They can do whatever they want – they chose to go and just make this buck-wild album. And it was, like, ‘If Metallica can do that, then we can do that.’”

Avenged Sevenfold’s penchant for experimentation has caused division among their fanbase over the course of their career. The arrival of their third album City of Evil in 2005 brought mainstream success, but also alienated some fans due to its stylistic departure from their previous record, Waking the Fallen. 

“When that record first came out, our fans on Waking the Fallen were very bummed on it,” frontman M Shadows said in 2021. They were like, this isn’t Waking the Fallen 2. This isn’t even screaming and singing, this is all singing. Matt’s voice has changed. They’re doing way more solos – it’s much more over the top.”

And in 2023, he commented on the backlash to the band’s most recent album Life Is But A Dream…:  “There are so many psychological things that go into if people like records or not or if they don’t or what they’re listening to at the time. And it’s not really our job to figure that out; it’s just our job to put something out that we totally back and we appreciate. And we’ll see where it goes. It’s hard to really talk about it, ‘cause there’s really no right or wrong answer. It’s okay to hate this record.”

The post “They can do whatever they want, and they chose to make this buck-wild album”: Avenged Sevenfold’s Zacky Vengeance on being inspired by Metallica’s most maligned album appeared first on Guitar.com | All Things Guitar.

Ad feature with Yamaha

Back in 2015, if you asked someone to think about Yamaha electric guitars, they’d almost certainly point to the budget brilliance of the Pacifica or the under-the-radar classic that is the SG 2000.

Nobody would have expected that a brand with such a defined identity could introduce not just a new guitar, but an entire concept that would redefine what people expected from a Yamaha guitar, and establish itself as a true modern classic in a world that’s often so resistant to new things. But the Revstar was no ordinary guitar line – it’s a guitar that has won over beginners and professionals alike, and won dedicated fans in the shape of two of the brightest lights in modern guitar: Chris Buck and Matteo Mancuso.

Revs Your Heart

Image: Yamaha

To understand the DNA of the Revstar, you have to understand the history of Yamaha. While the world’s largest musical instrument maker and the world’s second largest maker of motorbikes have been independent companies since 1955, there is obviously a significant fraternity between the two still.

That’s why, when the design geniuses at Yamaha Guitars came together to create what would become the Revstar, they borrowed from their own history, of course, but they also looked to their friends over the Tenryū River at Yamaha Motor Co.

In particular, the designers looked to the timelessly cool stripped down Cafe Racer motorcycles that had ferried the hip young rockers of London around the city in the 1960s – the same decade that Yamaha first started making guitars.

The bikes even gave the Revstar its name – a nod both to the revving of a motorbike engine, but also the Yamaha Motor Group’s “Revs your heart” company slogan. The Revstar would certainly set guitarists’ hearts racing when it arrived in 2015.

More Than Skin Deep

Image: Yamaha

But if the Revstar was just a pretty guitar, it would never have established itself in the unprecedented way it has over the last decade – becoming a fixture with professionals and hobbyists alike. These are people who appreciate not just the Revstar’s looks, but the usability and design that could only have come from Yamaha.

The genius of the original Revstar line was the way every design choice was made with the prospective player in mind – making sensible and smart decisions based on hundreds of interviews conducted with real guitarists from across the playing spectrum.

Whether it was scale length, tonewoods, fret size or pickup selection, the huge amount of research allowed Yamaha’s expert designers to craft instruments that put the player at the heart of things like never before.

For example, each of the original Revstar guitars featured custom pickups created for the line. In the hugely popular entry-level RS320 model, the pickups were high-output units with ceramic magnets. This was done because the designers sensibly reasoned that a beginner player would appreciate more volume when they were developing their technique, but would also allow even more advanced players who appreciated heavier styles to still have fun with them.

Image: Yamaha

At the other end of the scale, the Bigsby-toting RS720B featured underwound humbuckers – with 2500 turns of heavy formvar wire on the neck pickup and 2900 on the bridge – in order to give a more classic, vintage tonality that would pair with the Bigsby’s smooth wobble.

It’s this kind of considered and evidence-driven approach to guitar design – mixed with an undeniably beautiful overall design of course – that captured the attention of guitar players. Where so many brands lean heavily on nostalgia and established designs to appeal to the masses, the Revstar courted the attention of those seeking something unquestionably new, distinct and timeless.

Rather than look back, the Revstar represented an inspiring new tool for the job, that captured the imagination of a generation of guitar players looking for something outside of the norm.

Refining The Concept

Image: Yamaha

Given the huge amount of research, development and listening that Yamaha’s designers put into the first generation of Revstars guitars, it would have been unthinkable for them to not take advantage of the fact that it was now out in the real world being played by thousands of musicians who would provide even more feedback.

Thus in 2022 the second generation of Revstar guitars was launched, which featured a host of refinements, tweaks and improvements on the original. Perhaps the most significant of these was the fact that each Revstar guitar now utilised Yamaha’s proprietary Acoustic Design chambering to improve resonance and reduce weight.

Another key addition to the second generation of Revstar guitars was the Revstar Professional RSP02T – a Japan-made take on what had become the defining recipe of the Revstar platform, ready for pro musicians to take on the road.

And that was important, because the Revstar had quickly become a guitar that had been embraced by major recording artists for its unique looks and wonderful functionality: from Graham Coxon of Blur, to Lynval Golding of The Specials, Dave Keuning of The Killers, and Jeff Schroeder of Smashing Pumpkins.

Player’s Choice

Image: Yamaha

The breadth of the Revstar’s appeal is shown in the variety of players who have adopted it over its first decade, but two modern guitar greats stand apart in making the guitar their primary means of guitar expression: Matteo Mancuso and Chris Buck.

“I chose to play a Revstar because I was searching for a solid body that was similar to the SG but with more versatility for both jazz and rock,” the Italian jazz phenomenon explains. Mancuso is one of the most jaw-dropping technical guitar players on the planet, but the Revstar’s intelligent and thoughtful design takes him where he needs to go.

Mancuso references the comfort of the body shape and its lightweight design, plus the versatility of the five-way selector switch on his personal model, which adds coil splitting options to the Lollar Imperial pickups onboard. Combined with the guitar’s lively chambered body, it accommodates everything he wants in one guitar: “I can achieve every sound I need!”

For Buck, the love for Revstar runs even deeper, and it’s an enduring relationship that has spawned not just the first Revstar signature model ever, but Yamaha’s first signature electric full stop for 15 years.

The first time Buck saw a Revstar was when he walked into a Cardiff guitar shop a decade ago, and instantly the design spoke to him. The Revstar has been by his side ever since as he’s become one of the most respected blues-rock guitarists on the planet.

Image: Yamaha

He loved his Revstar so much, he later upgraded to a model made by the YASLA Custom Shop in the USA that became his primary stage instrument. This guitar has helped usher in another milestone for the Revstar when it became the basis for Buck’s signature model in early 2026.

“My Custom Shop Revstar has been the beating heart of every record I’ve made and every show I’ve played since I first laid hands on it in 2020,” Buck enthuses. “It hasn’t left my side and has quite literally travelled the globe with me, from Cairo to California.

“The phrase ‘labour of love’ gets thrown around a little too often these days, but collaborating so closely with Yamaha to recreate my Number One over the past few years has been exactly that. I’m beyond thrilled to finally see it come to life.”

That two masterful players with such different approaches to the instrument can be united by the Revstar is a testament to the design brilliance at the core of this modern classic. From expressive and feel-led playing to highly articulate modern technique, the Revstar can handle anything these titans of modern guitar can throw at it. It’s a platform for inspiration no matter who you are.

Find out more about the Revstar at yamahaguitargroup.com

The post “I can achieve every sound I need” how Yamaha’s Revstar won over the professionals to become a modern classic appeared first on Guitar.com | All Things Guitar.

Artificial intelligence may be creeping into all aspects of music-making, but Jacoby Shaddix believes rock is pushing back – and he’s all for it.

Speaking on the LA Lloyd Rock 30 radio show, the Papa Roach frontman reflects on the genre’s resistance to AI, noting the way rock fans can “smell” when something’s off. He describes the current moment as “a strange time” for artists, particularly those just starting out, and sees the rise of AI as yet another turning point for the industry, much like the collapse of the CD era.

• READ MORE: “AI is fun… But you can’t replace what’s coming out of Ozzy’s mind”: Zakk Wylde weighs in on AI music

“I think now, at this point, we’re at another kind of strange time in music where this AI element is coming through, and it can be frightening, I think, for a lot of people, for a lot of young artists maybe,” Shaddix explains [via Blabbermouth].

“But then there’s this hopeful element in it that I feel. Will.i.am from the Black Eyed Peas was trying to explain it, and I think he kind of hit the nail on the head in a way of, like, when you go to the grocery store, you can get the organic or you can get the GMO. What do you want? So if you want music, do you want fake music or do you want the music that’s coming from a human being? And we have a choice.”

For Shaddix, the issue lies in what AI currently represents: imitation over intention.

“AI is really essentially studying us. It’s a study of us,” says the musician. “And how does it regurgitate us back at us in a generic way? And that’s where it’s at right now. And it will be interesting to see how this plays out.”

“But I love the pushback from rock culture against it. I think that a lot of people in rock culture can smell it. They can hear it in the song, they can see it in the art, and they’re, like, ‘Ah, that ain’t it.’”

“And I love collaborating with people,” Shaddix continues. “I love the humanness of it. I love the push and pull in the relationship of creating with another person and having to have a conversation in a room, creating a song. And sometimes my idea isn’t the best idea in the room, and it gets shot down. And then sometimes my idea is the idea that sticks, whereas this other one is, ‘I have a prompt. Let me press a button.’ It’s just lazy, man.”

“I think the people in the rock culture and in the rock space, we could smell it a mile away. There’s room for the human in that.”

That mindset is already shaping how Papa Roach approach recording. Shaddix says the rise of AI has prompted the band to strip things back in the studio and rethink overproduction.

“[It’s] prompted us, when we go into the studio, to kind of dial back some of the tech and the overproduction of things,” he says. “[Our latest single] Wake Up Calling being one of those. There’s no samples on the drums in that song. It’s just raw drums. It’s just a recording of a drummer playing drums. And I think that that element is coming back into the play.”

Papa Roach’s new album – the follow-up to 2022’s Ego Trip – will be out later this year. Listen to the single Wake Up Calling below.

The post “They can hear it in the song, see it in the art, and they’re, like, ‘Ah, that ain’t it’” Papa Roach’s Jacoby Shaddix says he loves rock’s pushback against AI appeared first on Guitar.com | All Things Guitar.

Don’t count The Who out just yet. A new album from the prog rock legends may not be as far-fetched as it once seemed – at least if Pete Townshend is to be believed.

While frontman Roger Daltrey has repeatedly downplayed the idea of another Who record in recent years – citing the cost and underwhelming commercial performance of 2019’s WHO as reasons to move on (“there’s no record market anymore,” he previously said) – Townshend has now suggested that door might not be fully closed.

• READ MORE: “Two of his right-hand fingers were bleeding afterwards”: Tony Visconti on Pete Townshend’s one-take David Bowie Heathen session

The Who guitarist and primary songwriter recently shared a glimpse of his new London writing studio on Instagram – a space he says was “built by Rick Astley” and “mine now”.

“I’m loving it. Great sound. I’m very spoiled,” Townshend writes.

And when one commenter suggested there was “no way” “another Who album” would happen, Townshend fired back with a surprising reply: “You might be wrong. Roger wants to give it a try.”

The musician also fielded questions about his current setup, revealing a relatively no-frills approach to writing and recording.

“I use a MacBook. The sequencer is an MPC Live III. I use it on the road like a portastudio,” he writes in the comments, adding that his speakers of choice are Genelec.

Whether that setup ends up powering a full-blown Who record remains to be seen – but for now, it appears the idea is back on the table.

View this post on Instagram

In the meantime, Townshend has previously revealed he’s sitting on hundreds of unfinished pieces – and isn’t opposed to using AI to help complete some of them.

“I’ve managed to wade through about half of [my unfinished music],” he said during an appearance on The Late Show with Stephen Colbert. “What’s interesting is… I don’t know what to do with it! I’m quite interested in AI [to see what it makes of it].”

“I’m quite interested in [using it to rework] some of my old songs that didn’t quite work,” he added. “[If I put stuff] onto Suno or some AI music machine, [I could see] what it can make of it. There might be some hits!”

The post Is a new The Who album on the cards? Pete Townshend claims Roger Daltrey “wants to give it a try” appeared first on Guitar.com | All Things Guitar.

“People on Facebook I hadn’t spoken to in a decade were all sending messages, going, ‘Hi. How are you?’” begins Lucy Morgan of London-based, kitchen punk band, I, Doris. “Just wondering, have you seen this TV show?” The series in question is Riot Women, a critically acclaimed six-part drama from the BBC that the New Yorker described as “genius” and currently sits at 92% Fresh on Rotten Tomatoes.

• READ MORE: How Women Are Giving Metal Guitars A Mainstream Moment

Set in the quirky and inclusive Northern town of Hebden Bridge, pub landlord Jess Burchill assembles an unlikely crew of women to form a band for a local talent contest. But for a legion of Gen X women across the globe, the storyline felt far from fictional.

Director of the upcoming documentary Menopunks, Alicia J. Rose, performs in two bands born from Portland’s punk energy, the city also responsible for seminal riot grrrl acts like Heavens to Betsy, Team Dresch, and later, Sleater-Kinney.

For Rose, the show was a welcome tonic in its focus on women in their 50s and 60s reclaiming their voices. “[It] reminded me of The Full Monty but with women and rock and roll as the MacGuffin,” she says from her home in Oregon City. “I love every fucking character in the show. They’re not the real thing, but I’ll tell you, the real thing does fucking exist.”

Nana Punk

South Wales sextet the Nanaz, an outfit that formed in 2024 through a punk rock workshop, proves not only that these women exist, but their sounds are in demand, thanks to the BBC series. “We’re riding a very good wave, partly as a result of Riot Women,” admits bassist Anne-Marie Bollen. “People are looking at who’s actually doing this for real.” The group met through the Nana Punk project, an initiative hosted at Wales’ Millennium Centre to break barriers and build new communities.

For the Nanaz’s Deborah de Lloyd, the sessions were a crash course in stepping out on stage. “At the end of the workshops, they got us to play a gig, with no rehearsal time, in the middle of the Millennium Centre. I was working out the chords ten minutes beforehand!” Lead guitarist Angela Samuel, who played acoustic before turning to electric in the last few years, is still astounded by their progress. “When we started, I thought ‘There’s no way we’re going to get a band going,’ but we actually have!”

I, Doris’s Lucy Morgan’s entrance to music was more traditional. Rather than taking in the toilet circuit of dingy East London dive bars, she was classically trained. But the desire to perform with other creatives like her was strong.

“I liked the idea of having a band with Cassie [Fox, LOUD WOMEN founder and I, Doris bassist and frontperson]. We have a shared love of pop music, Dolly Parton, and gin-soaked evenings.” For Fox herself, it’s railing against societal expectations. “It’s what we do, rather than play bridge or golf,” she quips. “What are normal middle-aged women supposed to do with their time?”

Portland’s Alicia J. Rose feels similarly, learning drums when she turned 40 and forming Party Witch. She’s since added another artistic output to her arsenal that’s quickly picked up steam in the community, as she shares. “I’m in another band called The Fabulous Bloodstains with Gilly Ann Hanner [ex Calamity Jane and former tour support for Nirvana]. It’s the most real version of the Riot Women that I’ve ever experienced in my life. We formed to open for two sold-out shows of Sleater-Kinney playing as the Ramones last October.”

Anne Marie Bollen of the Nanaz. Image: Press

Seeing Red

This new burst of creative flow didn’t come easily for Rose, though, whose forthcoming documentary, Menopunks, paints an intimate portrait of celebrated female musicians (think vocal tornado Neko Case and original riot grrrl Allison Wolfe of Bratmobile) navigating midlife. In the BBC’s Riot Women, vocalist Kitty Eckersley and keyboardist Beth Thornton pen the band’s talent show entry, Seeing Red, supercharged with the frustrations of accessing HRT (hormone replacement therapy).

The struggle isn’t a new subject for I, Doris, who wrote their own powerful post-punk number about gynecological healthcare three years prior. Alicia J. Rose is adamant that the shift from hot flashes and brain fog on stage is all thanks to the drug. “Now I have the energy to be in two bands. Now I’m making a movie, and I couldn’t be doing any of these things if I were as miserable as I was two years ago.”

While the TV series’ songwriting themes line up with lived experience, there’s a longstanding ethos from the riot grrrl era that doesn’t chime so well. In the ‘90s, Bikini Kill’s Kathleen Hanna began demanding “Girls to the front!” at her band’s shows to create safe spaces for women in a male-dominated scene. While the riot women of today are happy blasting out their politically charged tunes, they’re demanding visibility on their own terms, as I, Doris’ Lucy Morgan explains.

“In my last band, I hid behind a trombone. I, Doris is my first opportunity to be on a stage as a performer, not someone hiding in the background, [but] it took me a lot of years to get over some really crippling stage fright. It’s only as I got past 40 that I became comfortable with standing up on stage and people looking at me.”

Lucy Morgan of I, Doris. Image: Press

Getting Things Wrong

This trepidation to take up space also feels familiar to the Nanaz’s second guitarist, Claire Symons. “They’re always trying to get me out from behind a pillar!” she admits before bandmate Marega Palser chips in. “When we started, it was like if you’re shy, just put a fucking bag on your head.” But as Symons reflects, that’s not so easy when you’re a woman of a certain age. “Someone said, ‘Wear a balaclava. Do a Kneecap!’ And I was like, ‘Jesus Christ, I’m always hot!’”

Pushing past the debilitating stage fright and questionable accessories, bands like the Nanaz and I, Doris are channeling a lot of the early DIY spirit that post-punk godmothers The Raincoats gifted us back in the 1970s, a learn-as-you-go mentality. “We’ve got no shame in making mistakes or getting things wrong,” says Marega Palser of the Nanaz. “The fact that you’re getting up on stage and doing it is enough of a signal to women of the same age. It’s important to see that there are other ways of being and behaving.”

The same could be said for the bands’ attitudes to guitar culture. I, Doris’ latest addition, Lenie Mets, who has consistently performed in London’s live music circuit, is unsettled by the weight often placed on an artist’s gear. “I honestly couldn’t give a blank shit about that. You see a guy with his 500 guitars and the pedal boards they come up with, and you just think, why?” Some of that resistance may stem from how the gear is marketed and displayed.

Research by Fender revealed that women were predominantly buying guitars online “because in the bricks-and-mortar stores there was nobody to relate to, and they weren’t getting treated well”. For the Nanaz’s Anne Marie Bollen, her bass came via an unlikely punk grapevine about a decade ago. “Richie from Dub War told me to drive over quickly — a guy had been kicked out, and I could have his bass for £100,” she laughs. “Years later, we’re playing shows with Bad Sam featuring Dean Beddis, and he goes, ‘I had one like that!’ I said, ‘I know — it’s yours!’”

With the Welsh creative community rallying around them, it’s no surprise that the Nanaz have been embraced on the live circuit. But there’s one particular supporter in the crowd who’s been rooting for lead guitarist Angela Samuel for years. “We’ve got Ang’s dad in the audience,” beams Bollen. “He’s 87 and an old rock and roll drummer. He’s always wanted Ang to be in a band.”

Claire Symons of the Nanaz. Image: Press

Louder Than Ever

It’s champions like these that are helping to turn up the dial on women’s voices that have been systematically suppressed and repressed for generations. In the ‘90s, women-fronted bands grappled for the single slot on an all-male festival bill. Today, initiatives like Nana Punk and Leicester’s Riotous Collective mean more Gen X women are making noise than ever before.

“We deserve to be louder than fucking ever,” insists Alicia J. Rose back in Portland. “So why the fuck not pick up the loudest instrument possible and turn it up to fucking 11, as Tufnel said, and rage against every fucking machine that will be in listening distance?” The beauty of this collective coming-of-age? The message is spreading far and wide for others to reconnect with their creativity, regardless of status or tech setup.

Like The Raincoats’ Gina Birch seeing the “madness and chaos” of The Slits for the first time, sometimes we just need to see someone like us on stage. Today’s real-life riot women are making that visibility louder — and contagious.

“What I’ve found really amazing is talking to other female friends who have said, ‘I’ve started singing lessons!’ or ‘I’m going to play the guitar!’” says the Nanaz’s Claire Symons. “My sister-in-law even said, ‘Oh, I’m gonna get my mandolin out that I bought 15 years ago, and I’m now gonna have another go!’”

Follow the real riot women at @thenanazband, @idorisband and @menopunks

The post The Real Riot Women: the Gen Xers discovering punk and embracing guitar appeared first on Guitar.com | All Things Guitar.

Dokken guitarist George Lynch has recalled watching Eddie Van Halen play up close in the ‘70s, and how his chops humbled even the formidable musicians of English hard rock outfit UFO, who Van Halen supported during a show at the Golden West Ballroom in California in 1976.

“I saw UFO play with Van Halen at the Golden West Ballroom in Norwalk, California, near where we lived. We played there a lot.” Lynch tells The Music Zoo owner Tommy Colletti in a new conversation [via Blabbermouth].

• READ MORE: EVH unveils two 5150 “blast from the past” models – with both throwback and modernised features

“It was somewhat dramatic, because I don’t know if UFO knew what they were in for. And I love UFO – we all love UFO – but they got their ass kicked. I mean, they came up, and I don’t think they were ready for that.”

Lynch goes on to recall the “paradigm shift” in hard rock brought about by Eddie Van Halen’s guitar playing and how he spearheaded two-handed tapping’s foray into the mainstream.

“To see it up close and personal as it was happening, in Mammoth [one of Eddie Van Halen’s pre-Van Halen bands, not to be confused with his son Wolfgang’s active band of the same name] and also early Van Halen, it was mind-bending to see that in person. It was just insane. 

“I mean, I’d just go to my studio or go home and just get on my guitar for eight hours and go, ‘I gotta step up. This is insane.’”

Elsewhere, blues ace Joe Bonamassa recently pondered whether Eddie Van Halen would have been as cool if he were to have used an amp modeller like a Neural DSP Quad Cortex, as opposed to the vintage analogue gear that was available to him at the time of Van Halen’s heyday.

The guitarist and avid gear collector said: “Instead of a 68 plexi with a laydown transformer, a Univox [EC-80A Tape Echo], and MXR Phase 45, a [Marshall] basket weave cabinet, and a Boogie Bodies Strat, imagine if the same Eddie Van Halen showed up with a Neural [Quad Cortex] and a Suhr.”

He asked, “Is it as cool? I’m not knocking John Suhr, I’m not knocking Neural… Great invention, but I just pose the question. People hear with their eyes. It’s the whole thing.”

The post “I saw UFO play with Van Halen in the ’70s – they got their asses kicked”: George Lynch recalls seeing Eddie Van Halen’s “mind-bending” playing up close appeared first on Guitar.com | All Things Guitar.

Jackson has blessed Gojira guitarist Christian Andreu with a brand-new signature model, and intriguingly, it’s the first-ever Rhoads model in the Jackson lineup to feature an EverTune bridge…

The guitar joins two existing Jackson signatures under the French guitarist’s portfolio, completing a trio of custom-spec’d Randy Rhoads tuned for his punishing riffs in Gojira.

• READ MORE: Ace Frehley’s number-one Les Paul headlines upcoming auction at Julien’s – and could fetch half a million dollars

In terms of specs, as stated, the headline feature of the Pro Plus Series Signature Christian Andreu Rhoads RR24 EVTN6 is its EverTune bridge – the first time one has featured on a Jackson Rhoads.

For those unaware, the EverTune is a patented bridge design which uses a system of springs and levers to keep a guitar perfectly in tune no matter the conditions or ferocity of playing that’s thrown at it.

As you’d expect, then, the EverTune is widely favoured by metal musicians, with Andreu’s Gojira co-guitarist Joe Duplantier using one during the band’s landmark 2024 Olympic opening ceremony, as well as other metal stalwarts including Trivium’s Matt Heafy and Tetrarch’s Diamond Rowe.

Credit: Jackson

Elsewhere on the spec sheet, Christian Andreu’s new signature model features a single Fishman Fluence Modern humbucker in the bridge position – with a three-way mini toggle for access to three different Fishman voicings – 24 jumbo stainless steel frets on a “lightning-fast” 12”-16” compound-radius ebony fingerboard, and a three-piece neck-thru build with graphite reinforcement with alder wings for “earth-shaking tone with fortress-like stability”.

“It started as love at first sight when I was 15, seeing the legendary Kirk Hammett wield this iconic shape. It was the most metal thing I’d ever seen, and I was hooked,” Andreu says.

Credit: Jackson

“20 years later, holding my first Jackson RR signature model turned that teenage dream into reality. And now, I’m even more excited to introduce my brand-new RR signature guitar. This instrument isn’t just something I play live; it’s an extension of who I am.

“It’s also an honour to represent the first-ever RR model equipped with an EverTune bridge! With an unbelievably smooth neck, perfect balance and effortless playability, this guitar feels like it was built for me. I couldn’t be prouder of how it turned out.”

Watch Christian Andreu put his new signature model through its paces in Jackson’s new demo video below:

“This Pro Plus Series signature is the culmination of everything we’ve learned about extreme performance,” adds Jon Romanowski, VP of Product, Jackson.

“It’s a precision-engineered instrument built to withstand the most punishing tour conditions while delivering the sonic brutality that defines Gojira’s legendary sound. We’re proud to collaborate with a groundbreaking artist who shares our commitment to creating instruments that unleash musicians’ full creative potential.”

The Pro Plus Series Signature Christian Andreu Rhoads RR24 EVTN6 is available now, priced at $2,429 / £1,849. Learn more at Jackson.

The post Gojira guitarist’s new Jackson signature is the first-ever Rhoads model to feature an EverTune bridge appeared first on Guitar.com | All Things Guitar.

EVH has launched two new 5150 Series models, the DX and DX QM (quilted maple), which blend both throwback and modernised features together.

The DX offers a modified Strat-style basswood body with a deeper upper body curve. While the striped original had a single humbucking bridge pickup only, this new version comes with a HH pickup configuration and also has a lower bout kill switch.

• READ MORE: The best value electric guitars: 11 affordable options for beginners and players on a budget

These models also offer a graphite-reinforced bolt-on quartersawn baked maple neck with a modified “C” profile, 12”-16” compound radius baked maple fingerboard with 22 jumbo frets and black dot inlay, plus a hand-rubbed satin urethane back finish, heel-mount truss rod adjustment wheel, and a “hockey stick” headstock decorated with the EVH logo decal.

Its custom designed EVH Wolfgang Alnico 2 humbucking pickup configuration is controlled by a three-way toggle switch. The bridge pickup delivers punch and articulation with sweet sustain and thick chunky rhythms in a perfectly balanced EQ curve, according to the EVH brand, while the neck pickup serves up “no-nonsense, balls to the wall overdrive and endless sustain without skimping on articulate cleans when the volume is rolled down”.

The DX is completed by an EVH-branded top-mount Floyd Rose bridge and locking tailpiece with fine tuners for each string, plus a patented EVH D-Tuna for switching back and forth from drop-D to standard tuning.

The DX is available in Black or Candy Apple Red Metallic, while the DX QM comes in Pacific Drift (blue) or Limeade Zest (a green into yellow ombre).

The MSRP for the 5150 Series DX is £1099 / €1299 and the 5150 Series DX QM is £1249 / €1449. Find out more via EVH.

The post EVH unveils two 5150 “blast from the past” models – with both throwback and modernised features appeared first on Guitar.com | All Things Guitar.

With the Telecaster’s 75th anniversary celebrations well underway, Fender has announced Tele Town, a “live music experience” with appearances from a smorgasbord of top Tele players at the Ryman Auditorium in Nashville – “where the Telecaster became a legend”.

Taking place Monday, 4 May, 2026, Tele Town will be a “one-night live music experience” celebrating all things Telecaster, with a curated lineup of performers including Brad Paisley, Brent Mason, Brothers Osborne, Guthrie Trapp, James Burton, Luke McQueary, Ricky Skaggs, Steve Wariner, Trey Hensley and Zach Top. 

They’ll perform alongside a dedicated house band led by Nashville native and the event’s musical director Derek Wells.

• READ MORE: Ace Frehley’s number-one Les Paul headlines upcoming auction at Julien’s – and could fetch half a million dollars

Elsewhere, the event will be hosted by Nashville guitarist and music historian Zac Childs, who will take the audience through performances and segments which highlight the Telecaster’s “pioneering design and role in shaping Music City’s – and the world’s – musical identity.

“75 years after its debut, the Telecaster remains proof that simplicity endures, adaptable enough to move across genres, generations, and stages without losing its identity,” says FMIC President of Americas, Justin Norvell. 

“This celebration is our way of honouring not just an instrument, but a cultural phenomenon that has shaped music for over seven decades.”

He continues: “Tele Town at the Ryman will be the culmination of this celebration – bringing that story to life on one of music’s most hallowed stages in the heart of Music City. From our limited edition collections to the content pieces and community celebrations, we’re ensuring the Telecaster’s legacy reaches both longtime fans and discovers new ones who will carry its voice into the future.”

Credit: Fender

“Serving as musical director for Tele Town is a true honour, especially in my home city of Nashville, where I grew up and where the Telecaster’s legacy runs so deep,” adds Derek Wells. 

“Putting this show together has been about more than just great players, it’s about capturing the spirit of an instrument that’s shaped so much of the music we all love. This lineup is full of people who’ve lived with this guitar onstage and in the studio, and I’m certain that when we all are together, you’ll see people playing with love and reverence for what this instrument has meant to us all.”

Tickets for Tele Town will go on sale Friday, 27 March, 2026 at 8AM PT.  All net proceeds from ticket sales will be donated to local Nashville charities.

Prior to the event, the Fender Custom Shop will also celebrate the 75th anniversary of the Telecaster with an exclusive Roadshow event on 3 May from 18:00 – 21:00 at Carter Vintage in Nashville. The event will feature FCS Senior Masterbuilder Paul Waller, Master Pickup Winder Josefina Campos, and Fender’s Chief Engineer of Guitars Tim Shaw, who will offer an “intimate look” at the craftsmanship behind Masterbuilt guitars.

Visit AXS for ticket information for Fender Presents: Tele Town.

The post Fender to celebrate 75 years of the Telecaster with one-night-only Nashville event featuring Brad Paisley, Brent Mason and Brothers Osborne appeared first on Guitar.com | All Things Guitar.

Joe Bonamassa has been questioning if modern gear looks as cool as good old fashioned analogue rigs, and believes people “hear with their eyes” to a certain extent.

The blues guitarist and gear obsessive’s home gear museum, known as Nerdville, holds thousands of rare and vintage gear gems, with over 600 guitars. The collection has grown so much that he’s even slowing down to avoid reaching “a saturation point”.

• READ MORE: “You’re not going to get any sustain”: Analog Man legend Mike Piera thinks people who use digital amps and in-ear monitors are missing out on a huge part of guitar tone

With such an avid love of gear, Bonamassa may be somewhat biased, but he poses an interesting question, and he’s not alone in quizzing how smaller and modernised set ups can sometimes take away from the visual aspect of putting on a gig or affect the sound overall.

During his appearance on the No Cover Charge podcast, he uses Eddie Van Halen as an example: “Instead of a 68 plexi with a laydown transformer, a Univox [EC-80A Tape Echo], and MXR Phase 45, a [Marshall] basket weave cabinet, and a Boogie Bodies Strat, imagine if the same Eddie Van Halen showed up with a Neural [Quad Cortex] and a Suhr.”

He asks, “Is it as cool? I’m not knocking John Suhr, I’m not knocking Neural… Great invention, but I just pose the question. People hear with their eyes. It’s the whole thing.”

View this post on Instagram

Interestingly, not all artists believe smaller rigs impact the visual aspect of live shows. Chad Zaemisch, guitar tech for James Hetfield of Metallica, actually feels that a large wall of amps is not missed at their shows. In an interview with Guitar World, Zaemisch explained how their one-off Freeze ‘Em All concert in Antarctica in 2013 caused their transition.

“We were kind of forced to come up with a solution for playing a show in Antarctica where we couldn’t have speakers. For environmental reasons, they didn’t want any noise pollution. Matt Picone from Fractal came and got all our sounds started. It was definitely a learning curve for us and the band, but once we got through that, everybody started to look at how convenient it was.”

He went on to add, “Everybody’s all about content these days, and not a lot of people want to watch a band stand in front of their amp line with nothing else going on. Now we can use large video screens. It opens up a lot more opportunities to do different things.”

The post Joe Bonamassa thinks Eddie Van Halen wouldn’t have been as “cool” if he’d used a Quad Cortex instead of vintage analogue gear: “People hear with their eyes” appeared first on Guitar.com | All Things Guitar.

This lesson will show you how drawing a line between two chord tones can create melodic embellishments and add a touch of sophisticated tension to your playing.

A video taken by a passenger onboard a plane at Los Angeles International Airport showing a baggage handler throwing guitar cases to the ground has gone viral.

The footage has been seen by millions, with 4.1 million views on TikTok alone. It’s also made the rounds on Instagram, where a number of musicians have commented in outrage. This isn’t the first time an incident like this has occurred, as a number of other artists have faced damage to their instruments over the years following flights, including Emily Wolfe, Madi Diaz, Pete Thorn, and more.

• READ MORE: “I can’t wait to throw it through a Marshall”: Richie Sambora reunites with long-lost Gibson Explorer after 40 years

You can watch the footage below, but beware, it will make you wince. Touring guitarist Chris LaPlante comments, “first time I’ve wanted something to be AI”, while another user on TikTok comments, “was he kicked out of the band?” Others are questioning, does he hate music, or is he just a drummer? It seems we will never know.

@goyamariacookie

I hope your guitars are ok #LAX #losangeles #airport #guitartok

♬ Cumbia Buena – Grupo La Cumbia

View this post on Instagram

Nick Ruiz, who captured the footage, has spoken to Need To Know, and says, “The whole situation felt wrong. My instinct was to start filming.”

At the time of writing, LAX has not commented publicly on the viral footage.

A number of musicians have argued that it is better to pay for a seat for your guitar – Joe Bonamassa has also spoken about doing so – but with many touring musicians on a tight budget, it’s not always possible.

Emily Wolfe called out Southwest Airlines after her signature Epiphone White Wolfe guitar had its headstock “completely broken off” following a flight in August last year.

In a post on Instagram, she explained how she followed every guideline for traveling with an instrument: it was in a hard-shell flight case, checked in properly, and was labelled with fragile stickers.

When she first filed a report at the airport, she was first told the airline was not responsible for anything inside the case and that instruments are considered “fragile items.” After posting about her experience online, the airline eventually reached out and agreed to cover the damages.

The post “Maybe he’s a drummer”: Outrage sparked as viral video shows airport baggage handler throwing guitar cases to the tarmac appeared first on Guitar.com | All Things Guitar.

Julien’s Auctions is set to sell a number of high-profile instruments from the rock and metal world in its upcoming Music Icons auction, including some owned by Ace Frehley, Kirk Hammett and Stevie Ray Vaughan.

Celebrating the “enduring power of heavy metal”, the Music Icons auction will also feature instruments played by the likes of Billy Duffy, Izzy Stradlin, Mick Mars and Black Sabbath’s Bill Ward. Over 800 items in total will be featured.

• READ MORE: “Call my guitar man if you want the exact number”: Keith Richards reveals the astonishing number of guitars in his collection

It also celebrates 50 years since Kiss first came to London for their Destroyer tour in 1976, with Ace Frehley’s most-played 1975 Gibson Les Paul front and centre, expected to fetch between $400,000 and $600,000.

Elsewhere the sale features: Stevie Ray Vaughan’s 1969 Guild F-412 from his 1990 MTV Unplugged performance, which is expected to fetch between $300,000 and $500,000; Kirk Hammett’s stage- and studio-played (and signed) “Ouija” ESP Custom, expected to sell for between $250,000 and $350,000; and Izzy Stradlin’s 1987 Gibson HR Fusion 1 (estimate $30,000 – $50,000.

But again, the late Ace Frehley is at the centre of the Music Icons auction, with a number of other pieces of memorabilia also up for grabs, including his 1977 tour jacket, a full-length kimono from the Rock & Roll Over tour era, and a stage-worn jumpsuit.

An exhibition of highlights from the auction has been unveiled at London’s Hard Rock Cafe Piccadilly Circus, where it will remain before travelling to Japan to the Hard Rock Cafe Tokyo on 27 April, the day the sale goes live. Additional items will be unveiled on 13 May at Hard Rock Cafe Times Square, available to the public until the live auction on 29-30 May.

“Interest in music memorabilia is reaching unprecedented levels, fueled by collectors who appreciate both the cultural significance of these instruments and the legacy of the artists behind them – often resulting in record-breaking sales,” says Martin Nolan, Co-Founder and Executive Director of Julien’s Auctions. 

“Our annual Music Icons auction, featuring extraordinary guitars from Ace Frehley, Stevie Ray Vaughan, and Kirk Hammett, underscores Julien’s ongoing commitment to bringing museum-quality pieces to market while shaping the global conversation around music collecting.”

Learn more at Julien’s Auctions.

The post Ace Frehley’s number-one Les Paul headlines upcoming auction at Julien’s – and could fetch half a million dollars appeared first on Guitar.com | All Things Guitar.

Sponsored by Taylor Guitars: Our third Super Auditorium Showdown features award-winning singer-songwriter Joshua Taylor putting two voices of the Gold Label Collection to the test: the Gold Label K14e with Hawaiian koa back and sides and the Gold Label 514e with mahogany back and sides. Both guitars share a torrefied Sitka spruce top, which adds a […]

Pathways provides a variety of classic reverb and tremolo combinations

Disagreeing with bandmates when working on new material can be uncomfortable to say the least, but Lamb Of God’s Mark Morton has shared how he handles creative friction with those around him.

The band released their 10th album Into Oblivion on 13 March, which follows on from their 2022 release, Omens. Reflecting on their writing process in a new interview, Morton shares how he works with fellow guitarist Willie Adler, and how he knows when to step back and let others take the reins on a track.

• READ MORE: “It’s a flamethrower”: Mark Morton’s new Signature Les Paul Modern Quilt unites Les Paul heritage with metal-ready specs and aesthetics

“We sometimes disagree. But I’ve learned over the years that if you’ve got five guys and a producer in the room, and you’re trying to make everybody happy, you’re going to wind up diluting a piece of music to the point where it’s not going to have an identity. Somebody’s got to be willing to say, ‘I’m not directing this one,’” Morton tells Guitar World in its new print magazine.

“When that’s me, I fall back and let the people who are the most motivated and the most excited about that particular song steer it. When I stopped trying to be in control of everything, I realised the strongest opinion in the room is often the right opinion. If I disagree with Willie about something, but he’s so dead set on doing it his way because he thinks it’s way better, then I will defer to him, and vice versa.

“Conversely, if somebody’s clinging to something but everyone else thinks it’s the wrong thing, sometimes you’ve got to have that conversation and go, ‘You know what, man? The whole rest of the room disagrees with you so maybe you should just step away.’”

Adler goes on to add, “Mark and I have such a long history together that we’ve learned how to read each other and work together. We feed off each other to such an extent that I’d feel very lost going into a writing session or writing songs without Mark… I can fuck up around Mark. I can woodshed something and sound terrible, but it’s alright because I know I’m going to get there. And Mark knows I’m going to get there.”

Lamb Of God’s new album Into Oblivion is out now. The band are currently on tour, and you can view the full list of scheduled shows via the official Lamb Of God website.

The post “The strongest opinion in the room is often the right opinion”: How Mark Morton handles writing disagreements with his Lamb of God co-guitarist Willie Adler appeared first on Guitar.com | All Things Guitar.

Being a music lover means listening widely and leaving any snobbery at the door, and that’s certainly the case for Gary Holt, who says he’s always liked pop music.

It’s highly unlikely that all metal artists only listen to metal, and listening widely has influenced his work without it even being conscious. The Exodus guitarist and former Slayer member says there is one artist he particularly loves, and that’s Adele and her soothing piano work.

• READ MORE: “It’s Kirk’s riff, it’s my lyrics”: Gary Holt jokes that he’s owed royalties for his part in writing this classic Metallica track

In an interview for the new print edition of Guitar World, Holt says, “All I listen to is Adele. If you ask me what my five favourite musicians are right now, they’re all Adele. She’s one of the greatest voices ever, and if you listen to her records, outside of the hits, there’s world-class piano playing. Most of it is just her and the piano, and I love listening to piano.”

Fellow guitarist Lee Altus adds: “Good music is good music. I’m not sitting around listening to metal all the time either. One of my all-time favorite bands is ABBA. I grew up on Deep Purple, Black Sabbath, Thin Lizzy, Judas Priest, Scorpions, Iron Maiden. That stuff is still what I go back to, but I love lots of other things.”

Asked if they think the experimental nature in the band’s sound comes from their appreciation of genres outside metal, Holt says, “Maybe. I don’t sit there listening to Adele thinking, ‘I’m going to put pop music into thrash metal,’ but I’ve always liked pop. I was listening to Madonna on the Exodus tour in the eighties with Venom.

“Prince is my hero. There’s probably more Prince influence in Exodus than anyone would ever notice. Listen to Violence Works. Until the riff comes in, it sounds like we’ve lost our minds and have done a disco song. To me, Promise You [This] sounds like Blackfoot meets Discharge. There’s never a rhyme or reason to why it all happens. We just follow the riff.”

Exodus are touring across the UK and Europe right now. You can find out more via their official website. 

The post Gary Holt: “All I listen to is Adele” appeared first on Guitar.com | All Things Guitar.

Wolfgang Van Halen and his band Mammoth have been involved in some pretty huge gigs across their time together so far, but supporting Metallica on their whopping M72 world tour was monumental.

Often making headlines for their wholesomeness, be it embracing new and younger fans through the Stranger Things fanbase or their charity work with All Within My Hands, it seems Metallica also look after those around them pretty well too. According to Wolfgang, the thrash legends gifted him with a certificate for perfect attendance and even a signed photograph of Mammoth with the band backstage at their final show together in Mexico.

• READ MORE: Wolfgang Van Halen reveals he and his dad jammed a song on the new Mammoth album before he died: “I taught him how to play it on guitar, and I played drums”

In a Trunk Nation interview, Wolfgang shares his Mammoth highlights, and begins, “The couple gigs we did opening for Foo Fighters was a really big thing for me. Overall, just being a part of the 72 Seasons world tour with Metallica was probably one of the craziest things we’ve been a part of. That will forever go down as just… Wow.

“Being a part of that and being able to see how it operates, they’re basically a traveling city [with] the amount of people that it takes to build that stage and just to operate in a stadium to begin with. It was such a crazy level of stuff I’d never really been around. To be in that area and see how it works and figuring out how to play on such a crazy stage was a really fun challenge, and really shaped the live band that we are now because of that.”

He goes on to show a certificate to the camera, decorated with guitar picks in the striking yellow colour of Metallica’s 72 Seasons album: “We were the only band out of all the openers to play every single building with them,” he says. “If that doesn’t show you how much they care and how cool they are… They also sent it with [this],” he then shows the photo of them all together.

See it in the video below:

After a lot of speculation, Metallica have confirmed that a residency at the Las Vegas Sphere will take place later this year, with shows kicking off in October. The shows will continue their ‘no-repeat’ weekend tradition, which sees them perform two shows in each city with entirely unique setlists on each night.

The post Metallica gifted Wolfgang Van Halen a “perfect attendance during a world tour” certificate for not missing a support slot on his M72 tour run: “If that doesn’t show you how much they care…” appeared first on Guitar.com | All Things Guitar.

Keith Richards, like many huge artists, has a rather vast collection of guitars. In fact, he’s not even sure of the exact number he has, and some of them he’s never even seen.

Richards’ impact on guitar culture led to him earning his own Gibson ES-355 signature model earlier this year. Two super-limited Collector’s Edition models were released in January and were developed in close collaboration with Richards. Just 150 were made available in total, each based on his own treasured 1960 ES-355, which has accompanied him on every Rolling Stones tour since 1997.

• READ MORE: “He’s never playing the same thing once”: Eddie Vedder shares what he learned about Keith Richards “liquid” guitar playing by sharing a stage with him

These guitars were made using 3D scanning technology to replicate the true character of his original guitar, with 50 models signed both on the instrument and label, and 100 with only a signed label.

Speaking to Guitar World for the latest edition of its print magazine, he says, “What a surprise, and what a fuckin’ honour. I tell you, when they came at me with this one, I was like, ‘How can I refuse?’ It was a shock to me at first, because when I started, the idea of even owning a Gibson was pretty much out of the picture.

Richards was then asked how many of them he’ll get to keep: “Oh look, I have enough guitars already,” he says. Asked if 3000 guitars is an accurate figure for the number in his collection, he continues, “It’s something like that. You can call my guitar man, Pierre de Beauport, if you want the exact number, but it’s around there. But it’s not like I go around buying them or anything; a lot of these guitars have been given to me. I’ve never seen them all.

“I actually only use about… Well, the working number is about 15 guitars in the rack, for different sounds and whatever. But the other 2,900, I don’t know. They’re taken care of, though. I mean, this is a prime collection.”

The Collector’s Edition ES-355 models are now sold out online – view more at Gibson.

The post “Call my guitar man if you want the exact number”: Keith Richards reveals the astonishing number of guitars in his collection appeared first on Guitar.com | All Things Guitar.