Music is the universal language
“Glory to God in the highest heaven, and on earth peace to those on whom his favor rests.” - Luke 2:14
Norse Guitar Feeds
Ozzy Osbourne, Godfather of Heavy Metal, Dies at 76
Ozzy Osbourne, the iconic solo artist and singer for heavy metal pioneers Black Sabbath, has died at age 76. His family confirmed his passing in a statement on Tuesday, July 22.
“It is with more sadness than mere words can convey that we have to report that our beloved Ozzy Osbourne has passed away this morning,” the statement began. “He was with his family and surrounded by love. We ask everyone to respect our family privacy at this time.”
Born John Michael Osbourne in Marston Green, England, in 1948, Ozzy was inspired to become a musician after hearing the Beatles’ hit “She Loves You.” He linked up with guitarist Tony Iommi, drummer Bill Ward, and bassist Geezer Butler around 1968, and by August 1969, they’d renamed their band Black Sabbath, after the 1963 film of the same moniker.
With Osbourne’s mournful, weighted howl at the helm, Black Sabbath released some of heavy metal formative and most influential recordings. Their first two LPs, Black Sabbath and Paranoid, minted monumental rock-canon staples like “N.I.B.,” “The Wizard,” “Paranoid,” “War Pigs,” and “Iron Man.”
For their time, Black Sabbath’s sound and lyrics were disturbingly dark and heavy. Both fans and critics could agree on one thing: their music was “wicked,” each in their own sense of the word. It’s no surprise, then, that soon after Sabbath began releasing records, Osbourne and the band became frequent targets of religious groups accusing them of promoting Satanism and radiating “evil” energy. For their followers, that was exactly the appeal. Long before “horror rock” was a genre, Ozzy and Sabbath made music that shocked and unsettled listeners, confronting the cruelty, madness, and injustice of modern life.
“Throughout his career, Osbourne surrounded himself with celebrated, genre-defining guitarists.”
Throughout his career, Osbourne surrounded himself with celebrated, genre-defining guitarists, starting with Tony Iommi, whose crushing, downtuned Gibson SG-powered riffs not only defined Black Sabbath’s music, but helped to forge the sound of heavy metal itself. After Ozzy was fired from Sabbath, he teamed up with guitarist Randy Rhoads and launched his solo career with 1980’s landmark Blizzard of Ozz. The album catapulted Rhoads to international fame as a bona fide guitar hero. He could deliver towering, electrifying riffs and solos on tracks like “Crazy Train” and “Mr. Crowley,” but he also brought a classical and more emotional sensibility to Ozzy’s music, evident in the acoustic melancholy of “Dee” and the dramatic, environmental-apocalypse themes of “Revelation (Mother Earth).”
Diary of a Madman, their second album together, further established Osbourne’s solo career and cemented Rhoads, with his Karl Sandoval-built polka dot Flying V and Jackson V-style electrics (as well as the occasional Les Paul), as a guitar icon. Tragically, Rhoads died in a plane crash in 1982, and Osbourne eventually tapped the shredder Jake E. Lee as his permanent replacement. That partnership lasted for two more successful albums, Bark at the Moon and The Ultimate Sin, but it was in 1987 that Osbourne found his most longstanding guitar foil—20-year-old Jeffrey Phillip Wielandt, better known as Zakk Wylde, who auditioned to replace the recently departed Lee. Wylde’s shrieking pinch harmonics, scorching wah-pedal leads, and chorus-colored chording defined a new era of Osbourne’s musical life on songs like “No More Tears,” “Miracle Man,” and “Mama, I’m Coming Home.” Osbourne continued to collaborate with Wylde through the 2000s, and Wylde performed at Osbourne’s 2024 Rock and Roll Hall of Fame induction ceremony.
As he moved through his career, Osbourne was infamous as much for his music as for his wild antics—such as the never-to-be-forgotten bat- and dove-biting incidents. Though he achieved sobriety at various points in his life, his oft-imitated slurred vocal delivery and hell-raiser image remained his calling cards.
Osbourne had been battling a Parkinson’s disease variant, amongst other ailments, since at least 2020, which hindered his ability to perform onstage. At Black Sabbath’s final show, an all-day affair that took place on July 5 in their hometown of Birmingham, England, Osbourne sang from a chair topped with a black bat—an homage to his old foe, perhaps. Osbourne appeared visibly frail; nevertheless, it was a triumphant performance, as he powered through a short set of solo classics before reuniting with his old bandmates for four songs.
Osbourne’s “Prince of Darkness” moniker was often tied to the occult and sinister themes in his music, but he knew real darkness from an early age. He struggled with dyslexia in school, was sexually abused at age 11, and attempted suicide multiple times as a teenager. At 17, he spent six weeks in prison after robbing a clothing store. He did not arrive at darkness by choice; it was thrust upon him.
Over 50 years, Osbourne created music that faced down, rather than ignored, the bleak, lonesome truths of the human experience. Thanks to him, and the fleet of ace guitarists he worked with, generations have learned to embrace and probe the shadows lurking behind the light, and to make sense of them through ferocious guitar riffs and monstrous rock songs. Those are skills we’ll likely always need.
YouTube
Ozzy Osbourne performs “I Don’t Know,” the leadoff track from Blizzard of Ozz, with Randy Rhoads, bassist Rudy Sarzo and drummer Tommy Aldridge, in 1981.
“There would be no metal without you”: Jack White, Tom Morello and the guitar world react to the passing of Ozzy Osbourne
Founding Black Sabbath vocalist and overall metal legend Ozzy Osbourne has died at the age of 76, just weeks after performing his farewell show with the band. His family released a statement today reading, “It is with more sadness than mere words can convey that we have to report that our beloved Ozzy Osbourne has passed away this morning. He was with his family and surrounded by love.”
Osbourne leaves behind an immense and incomparable musical legacy. Ozzy joined forces with bassist Geezer Butler in 1967. By 1969, the band had recruited guitarist Tony Iommi and drummer Bill Ward, and officially landed on the name Black Sabbath. Their first self-titled album introduced the world to a sound that would form the basis of an entire genre: a driving rhythm section and massive guitar riffs, both underpinning Ozzy’s frantic wail. Sabbath drove hard rock into darker, doomier territory, and there’s a reason that so many huge names from the world of metal came out for Black Sabbath’s farewell show – it’s undeniable that without Ozzy, Geezer, Tony and Bill, metal as we know it would not exist.
Aside from forging an entire genre, Ozzy also had a keen eye for guitar talent. He used his solo material to highlight some incredible guitar talent, from Randy Rhoades and Jake E Lee, to Zakk Wylde and Gus G.
Tributes have begun flooding in from the guitar world, with artists from metal and rock and, indeed, far wider, honouring the Prince of Darkness and his impact on music.
“I just can’t believe it,” writes Ozzy’s Black Sabbath bandmate Tony Iommi. “My dear, dear friend Ozzy has passed away only weeks after our show at Villa Park. It’s just such heartbreaking news that I can’t really find the words, there won’t ever be another like him. Geezer, Bill and myself have lost our brother.”
Metallica, who performed at Sabbath’s farewell show at Villa Park, have made no secret over the years that they wouldn’t exist without Black Sabbath. In their tribute post, they share an image of James Hetfield, Kirk Hammett, Lars Ulrich and Cliff Burton with Ozzy.
“RIP Prince of Darkness,” writes Smashing Pumpkins guitarist Kiki Wong. “Thank you for all you’ve given back to the world. There would be no metal without you.”
Tom Morello, who served as the Musical Director for Back to the Beginning, writes simply: “God bless you Ozzy.”
Ozzy’s influence stretched far and wide, not only inspiring legends like Metallica to play music, but younger acts like Yungblud, too. In his tribute post, he writes: “You were so full of life and your laugh filled up the room…
“I will never forget you – you will be in every single note I sing and with me every single time I walk on stage. Your cross around my neck is the most precious thing I own. You asked me once if there was anything you could do for me and as I said then and as I will say now for all of us the music was enough. You took us on your adventure – an adventure that started it all. I am truly heartbroken. You were the greatest of all time.”
Pearl Jam’s Mike McCready reflects on the time he discovered Black Sabbath in high school. “War Pigs as terrifying and mesmerizing at the same time,” he says.
“It was Ozzy’s voice that took me away to a dark universe. A great escape. Then when The ‘Blizzard of Ozz’ record came out I was instantly a fan. Randy Rhoads was an influence on me to play lead guitar. Luckily I got to play on the song “Immortal” on the last record. Thanks for the music, Ozzy – it makes our journey in life better.”
Jack White’s tribute meanwhile, uses few words, but says it all: “He made it.”
Tributes have also come from the likes of Rolling Stones guitarist Ronnie Wood, blues guitarist Jared James Nichols, Tetrarch’s Diamond Rowe and Sophie Lloyd, who reshares a video of her covering Sabbath classic Paranoid.
This is devastating news,” says Joe Bonamassa. “A one of a kind singer, artist, personality and larger than life performer. I had the privilege of playing a solo on his Undercover album 20 years ago. I will always consider that as one of the great honors of my life.”
Rest in peace Ozzy your music and creativity will be dearly missed,” adds YouTuber Rob Chapman. “Some of my earliest musical memories were from Black Sabbath… even my first vinyl records after I bought Postman Pat were the first four Sabbath albums… Amazing that [his] farewell gig raised so much for charity as well – one incredible family.”
Slipknot frontman Corey Taylor has expressed his sorrow at Ozzy’s death, writing on his Instagram story: “Without Ozzy, there is no me. My heart has broken.”
This is a developing story.
The post “There would be no metal without you”: Jack White, Tom Morello and the guitar world react to the passing of Ozzy Osbourne appeared first on Guitar.com | All Things Guitar.
“I want someone that’s hungry. I want someone who wants to go out and kick Eddie Van Halen’s ass”: Ozzy Osbourne rates his guitarists – and reflects on the highs and lows of Black Sabbath
“I'm no superman, no person from another planet – I'm just a lucky guy”: Ozzy Osbourne was an extraordinary frontman and working class hero with great taste in guitar players
Fender Custom Shop Pays Homage to Ariel Posen with Signature Stratocaster
Today, Fender Musical Instruments Corporation (FMIC) and the Fender Custom Shop (FCS) are proud to introduce the Limited Edition Ariel Posen Stratocaster®, an instrument with enough versatility and raw playing power to properly honor the virtuosic guitarist, songwriter, producer and vocalist. Posen’s playing is unique not just in its sheer technical proficiency and musicality, but in the way it spans a number of genres ranging from old delta blues to neo soul to good old fashion rock and roll. With this in mind, the Fender Custom Shop understood that Posen’s signature instrument had to come ready to tackle just about any sonic assignment under the sun. Thanks to a set of custom AP-90 pickups, designed in tandem with Tim Shaw, and simple but powerful controls, the Limited Edition Ariel Posen Stratocaster® can handle scorching hot solos and sultry chord work in equal measure.
“This is the most genuine and authentic representation of what I’m looking for in a guitar,” said Ariel Posen. “I was always a Strat ® guy and always felt most comfortable playing them, so it was important to capture those qualities. But the AP90 pickups really highlight my love for Jazzmasters—there’s something so open and airy about those guitars. More than anything, this Strat® embodies everything I love about Fender and condenses it into one instrument.”
Ariel Posen first arrived at the guitar after spending years on the road with his two parents, both touring musicians, and developing the musical itch for himself. While he began his journey on the piano, an adolescent love for ‘90s grunge and The Beatles found him swapping out the keys for a Strat®. Today, whether he is captivating packed venues across the world, on his upcoming U.S. Tour this fall, or regaling his social audience, Posen has carved out a place for himself among the heroes of modern day guitar playing.
From the Journeyman Relic® Faded Lake Placid Blue finish to the quarter sawn AA flame maple neck, the Limited Edition Ariel Posen Stratocaster® oozes with road worn charm. But don’t let this guitar’s vintage appeal fool you, it is outfitted with new, custom electronics that are versatile and powerful. A pair of pickups were custom made with Fender’s legendary pickup designer, Tim Shaw, to capture the full spectrum of Posen’s sonic vocabulary—from swampy, growling leads to glassy clean tones and everything in between, these pickups deliver perfect harmonic clarity across all playing styles. In tandem with the vintage-style hardtail Stratocaster® bridge and roasted alder body, it’s nearly impossible for this guitar to deliver anything short of full-bodied, resonant perfection.
LIMITED EDITION ARIEL POSEN STRATOCASTER® ($6,000.00 USD, £5,699 GBP, €6,799 EUR, $9,499.00 AUD, ¥1,045,000 JPY) From scorching, octave fuzz-soaked slide solos to beautifully crafted chord changes and soulful grooves, Ariel Posen’s guitar playing is unmistakable. As a self-proclaimed “Strat® guy,” Posen teamed up with the Fender Custom Shop to introduce the Limited Edition Ariel Posen Stratocaster®, creating the most authentic representation of what he’s looking for in a guitar. Drawing influences from both traditional Fender specs and more unconventional features, this Strat® can deliver anything from flowing, bell-like chime to gnarly, punchy tones.
The Faded Lake Placid Blue Relic® lacquer-finished 2-piece select roasted alder body, quartersawn AA flame maple neck and round-laminated rosewood fingerboard give this guitar the look and feel of a well-loved mid-‘60s instrument, while the dueling AP-90 pickups, simplified controls and cupcake knobs are distinctly representative of Ariel’s playing style and taste. The custom pickups were designed in tandem with Fender’s legendary pickup designer, Tim Shaw, to capture both the nuanced warmth and clarity of a vintage Jazzmaster® neck pickup and the powerful midrange bite of classic soapbar bridge pickups. When combined with vintage-style hardtail Stratocaster® bridge and roasted alder, these pickups enhance even the most gentle, subtle playing with full-bodied resonance and sustain.
Other premium features include 1969 “U” back-shape, 9.5” (241 mm) radius, 21 vintage upgrade (45085) frets, mother of pearl dot inlays, custom Caballo Férreo (master volume, master tone) wiring, 3-way switch, 3-ply parchment pickguard, vintage-style tuning machines bone nut, American Vintage ‘59-’64 string tree, deluxe hardshell case, Moody Leather Ariel Posen signature strap, The Rock Slide Ariel Posen signature brass slide, Dunlop Ariel Posen picks and certificate of authenticity.
Modern Classics On Tap: Sub-50 Watts from Suhr, PRS, and Blackstar
Looking for versatility without cranking a stadium-level rig?
In this video, PG contributor Tom Butwin puts three sub‑50-watt amplifiers to the test: the British‑voiced Suhr SL15, the mid‑’60s American‑style PRS Sonzera 20, and the gig‑ready solid‑state Blackstar Debut 50R. Tom explores the tones, features, and ideal use cases of all three amps—highlighting who they're best suited for and how they perform in different setups. Which one fits your playing style and needs?
Suhr SL15 15-watt Tube Amplifier Head - Black Tolex/Gold Faceplate
PRS Sonzera 20 20-watt 1 x 12-inch Tube Combo Amp
Blackstar Debut 50 50W Guitar Combo Amp Black
The Blackstar Debut 50R 50W Guitar Combo Amp
Guitar Center secures three-year debt extension to “provide the time necessary to deliver on its business plan”
As an increasing number of brick and mortar guitar stores are being forced to close down, Guitar Center has announced its latest plan to keep its physical stores up and running.
According to Business Wire, Guitar Center has reached an agreement with investors to extend the payback period on its debts. The three-year debt extension is intended to allow the company more time to “deliver on its business plan”.
The plan is to carry out a Senior Secured Notes Exchange, essentially meaning that it will be reaching new terms and repayment conditions with its investors. While 8.5% of the company’s Senior Secured Notes were originally due for repayment in 2026, 70% of its investors have agreed to renew their terms, moving the repayment deadline to 2029.
The company hopes to have all of the new terms and conditions for its Senior Secured Notes investors finalised by August.
It’s a challenging time for physical music stores. Just last year, Sam Ash shut up shop, and Guitar Center’s CEO Gabe Dalporto also went on record saying that the company needs to “evolve” to survive.
“If you want to experience musical instruments and start off or accelerate your journey as a musician, the world needs Guitar Center,” he told Music Inc last May. “Our customers need us and our vendors need us,” he says. “But in order to earn the right to be here, we need to evolve and execute better.”
“I want customers to walk into [a store] and have the same experience I had when I was younger and just be hit in the face with, ‘Wow, this is amazing. This is a playground. This is where I belong,’” he added. “And that means having a much more premium assortment that’s more easily accessible where I can get in and grab a guitar and plug it in and try all these pedals and effects and just geek out and have a great time.”
Earlier this year, Dalporto also discussed how the human touch is the key to company maintaining its status as the biggest music store chain in the US. “It really is the premium product where people are going to take that time and care a lot and want to experience it [in person],” he explained on the Know Your Gear podcast. “That’s why it’s important to us. We are leaning into that really high-quality, premium product where experience matters. That’s where we can win against Amazon.”
The post Guitar Center secures three-year debt extension to “provide the time necessary to deliver on its business plan” appeared first on Guitar.com | All Things Guitar.
Steve Morse tackles Led Zeppelin, Mountain, Cream and Lynyrd Skynyrd hits – and honors a cast of guitar greats during intimate jam session
“The company's performance has deteriorated due to the rise of the secondhand market and intensifying competition”: Iconic Japanese guitar firm Fernandes Guitars files for bankruptcy again – but there's still hope for fans of the brand
“We are basically married, just without any of the fun stuff”: Joanne Shaw Taylor on her friendship with Joe Bonamassa
![[L-R] Joe Bonamassa and Joanne Shaw Taylor](https://guitar.com/wp-content/uploads/2025/07/JoBo-Joanne-Shaw-Taylor@2000x1500.jpg)
Over the years and through their shared love of the blues, Joe Bonamassa and Joanne Shaw Taylor have struck up quite the friendship.
And in a new interview with Classic Rock, the pair recall how it started at the Notodden Blues Festival in 2008.
“We ran into each other at the hotel check-in,” Bonamassa reveals. “And I offended you. Because you wanted to show me your really nice old Les Paul, and I just said: ‘I don’t like Les Pauls’ and walked off,” Taylor tells him.
After the pair later struck up a friendship, Taylor recalls once having to drive from Maine to Detroit. “Joe would phone and keep me company,” she says. “I didn’t have any money. And you’d say: ‘Okay, I’ve booked you into a nice Marriott, get a good night’s sleep. Don’t pull into some dodgy shithole.’”
On why they clicked in the first place, Bonamassa reflects: “We share a dry, cutting sense of humour. Joanne loves it when I go off, ranting and raving.”
“And I poke the bear,” Taylor adds. “There’s also massive trust between us. That was a real benefit when Joe started producing me. We recorded Fade Away, which is about losing my mum, and he’s one of the few people – because she passed away a long time ago – who’s actually met her.”
“When I met Joanne, my life had just changed,” adds Bonamassa. “I’d played the Albert Hall for the first time. Next thing you know, there’s more people waiting for a meet and greet than were at the shows two years before. Things had got weird. I don’t believe I handled the pressure very well. And Joanne got me through a lot of that.”
When asked whether they are secretly a couple, Joanne Shaw Taylor replies: “We are basically married. Just without any of the fun stuff.
“We live next-door to each other in Nashville. After this interview is done I’m walking to his apartment, because I noticed there’s a dead bird on his patio!”
Joe Bonamassa recently performed three shows in Ireland in tribute to Rory Gallagher. In a reflective post on social media, he called the shows “the biggest honour and greatest challenge of my musical life”.
The post “We are basically married, just without any of the fun stuff”: Joanne Shaw Taylor on her friendship with Joe Bonamassa appeared first on Guitar.com | All Things Guitar.
Sweetwater Announces Return of GuitarFest on September 27
Sweetwater has announced the return of GuitarFest,which is coming to the company’s Fort Wayne campus on Saturday, September 27. The nation’snumber one online retailer for music makers will welcome guitar players and music fans toexplore manufacturer booths from some of the top guitar name brands such as Gibson, Fender,and Marshall. There will also be appearances by major artists throughout the day.
Now in its second year, Sweetwater’s GuitarFest promises a packed schedule designed to excite guitar enthusiasts and music lovers alike. Attendees will have the opportunity to hang out and connect with their favorite brands and some of their favorite artists.
“We’re thrilled to bring GuitarFest back for its second year,” commented Samantha Hunter, director of artist relations and campus events at Sweetwater. “We’ve taken everything we learned from last year’s event — along with the valuable feedback from attendees — and used it to make the experience this year even better. We truly believe 2025’s GuitarFest will be an unforgettable celebration for music lovers of all kinds.”
Sweetwater will showcase the latest guitar and related gear releases along with vendors on-site to answer and demonstrate the very latest guitar innovations. GuitarFest also marks the culmination of eight days of in-store deals as part of Guitar Month at Sweetwater.
Artist appearances will be announced in the coming weeks. Early registration for this free event is available now at Sweetwater.com/guitarfest/ where visitors can also stay up–to date on all the planned activities.
This event is family friendly and takes place on Sweetwater’s state-of-the-art campus located at 5501 US Highway 30 West in Fort Wayne. The Sweetwater campus includes the largest music store in the United States and other attractions for visitors to enjoy.
Guitar Center employee allegedly charged over $5,000 to credit cards that belonged to “rude” customers
“I didn’t know John had a pink one coming out, so it looked like John had given me a pink guitar and I’d relic’d it. People were mad”: Zach Myers’ heavy relic’d PRS John Mayer Silver Sky has given him so much grief he might burn it
“There was one bit I used to play at a bit of a stretch. He told me, ‘Oh, no, I play it like this’”: Paul McCartney gave Robbie McIntosh a guitar lesson on their first meeting – and showed him how to play a Beatles classic properly
“He loved that I was playing Peavey… when we ended up touring with them, I saw why”: BRONCHO’s Ryan Lindsey has built a career on unique melodic chug, and won fans in Josh Homme and Jack White. But he still owes Steve Stevens an apology
Richie Sambora turns to NFL rehab experts to help him play guitar again after “gruesome” hand injury
Richie Sambora has turned to NFL rehab experts to help him play the guitar again after a “gruesome” hand injury he suffered earlier this year.
According to People, the former Bon Jovi guitarist is on the road to recovery after an accident in April that had him needing emergency surgery to rebreak and reset his left hand.
Now, he’s undergoing rehabilitation with top-tier sports medicine experts who typically treat NFL athletes – and he’s healing at double the typical rate, according to a source speaking to the publication. Despite describing the process as “arduous, slow, and painful,” the source says Sambora remains focused on regaining his strength and getting back into shape.
- READ MORE: “You couldn’t be in a rock band unless you looked a certain way”: Why Tim Pierce didn’t join Bon Jovi – despite playing guitar on their first hit
Sambora’s injury happened just a week before his scheduled performance at the Unbridled Eve Derby Gala on 2 May. While playing a casual game of touch football back in his hometown of New Jersey – where he’d been caring for his mother – the guitarist caught a pass and was knocked into a curb, fracturing his hand in two places.
“He caught a ball and some guy gave him a touch right into a curb. He was completely swollen, and fractured his hand in two places,” the source told People. “He’ll undergo surgery next week.”
Sambora, 65 at the time, eventually underwent emergency surgery to rebreak and reset the bones. Incredibly, he still took the stage at the Derby Gala, performing four Bon Jovi hits – Livin’ on a Prayer, It’s My Life, I’ll Be There for You, and Wanted Dead or Alive – all of which he co-wrote.
Richie “rocked the house” despite being in “so much pain,” the source said. “When he told the doctor he was going to the Derby, the doctor said, ‘You’re out of your mind.’ But he said, ‘See ya! I’m going.’ That’s the kind of guy Richie is. He’s a man of his word.”
Now 66, Sambora spent his birthday earlier this month (11 July) in Princeville, Hawaii, enjoying a relaxed round of golf with friends as he continues to rest and promote his new single, Born to Rock.
“It’s a fun and happy anthem for those who were born to rock! Plain and simple,” Sambora told People. He also shared the song on Instagram, writing, “My birthday gift to you.”
The post Richie Sambora turns to NFL rehab experts to help him play guitar again after “gruesome” hand injury appeared first on Guitar.com | All Things Guitar.
“I say to people: ‘I’m sorry to tell you, but in 20 years, your finish will crack because it’s gonna get thinner. But it’ll sound better – so look forward to it!’” How Gibson brought relic’d finishes to its iconic acoustic guitars with the Murphy Lab
“You can learn to do this with your own two hands!”: The stinging rebuke Chet Atkins gave John Fahey over unfounded accusations
Chet Atkins may have been known as the Country Gentleman, but even he wasn’t one to let unfounded claims about his guitar playing slide.
In a recent interview with Guitar World, Dire Straits frontman Mark Knopfler reflects on his time working with the fingerstyle legend – and recalls the one time he ever saw Atkins genuinely annoyed: when fellow guitarist John Fahey suggested he relied on double-tracking to pull off his intricate playing.
- READ MORE: “I got away with murder!”: Is Mark Knopfler a ‘guitar hero’? He certainly doesn’t think so
“I only remember him being slightly put-out once, when John Fahey said he’d been double-tracking. Chet was not pleased by that,” says Knopfler. “And he wrote to whatever magazine it was and said, ‘You can learn to do this with your own two hands; you don’t need double-tracking.’”
While Atkins wasn’t opposed to multi-tracking in his own recordings, Knopfler notes that the musician only used it when “doing something even more complicated.”
“I mean, Chet liked multi-tracking too, of course, but only if he was doing something even more complicated,” he explains. “But he could play Yankee Doodle and Battle Hymn of the Republic at the same time.”
The two guitarists formed a bond in the late ’80s that eventually led to their Grammy-winning 1990 album Neck and Neck. Their friendship grew with informal jams in Atkins’s office, where the musician’s modest tastes often surprised Knopfler.
“I remember, Chet Atkins gave me a [call]. Because we were both pickers in that sense – but, of course, Chet was otherworldly,” he says. “I used to go round to his office and hang out, and I’ll never forget, we once played and sang the song Kentucky all morning.”
“Chet had such facility and knowledge, and yet what he wanted to do was play Kentucky – which has two chords – all morning long. He’d say to me, ‘You’re pretty good, but you’re no Mark Knopfler.’”
“He always had good jokes,” Knopfler continues. “You know, you’d get to the end of something and he’d go, ‘Very educational.’ And then he’d say, ‘A little below above average.’ Or something like that. Very dry.”
The post “You can learn to do this with your own two hands!”: The stinging rebuke Chet Atkins gave John Fahey over unfounded accusations appeared first on Guitar.com | All Things Guitar.
“If you’re out of practice, a rosewood guitar can be guaranteed to throw every imperfection into sharp relief”: How your acoustic’s back and sides affect your guitar tone
“Once the show became a hit, people started going down the rabbit hole – ‘Oh my God! He really was in the Grass Roots!’” The life and times of Creed Bratton, from AM rock stardom to taking an Office job
Pages
