General Interest

Refining your chops isn’t necessarily the key to attaining musical success. According to Creedence Clearwater Revival’s John Fogerty, the path to success actually lies in something a lot more obvious, but a lot harder to woodshed – strong songwriting.

Speaking to The Guardian, Fogerty reveals how Creedence became one of the defining rock acts of the 60s – they had a rock-solid catalogue of great tracks. “I’m a great believer in songs,” the guitarist says. “If you have enough songs, even if your playing is kind of average, you can go far.”

• READ MORE: Ariel Posen on his new Fender Custom Shop signature Stratocaster: “I felt like my sound was right there immediately!”

In Fogerty’s opinion, artists should always focus on writing, writing, writing – even if that means 90% of your work is left on the cutting room floor. “For every song I wrote I threw 10 away,” he admits. “When you heard one of my songs, I wanted there to be no doubt it was a really good song. It sounds grandiose to say it, but I was trying to have that as my career goal.”

Considering Creedence are the second most streamed act of the 60s, just behind The Beatles, there’s certainly proof that Fogerty is on to something; cuts like Bad Moon Rising, Proud Mary and Have You Ever Seen The Sun continue to rake in listeners even six decades on.

But don’t just take Fogerty’s word for it. Other artists have also asserted the importance of songwriting over technical ability, with Aerosmith’s Joe Perry stating as such just last year. “If you spend all your time learning technique, scales and all that, you’re not going to write something new and interesting!” he told Guitarist magazine in October.

Avenged Sevenfold’s Synyster Gates has also gone on record preaching the importance of songwriting over flashy guitar playing. Speaking to 93XRadio, he pointed out the band’s 2007 track A Little Piece of Heaven: “That’s a fan favorite, that has hardly any guitar in it… That’s probably our best song. And it’s very, very little guitar work. So to me, it’s songwriting first” [via Metal Injection].

The post John Fogerty says this thing is more important to musical success than being a good guitar player: “Even if your playing is kind of average, you can go far” appeared first on Guitar.com | All Things Guitar.

Aerosmith may have officially retired from touring last summer, but Joe Perry is once again teasing the possibility of the band sharing a stage. In a new interview, the guitarist hints that despite the logistical hurdles, a reunion – at least in some form – could still happen.

• READ MORE: “He went on first, and he kicked our ass”: Aerosmith reveal the “stunning” guitarist who opened for them, and had the audience walking out before they even came on stage

The Boston rockers called it quits on touring last year after it became clear that frontman Steven Tyler’s long-standing vocal injury wouldn’t allow him to sustain a full farewell run.

Still, Tyler hasn’t been completely offstage: earlier this year, he jammed with Aerosmith bassist Tom Hamilton and Extreme guitarist Nuno Bettencourt at his annual Jam for Janie Grammy Awards Viewing Party. He also appeared in a supergroup at the Black Sabbath Back to the Beginning event in Birmingham, alongside Bettencourt and Rage Against the Machine’s Tom Morello.

Now, Perry has added more fuel to the reunion speculation.

Speaking with WZXL’s Kenny Young, he says, “We’re actually talking quite a bit. I know our touring days are over, but I don’t know. We’re all flesh and blood. I don’t know, man.”

“I would say, at some point we will all be together on the same stage…If I was a betting man, which I am, I would say, at some point something’s gonna happen. But we’ll see.”

Perry has hinted at a reunion before, noting that another Aerosmith performance is “just a matter of getting there,” though he’s also been candid about the challenges of organising a full tour.

Just last month, he told SiriusXM, “I know there’s gotta be at least another Aerosmith gig, and I’m not looking forward to putting the set list together for that one.”

“I’m always hoping, but going on the road, it’s a big deal pulling that together. It’s one thing to sit there and look online and see who’s touring and stuff, and there’s dates that show up, but there’s so much planning, and what it takes out of you physically, it’s a lot more than people realise.”

In the meantime, Perry isn’t staying idle. His solo band, The Joe Perry Project, has already kicked off their 2025 North American tour, starting at Tampa, Florida’s Hard Rock Event Center.

Head over to Joe Perry’s website for the full list of dates.

The post “If I was a betting man, which I am, I would say, at some point something’s gonna happen”: Joe Perry drops another hint at Aerosmith reunion appeared first on Guitar.com | All Things Guitar.

Even five years after his passing, Eddie Van Halen’s influence is still felt across the music world, but for those nearest and dearest to him, the anniversary of his death is a moment to reflect on everything that’s happened in the years since.

In a touching Instagram post, the guitarist’s ex-wife Valerie Bertinelli reflects on the sad anniversary, the bond they shared over their son, Wolfgang, and the pride Eddie would have felt watching him carve out his own path in music since his dad’s passing.

• READ MORE: “For someone to do it better than him, they’re gonna have to reinvent the guitar all over again”: Kirk Hammett thinks no guitarist will ever eclipse Eddie Van Halen

Sharing a portrait of a young Edward and herself, Bertinelli writes: “Some days I really do miss you. There will always be a loud absence in these gratifying sideline years. Who do I yap to when there was really only one person I could talk to about Wolfie the way that we did? The pride we both felt. Still feel. I’m grateful for where we landed. Through the ups and the downs to still alight where we did is a blessing.”

She continues: “You’d be so proud of Wolf. I know we’d be screaming together in the stands watching him on stage. Seeing who could whistle the loudest. I will never not miss being able to experience that with you.”

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Eddie Van Halen passed away on 6 October 2020 at the age of 65 after a long battle with throat cancer. Wolfgang, who played in Van Halen as a teenager and now leads his own band Mammoth, has admitted that dealing with his father’s death does not get “any easier”.

“I believe Zelda Williams, Robin [Williams]’ daughter, said it the best way that I could ever imagine, which is, even a truckload full of roses still weigh a ton,” Wolfgang told Billy Corgan on The Magnificent Others podcast. “There’s so much that I can’t share with him.”

The musician also unpacked why he chooses not to play any Van Halen material on the regular even though he could “probably make a decent living at it”.

“It’s very hollow and astoundingly creatively unfulfilling,” Wolfgang said. “I feel like it’s kind of selling out, and I could never do that, that’s not satisfying to me. I would rather bomb on my own than succeed with what my dad laid before me.”

Speaking of legacies, Eddie Van Halen’s legendary custom-built 1982 Kramer electric will head to auction for the very first time at Sotheby’s this October, where it’s expected to fetch between $2 million and $3 million.

The post “I know we’d be screaming together in the stands watching him on stage”: Eddie Van Halen’s ex-wife says he’d be “so proud” of his son Wolfgang in touching tribute appeared first on Guitar.com | All Things Guitar.

If you own an original Klon Centaur – the gold-plated unicorn of the overdrive world, now worth thousands on retailers like Reverb.com – you’d think keeping it powered would be as simple as plugging it in. But according to its creator Bill Finnegan, doing it wrong could “fry” your beloved investment in an instant. And his correct method? Let’s just say it’s less ‘plug-and-play’ and more ‘plug, snip, solder, and pray.’

• READ MORE: Behringer changes name and artwork of its “counterfeit” Klon clone after legal filing

In a new Instagram video, Finnegan addresses what he says is one of the most common questions he still gets: how best to power an original Centaur unit. His first rule: do not – under any circumstances – use a multi-tap power supply with switchable voltages.

“For a simple reason: the Centaur absolutely requires no more than 9 Volts DC coming in,” he explains. Anything more will “fry” the unit, which is why “using any type of multi-tap power supply with switchable voltage is just asking for trouble”.

Instead, he strongly recommends using a dedicated 9V supply like the trusty Truetone 1 SPOT.

Sounds simple enough? Well, wait for it. Finnegan wants you to clip the barrel connector off that nice, safe PSU and solder on a Switchcraft 780 plug – a slightly odd-sized .14” connector – because it gives a “much more positive snapping connection” to the Centaur than a regular 1/8” plug.

Sure, he admits a regular 1/8” adapter “could work in a pinch,” but we’re talking about a pedal worth more than some people’s rigs over here…

As you might guess, this is not a job for the casual tinkerer. Finnegan suggests having “somebody who’s completely qualified” (like a good guitar or amp tech) do the work.

The process generally involves clipping the barrel jack off the PSU cable, stripping the two conductors, and testing for polarity (you need +9 Volts to the tip of the plug). Only then should the Switchcraft 780 be soldered on, the polarity re-tested, the parts reassembled, and everything checked again.

Once that’s done, he says, you’ll have “a completely reliable, goof-proof way to power your Centaur over the long haul.” Which, to be fair, is probably worth the hassle – because nothing says ‘peace of mind’ quite like preventing a puff of magic smoke from a pedal worth more than your amp, your guitar, and possibly your car.

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The post Klon Centaur designer says you should NEVER use a multi-tap PSU to power the legendary pedal – but his recommended way to ensure you don’t “blow it out” is incredibly fiddly appeared first on Guitar.com | All Things Guitar.

$629.99/£579, evhgear.com

Eddie Van Halen’s Wolfgang design is nearly 30 years old now – beginning life in 1996 when Ed was with Peavey, and then being redesigned from the ground up a decade later when he moved over to his own Fender-backed EVH brand.

In that time, the Wolfgang has become something of a modern classic, as Eddie’s “last attempt” to design a guitar, it holds even more significance for the Van Halen faithful after his sad passing in 2020.

• READ MORE: Fender Player II Modified Stratocaster review: “it gives Fender’s US instruments a run for their money”

Over the last decade, the Wolfgang has also become one of the more accessible hard-rocking guitars out there, with the Standard line’s Asian manufacture bringing entry-level prices to the line.

Now we have the most affordable Wolfgang yet, but is it one that veers to far from the recipe that Eddie laid down with Fender’s Chip Ellis nearly 20 years ago?

EVH Wolfgang Standard TOM – what is it?

Ed might have named the Wolfgang for his son, long before he was an accomplished musician in his own right, but the ‘TOM’ in the name of this guitar isn’t another nod to someone in EVH’s life, it reflects what is a pretty significant change to the Wolfgang recipe – a tune-o-matic bridge and tailpiece.

The TOM isn’t the first Wolfgang to shed the Floyd Rose locking vibrato that Van Halen made famous – you can get a US-made version that also rocks a tune-o-matic, but this is the first affordable version to do so.

Like the other Wolfgang Standard guitars, the latest addition to the Wolfgang line is made in Indonesia – where Fender has also started making its own Standard series guitars in the last 12 months.

The good news is that the lack of a Floyd means that it’s also the most affordable Wolfgang out there, but the rest of the spec sheet reads like an instrument priced significantly higher, with a number of features tailored to comfort and speed.

Such features include a special “comfort cut” forearm contour in its basswood body – which is instantly noticeable and certainly aids long practice sessions – and EVH-branded humbucking pickups mounted directly into the body in the time-honoured Van Halen manner. Direct mounting them like this was, in Ed’s view, to increase vibration transfer, resulting in “sustain for days on end”.

EVH Wolfgang Standard TOM – feel and sounds

Days might be a bit much, but the first unplugged strum certainly reflects a resonant and lightweight guitar with plenty to recommend it.

You do have to check yourself and remember this is a $600 guitar at times, because it’s very easy to forget that it’s not a much pricier guitar. You can attribute this primarily to two things: the feel of the neck and fretboard, and the palette of rock-ready tones courtesy of its EVH Wolfgang humbuckers.

Chief in my list of requirements for a comfortable playing experience is a low action, and the Wolfgang delivers here spectacularly. This action – set up exquisitely straight out of the box, it must be said – is complemented very well by the smooth oiled finish of the maple neck, meaning playing is effortless the length of the fretboard, whether riffing in the lower registers or doing your best at some Eddie Van Halen-style two-handed tapping.

Of course, the subtraction of a Floyd Rose means you have slightly fewer tools to play with when crafting solos. But what you lose in divebomb potential you gain in the ability to make quick tuning adjustments, and the setup still provides rock-solid stability even when you’re dropping things down.

In fact, after I tuned this guitar up, I barely needed to make any tuning adjustments in two hours of non-stop playing (including some pretty rigorous and ambitious bends that would knock most guitars out of whack).

The humbuckers are proprietary EVH models, and while you’re never really sure what you’re going to get with own-brand units, these hit the mark on high-gain, crunch and clean tones alike.

The Wolfgang is obviously a guitar aimed primarily at modern rock and metal players, and with that in mind I thought it best to test it both through an amp and going direct into amp software.

Naturally, I went straight for a high-gain sound with both, and both through my Blackstar and Positive Grid’s BIAS modelling software, the pickups serve up that raw hard rock power, with a gnarly biting quality to the bridge humbucker and classic warm smoothness to the neck.

In a pleasant surprise, there’s still plenty of character and depth to these pickups played clean – the neck ‘bucker has a beautiful crystalline quality that, when paired with a touch of chorus and delay, is just *chef’s kiss*.

A disappointment, however, is the volume control – there’s really not a lot of the linearity you’d expect. I found that I essentially got full signal at about three on the knob, and everything after was giving you more treble but not a lot else.

It’s not a deal-breaker, but it does make volume swells or using the volume to control your gain a fair bit trickier.

EVH Wolfgang Standard TOM – should I buy one?

It’s easy for those of us in the reviewing chairs to call something ‘entry level’ and make a bunch of excuses for it, but just over $600 is still a lot of money for a lot of people to spend on a guitar – especially if you’re starting out. You could buy a PS5 instead.

There’s also a lot of competition at this end of the market for budding rock and metal players, and so it’s all the more impressive that this steps into the market as such a well-sorted and reliable instrument. You could make this your main guitar for years to come – it feels and sounds like a much more expensive instrument.

That said, there’s an argument that if technical metal and shred is your bag, you might be better off saving another $150 and buying the Floyd Rose-equipped version instead. Yes, a Floyd can be idiosyncratic for some, to put it mildly, when it comes to string changes, but it opens up a whole world of playing possibilities for the technically inclined.

But if you’re dead set on keeping it as simple and hassle-free as possible, this Wolfgang certainly won’t let you down.

EVH Wolfgang Standard TOM – alternatives

The Floyd Rose-loaded Wolfgang WG Standard obviously presents itself as a contender here – certainly if the ability to divebomb is a non-negotiable for you. This comes in a little pricier, though, at a still-reasonable $789. Of course, if budget isn’t a concern in your case, you could spring for the US-made Wolfgang USA; however this will set you back a cool $4,099. Don’t say I didn’t warn you…

If a Floyd Rose isn’t a must-have, there are plenty more rock-ready guitars built for speed at this price point. The Jackson JS Series Surfcaster JS22 HT, for example, is similarly set up, with a bolt-on neck, single volume and tone controls, high-output humbuckers and a hardtail bridge. This is at the uber-affordable end of the spectrum, too, at just $299/£279.

The post EVH Wolfgang Standard TOM review: “are you going to regret not picking the Floyd Rose model?” appeared first on Guitar.com | All Things Guitar.

Whiskey Myers Rig Rundown with John Jeffers & Cody Tate

The high-powered Southern rockers return for a full-on Rig Rundown.

This “Les Paul” Isn’t What You Think…

Gibson commemorates 50 years in Nashville with an unexpected, limited edition evolution of their understated Marauder.

Verso Sine Review

Unique expressive features from a futuristic instrument that still nods at electric guitar design history.

Gibson Custom Creates Noel Gallagher Les Paul Standard

Exclusive: Full details of the black Gibson Les Paul Standard seen and heard at Oasis reunion shows

PRS Guitars Releases Special Limited Edition of the CE 24

PRS Guitars today announced a new limited edition: the PRS CE 24 Special. “Special” in the name refers to this guitar’s hum/single/hum pickup configuration, a first for the CE bolt-on platform. Only 1,500 of this limited-edition model will be made for 2025.

Megadeth to Release Final Album in 2026

Global music icon Dave Mustainereveals next album will be final studio albumof his more than four-decade career.

Emerald Guitars has introduced its most accessible range yet, the Black Opus Series of acoustics. Crafted for players who want that Emerald tone, playability, and reliability without paying for custom aesthetics or extras, the Black Opus comes in two sizes: the X7 parlor guitar and the signature dreadnought X20.

Focused on sound, playability and reliability, the stripped-back Black Opus is the definitive no-frills Emerald — including a Crystal Ice satin finish and streamlined component choices. Emerald Guitars has reduced the cost without reducing quality. The Opus series come with no veneers or custom options – just the essentials. Paired with a minimalist, studio-grade preamp design, it delivers a warm, clean signal that preserves the true voice of the guitar. That sums up the Black Opus philosophy: pure tone, no excess.

Built in Donegal, Ireland to the same standards as every Emerald, the Black Opus features include:

• Black carbon fiber weave with Crystal Ice satin texture finish
• LR Baggs Element Bronze undersaddle piezo pickup
• Emerald 14:1 gear ratio tuners
• Pinless carbon bridge, full carbon fiber construction
• Ergonomic, comfortable designs
• Expert setup and PLEK service
• Emerald Gig Bag included

The Black Opus X7 is Emerald’s compact, parlor-sized acoustic — designed for players who want full-bodied tone in a smaller, travel-friendly form. With its ergonomic carbon fiber body and 24” scale length, the X7 offers comfort and playability, whether you’re at home, on the road, or on stage. Despite its small footprint, the X7 delivers a surprisingly rich and balanced tone, for those seeking portability without compromise.

The X20 Black Opus is designed for players seeking a rich, full-bodied acoustic tone with comfort and durability. Its ergonomic carbon fiber body contours naturally to the player, allowing for long sessions of effortless performance — on stage, in the studio, or on the road. Since its debut, the X20 has remained Emerald’s most popular model — a bold evolution of the traditional dreadnought. With extended neck access, a subtle rib bevel, and a contoured fretboard end, the X20 delivers advanced playability and a modern feel while staying true to its original character.

The X20 Black Opus dreadnought carries a street price of $1895; the X7 Black Opus parlor model carries a street price of $1695. For more information visit emeraldguitars.com.

Gibson commemorates 50 years in Nashville with an unexpected, limited edition evolution of their understated Marauder.

For 50 years, Gibson has been proud to call Nashville home, shaping sound, supporting the artists who make our community special, and crafting the guitars that have defined generations of music. Now, we’re honoring that legacy with something new. Introducing the Les Paul Music City Special – 50th Anniversary, a tribute to where we’ve been and a celebration of where the music will lead next.

The Music City Special – 50th Anniversary is an updated, modern twist on two historical Gibson models, taking much of its inspiration from the 70s-era Marauder, with a touch of the Music City Junior in its DNA. Over the years, the Marauder has been used by artists from Adam Jones to Paul Stanley. This unique commemorative model pays tribute to the early days of Gibson’s Nashville production and celebrates Gibson’s 50 years of producing world-class guitars in Music City while delivering outstanding value to modern players.

Global music icon Dave Mustainereveals next album will be final studio albumof his more than four-decade career.

Megadeth’s Dave Mustaine revealed in a social post directly shared with his worldwide fanbase and Cyber Army that his forthcoming album (due out early next year) will be the final MEGADETH studio album of his career. Mustaine shared the announcement via his alter ego Vic Rattlehead. Mustaine also revealed that the multi-platinum superstar band will embark on a global farewell tour kicking off in 2026. Also set for next year is a new memoir from Mustaine, details of which will be revealed in the coming months.

“There's so many musicians that have come to the end of their career, whether accidental or intentional,” Dave Mustaine says. “Most of them don't get to go out on their own terms on top, and that's where I'm at in my life right now. I have traveled the world and have made millions upon millions of fans and the hardest part of all of this is saying goodbye to them.

Dave adds, “We can't wait for you to hear this album and see us on tour. If there was ever a perfect time for us to put out a new album, it's now. If there was ever a perfect time to tour the world, it's now. This is also a perfect time for us to tell you that it's our last studio album. We've made a lot of friends over the years and I hope to see all of you on our global farewell tour. Don't be mad, don't be sad, be happy for us all, come celebrate with me these next few years. We have done something together that's truly wonderful and will probably never happen again. We started a musical style, we started a revolution, we changed the guitar world and how it's played, and we changed the world. The bands I played in have influenced the world. I love you all for it. Thank you for everything.”

Megadeth are set to release their forthcoming album via Mustaine’s Tradecraft imprint in partnership with Frontiers Label Group’s new BLKIIBLK label. It will launch with the project's first single (TBA) in tandem with global pre-orders this fall.

Fans can click HERE to register for early access to exclusive information and offers surrounding the forthcoming final album and all Megadeth news. In addition, look for the initial run of farewell tour dates to be announced later this year.

When Black Sabbath’s final show at Villa Park was announced, the metal world erupted in panic. Everyone was desperate for a ticket… well, everyone except for Led Zeppelin’s Robert Plant.

Despite being personally invited by Sabbath’s very own Tony Iommi, Plant admits he turned down the opportunity to attend the biggest show in heavy metal history, which would also double as the late Ozzy Osbourne’s final ever live performance. “I said, Tony, I’d love to come, but I can’t come,” the Led Zeppelin frontman tells MOJO.

• READ MORE: “Did you guys make a mistake?”: MGK admits he’s baffled as to why Bob Dylan is a fan of his

Why? While it isn’t fully clear, it seems like Plant didn’t want to hear Aerosmith’s Steven Tyler sounding worse for wear; the Aerosmith frontman’s fractured larynx caused Aerosmith to officially call it quits back in 2024. “I know how it will be for me to see Steven Tyler, who I had loved many times as Steven Tyler…” he reflects. “I just can’t.”

Despite Plant’s concerns, Tyler smashed his performance at Back To The Beginning back in July. Backed by band consisting of Nuno Bettencourt, Tom Morello, Andrew Watt and Ronnie Wood, Tyler powered his way through Aerosmith’s version of The Train Kept A-Rollin’, the iconic Walk This Way and Led Zeppelin’s Whole Lotta Love. The Zeppelin cover in particular is a real shame, considering the frontman decided not to attend.

Regardless, Plant adds that he also had another reason for declining. Plant just doesn’t really feel as involved in the rock world anymore. “I’m not saying that I’d rather hang out with Peter Gabriel or Youssou N’Dour, but I don’t know anything about what’s going on in that world now, at all,” he admits.

That being said, he’s not moaning about being feeling ‘left out’. He just has other musical interests nowadays. “I don’t decry it, I’ve got nothing against it,” he says. “It’s just I found these other places are so rich.”

He goes on to namedrop 20-year-old folk musician Nora Brown. “If you don’t know Nora Brown, your world is about to change,” he says. “She’s got a wooden-bodies fretless banjo that was used a lot by the black musicians. And I can’t tell you how plaintive her voice is.”

Plant explains that he even kicks off his live shows with a Nora Brown track: Wedding Dress. The young musician was only 16 when she first recorded the track back in 2021. If you’re keen to hear it in action, Plant is sure to knock the track out on his autumn tour, kicking off on 30 October in West Virginia and running through til a final show at California’s Valley Centre on 23 November.

Saving Grace, Plant’s twelfth solo record, is also due to drop 26 September. As it stands, only two singles have been released, and you can really feel that the record was recorded partially in a barn and partially outdoors; Everybody’s Song and Gospel Plough showcase an almost spiritual take on country, roots rock and Americana.

For more information on Plant’s upcoming tour and record, head to his website.

The post “I’ve got nothing against it. It’s just I found these other places that are so rich”: Robert Plant turned down an invite from Tony Iommi to attend Black Sabbath’s final gig because he knows nothing about rock music nowadays appeared first on Guitar.com | All Things Guitar.

Megadeth have announced that their 17th studio album, which will arrive next year, will be their final record.

The reveal was preceded on social media by a post yesterday which read “The end is near,” leading many fans to speculate as to what was coming.

Now, in a new post on the band’s social media pages, usually voiceless mascot Vic Rattlehead makes the monumental announcement heralding the end of the band’s 40-year-plus career.

• READ MORE: “Did you guys make a mistake?”: MGK admits he’s baffled as to why Bob Dylan is a fan of his

“For over four decades, I’ve been chained in silence, but the end demands my voice,” Rattlehead says. “It is confirmed, the next Megadeth studio album will be the last 40 years of metal, forged in steel, ending in fire, and when the New Year rises, the global farewell tour.

“You’ve heard the warning, now prepare yourself, cyber arm. Stay loud, stay tuned and meet me on the front lines.”

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The album will be followed by a huge worldwide farewell tour, Dave Mustaine and Megadeth reveal.

“There’s so many musicians that have come to the end of their career, whether accidental or intentional,” Mustaine says in a statement. “Most of them don’t get to go out on their own terms on top, and that’s where I’m at in my life right now. I have traveled the world and have made millions upon millions of fans and the hardest part of all of this is saying goodbye to them.

“We can’t wait for you to hear this album and see us on tour. If there was ever a perfect time for us to put out a new album, it’s now. If there was ever a perfect time to tour the world, it’s now.

“This is also a perfect time for us to tell you that it’s our last studio album. We’ve made a lot of friends over the years and I hope to see all of you on our global farewell tour.

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

“The bands I played in have influenced the world. I love you all for it. Thank you for everything.”

Preorders for the new album begin 42 days from now on 23 September. For more info, head to Megadeth’s official website.

The post Don’t be mad, don’t be sad – we changed the world”: Dave Mustaine makes emotional statement as Megadeth announce final album appeared first on Guitar.com | All Things Guitar.

The internet is a swirling vortex of tone debates, and Joe Bonamassa is tapping out.

The Blues artist, who released his 17th studio album Breakthrough this July, is no longer commenting on what’s wrong or right when it comes to pedals and how you want to use them. In the era of social media, he’s pretty much had enough of a new trend or being dished out every week.

• READ MORE: “We are basically married, just without any of the fun stuff”: Joanne Shaw Taylor on her friendship with Joe Bonamassa

In an interview with Guitar World, he’s asked if players rely too heavily on pedals to mask their natural tone. “We’ve been down that road before, us and the media,” he replies. “Players can do whatever the fuck they want, I don’t care. How about that? [Laughs] You do you, I do me… I don’t give a shit what anybody else does.

“I’m not gonna comment on other players’ business; they can do whatever they want. Have at it. I’m happy for you. If you want to lug a tabletop full of shit around to a club, God bless you. Mazel tov. And if you want to plug straight into the amp, it’s all good. It’s just guitar, man. It doesn’t matter.”

He goes on to add that everyone has their own way of doing things, which is more than okay. Ultimately, your choice of gear should probably come down to what you’re playing: “It depends on what song you’re playing. If you’re playing AC/DC, you don’t need a lot of pedals. If you’re playing Coldplay, yeah, you may need a delay and a reverb.”

He continues, “Everybody has room. There’s no right or wrong. We live in a world of influencers going, ‘Well, here’s the ultimate way to do X.’ The next thing you know, someone comes up with some oddball approach that changes the game again. But everybody is dealing with the same wood and wire as everybody else.”

Breakthrough by Joe Bonamassa is out now. He is also playing five shows this September, two of which are in support of The Who – find out more via his website.

The post “We’ve been down that road before, us and the media”: Joe Bonamassa and the tone debate he refuses to partake in appeared first on Guitar.com | All Things Guitar.

In the wake of the launch of its new top-spec American Ultra Luxe Vintage range – which pairs aged lacquer finishes with a selection of modern player-friendly specs – Fender has launched a massive new sale, with up to 20% off some models in its lineup.

And while we’re on the topic, certain models in the American Ultra Luxe range – which the new Ultra Luxe Vintage collection is an evolution of – have seen considerable price drops.

• READ MORE: Gretsch brings back the Corvette after overwhelming response to Jack Antonoff signature

The American Ultra Luxe Telecaster, Stratocaster and Stratocaster Floyd Rose HSS are all now priced at just $2,119, down from $2,649, $2,649 and $2,749, respectively. 

Sitting as some of the most high-end instruments in Fender’s current catalogue, the American Ultra Luxe range offers stainless steel frets, augmented D-shaped necks and Ultra Noiseless pickups, infusing Fender’s classic guitar designs with a number of modern features.

Elsewhere, a number of American Professional II models are available at hefty discounts, including the American Professional II Stratocaster, Jazzmaster, and Telecaster Deluxe, with up to $200 off in some cases.

Launched in 2020, Fender’s American Professional II series takes some of the most iconic electric guitar and bass designs in history, and offers C-shaped neck profiles, V-Mod II pickups, a range of fresh colourways and loads more.

And if Fender’s groundbreaking Acoustasonic models have ever piqued your interest, here’s your chance to get an American-made one at a significant discount. There’s Stratocaster, Telecaster and Jazzmaster models available – each now priced at $1,779 down from $2,099 – each offering the Acoustasonic’s unique acoustic-electric blueprint, with a Fender/Fishman designed Acoustic Engine for an array of different tonal options.

This is just a small selection of the guitars on offer in the new sale, so make sure you head to Fender via the link below to browse the full range of deals.

[deals ids=”587FRLEe043slXeKUmow0M”]

The post This massive Fender sale sees $630 off the American Ultra Luxe Stratocaster HSS, as well as huge deals on American Professional II, Performer and Acoustasonic models appeared first on Guitar.com | All Things Guitar.

MGK has spoken of his unlikely connection with Bob Dylan, sharing how the legendary singer-songwriter supported his new album launch.

MGK, formerly Machine Gun Kelly, released Lost Americana on 8 August. It marks his seventh studio album, and at its launch, a voice note from Bob Dylan was used in a teaser trailer.

• READ MORE: “I thought it was a gift for playing the show!”: The hilarious tale of how Machine Gun Kelly accidentally stole a Martin acoustic from a hotel room – and how he was billed nearly 10x its price tag

In a new interview with The Times, MGK shares just how Dylan’s contribution came to be. The unlikely friendship sprung in late February earlier this year, when Dylan posted a video of MGK performing in a record store in 2016 to his Instagram page.

“I reached out to him and was like, ‘Did you guys make a mistake?’” MGK says. “[Dylan’s] manager was like, ‘Apparently he likes you …’”

He continues, “I wrote him this big letter about the Lost Americana album I was doing: ‘It would be amazing to have the great American voice be the narration to the announcement of this album.’”

The letter of course worked its magic, and Dylan’s voice can be heard on the trailer noting how MGK’s “music celebrates the beauty found in the in-between spaces”.

MGK attended the Outlaw Music Festival in Hollywood back in May, where he had a face-to-face encounter with Dylan himself before the trailer dropped this summer. At the event, he says he was approached by “a dude all in black”.

“He’s like, ‘Let’s go meet Bob.’ I get on his bus and [Dylan] has a hoodie on, white cowboy boots and this energy that feels like you’re in the midst of Peter Pan or something, while also in the midst of Homer (Ancient Greek poet) writing the Iliad – this prolific, young, spirited guy,” he shares.

According to MGK, Dylan said to him, “You really rip it, man.”: “One thing I know for sure is that he can’t figure me out, which I think is interesting to him,” he adds. “And I can’t figure him out, which is very interesting to me.”

Lost Americana by MGK is out now. Bob Dylan will be touring from September-November, and you can view the full list of shows via his website. 

The post “Did you guys make a mistake?”: MGK admits he’s baffled as to why Bob Dylan is a fan of his appeared first on Guitar.com | All Things Guitar.