Guitar Addiction

Welcome to our fourth installment of our weekly new music roundup.

This week saw the announcement of Jack White's first solo album, including the debut of a new song, "Love Interruption." We also got the skinny on the new album from The Cult, as well as the track "Lucifer."

Van Halen continued teasing us with clips from A Different Kind of Truth, and the Darkness released their first new track since 2005.

We also debuted a new tune from UFO here, still have Psycroptic's new album, The Inherited Repression, streaming right here

The Cult, "Lucifer"

Jack White, "Love Interruption"

The Darkness, "Nothing's Gonna Stop Us"

Van Halen, "She's the Woman" (clip)

Van Halen, "Beats Workin'" (clip)

Obscura, "The Flesh and the Power It Holds" (Atheist cover)

The Devastated, "Devil's Messenger"

All-American Rejects, "Beekeeper's Daughter"

Obey the Brave, "Live and Learn"

Palisades, "Bury It"

I The Mighty, "Dreamer"

Master, "Smile As You're Told"

People always ask me, "what is it like, tell me the story of the road"

"Pack up a bag of shirts, a bag of shoes, lace up those sneaks and play the blues. We're gonna drive, eat, sound check, sleep and rock another gig then get back in the jeep" or something like that...

My band has been on the road for a minute now. When people ask me how long I've been on tour, do I say 2 weeks or 19 years? Both are true. We've been out in a van or a tour bus for 19 fucking years. That's what it takes.

These kids say they want to be famous and rich and what's the first thing I ask them, "Do you want to work hard?" If you want to make it in music, you better love it. I mean you've got to have a real passion, a real serious work ethic and have a bit of god-given talent if possible (while not necessary, it does help.) The key is work ethic. Are you ready to put in that type of work?

There's a singer/songwriter I've met a couple times this past year and he's given me a couple demos. The demos sound real good. I like his songs, I like his guitar playing, his voice, the kids got a good look and it seems like the whole package. He wanted me to play his demo for the label. He wanted to see if I could pass it along to an even more famous musician than myself. I looked at the kid and asked him, "Why?" What he was missing was, if he didn’t see the opportunity that I could give him -- the chance to get out on the road, build an fan base, get exposed, sell CDs -- then why the fuck would the label or anyone bigger than me care about him or his demo?

Is that harsh? Yes. But the bottom line is you need to have a base before anyone is gonna invest anything in you, and more importantly if they did ,your opportunity would be wasted since you wouldn’t have any fans to build upon and wouldn’t have made the mistakes you learn from along the way and wouldn’t be ready.

Back in the day you could make a demo and if it was really good you could get a record deal. Yes I just said you could get a deal without even touring, without even playing one gig! As crazy as it sounds it's true. My old manager worked with the Fun Lovin Criminals. They were fucking awesome. Never had a gig and made a sick ass record. They made it big for a couple years too. Those days are gone!

See, nowadays there's no easy road for guitar players and musicians. There's no record deals growing on trees anymore like there was in the '90s. You've got to earn it to own it.

My singer/songwriter friend came to a show last week and gave me a new demo, which I'm excited to hear. I asked him how the gigs were going and I was astounded when he said he wasn't gigging. WTF get out and gig! I told you you were good.

Believe me I get a lot of demos and unfortunately very, very few are close to good. But not gigging? Why? It makes no sense.

And here is the best-kept dirty secret you make a whole lot more money touring than you ever will selling records. Harder to earn loot on the road? Yes. Better way to support your family, keep you doing what you love and allow you to be creative? Also a big YES!

Here's where we are at right now. DIY. Do it yourself. Yes it's daunting. Yes, it's challenging but it's also liberating and exciting. If you've got a computer, a guitar and your hustle dialed in, you can indeed make it happen. You've got every tool in the toolbox right at your fingertips. DIY. Earn it to own it.

You see there's nobody I can play your demo for that's really going to change your world. You've got to change you're own world. There's no Santa Claus in the music game anymore. You've got to put your own presents underneath the tree know what I’m sayin'?!

You've got to gig man

You've got to post shit online.

You've got to make real fans.

Start by getting one fan! One fan that loves what you do. Then get a couple cute chicks to dig it. Then some college kids or a young couple. One person at a time.

After the sold out Atlanta show then other night we had a drink with Lenard and Kristin. They're a great couple who've been together for probably 15 years. We have all grown up together at our shows, which they never miss. They are at every Georgia show I ever play. It's pretty cool to think about how many people they've turned on to our music. They are real fans. You see it's door to door. You're a guitar player and a politician or a salesman. You've got to put in the time. That's what keeping it real is. Hard work.

Get creative, stay focused give it love, time and hard work. You'll get rich and famous or maybe you won't but you'll get damn good on that guitar. Now go pick up the phone and book some gigs. Then go practice!! I'm going to do the same. I wish I could get you a deal but no one sells records for you except you. Make something you love and figure out a new way to sell it.

For reals. It's the wild west, it's the California gold rush. Many will die, some will get rich. Stake your claim brother, make your world sister!

Good luck! Keep jamming and stay down and dirty.

Thanks, your friend, G. Love

If you want to hear more about where today's music business is headed check out ">Bob Lefsetz's blog.

G. Love, aka Garrett Dutton, has been the front man and founder of the alternative hip-hop blues group G. Love & Special Sauce since their inception in 1993. Widely known for his upbeat hits "Cold Beverage," "Baby's Got Sauce" and "Hot Cookin'," G. Love returned to his blues and country roots on his latest release, Fixin' To Die (Amazon, iTunes), produced by Scott and Seth Avett. A road dog if one ever existed, G. Love performs roughly 125 shows a year all over the world including Australia, Japan, Brazil, UK, Canada and the U.S. G. Love teamed up with Gretsch to create his own signature model, the Gretsch G. Love Signature Electromatic Corvette, which features a pair of TV Jones® Power'Tron™ pickups, deluxe mini-precision tuners and a cool Phili-green color scheme with competition stripe that would make ANYONE from Philadelphia proud! Check it out here.

In a band? Have no idea how to go about getting a label to take you seriously? We've got the answers you're looking for.

In our new series, "Dear Record Label," we went to Roadrunner Records -- home of Slipknot, Rob Zombie, Opeth, Megadeth, Kenny Wayne Shepherd, Trivium and more -- and asked them the tough questions that young bands should know the answers to. Each week, we'll be bringing you advice from members of the Roadrunner staff to try and get you on track to get noticed.

Q: I’ve started aggregating my fans on Facebook and building my e-mail lists. Now that I have a “fanbase”, how do I keep them engaged and motivated to spread the word about my music?

Jon Satterley: One word: content. If you ain't updating, the fans ain't rating.

But what to do about this? The worst thing is to create content for content's sake. So, have a plan. Remove the terrifying "blank canvas" by building content templates for yourselves. Brainstorm ideas like, "Jason's 5 worst drum fills for the week" or "Our lead singer picks his three greatest vocal screams," and figure out which ones speak best to your fans and represent your band. Treat the creation of this kind of stuff as seriously as you do song-writing, rehearsals, recording and gigs. In 2011, ensuring that you have a strong online presence is as important as all the other music-making/band-behaving fundamentals. Sure, you might want to think that you are the next Led Zeppelin and "above all that vulgar website stuff", but if you have no fans, no airplay, no gigs...who gives a fuck??? The web is the easiest and best place for you to start your fan quest and to keep them happy and engaged (from afar).

Create a calendar with deadlines to deliver new content, be it blogs, video updates, new songs or jams. Then, stick to it. Monitor your web traffic using free, easy tools like Google Analytics and Facebook Insights. Understand this stuff and use it to attract more fans and spread your web. Use emails to bring your closest and loyalist fans back "to the well" to engage with your new content efforts. Ensure you have the latest and best sharing tools, such as the ShareThis widget, to make it super easy for your fans to take your content to the wider web.

At the end of the day, it is about content. Make a lot of it. And make it good.

And if you're in an unsigned band, be sure to check out Roadrunner's Sign Me To website, which allows unsigned bands to display their music, move up charts based on fan ratings, get reviewed by Roadrunner staff and maybe even get signed!

In his work as a solo artist, Bret Michaels’ right-hand man is guitarist Pete Evick, a multitalented musician who, in addition to playing guitar in the Bret Michaels Band, has also served as a co-songwriter, producer, mixer and musical director for the group. On the rare occasion he finds himself with some free time, the guitarist also pursues his own projects, which include studio work for a variety of artists as well as recording and performing with his long running band, Evick.

Recently, Evick took a few minutes from his always busy schedule to chat with Guitar World about the newest Bret Michaels Band song, “Get Your Ride On,” which is currently being used as the opening song to the new season of Monster Energy AMA Supercross on SPEED TV, and features guest guitar spots from Def Leppard’s Phil Collen and My Darkest Days’ Sal Costa. Evick also discussed how he came to play with Michaels, and what he and the band have on tap for the future.

You’ve been playing with Bret for eight years. How did you get the gig with him?

PETE EVICK: That’s a bit of a long story. I’m from Manassas, Virginia, and Bret’s also from the east coast, only two hours from where I grew up. So when I was a kid I knew who he was and would occasionally see Paris [the original lineup of Poison] play the bars. Back in 1992, when C.C. [DeVille] left Poison, I did everything I could to get in that band. Needless to say, Ritchie Kotzen got the gig, though I like to believe it’s because I was only 17 and on the east coast, not because the guy was amazing and blew me away! When I finally heard the Native Tongue album I remember going, “Hmmmm, maybe I couldn’t have done that!” But I always found ways to keep in touch with the Poison camp.

Then around 2003 Bret went out on a solo tour for his Songs of Life album, and he was kind enough to let my band, Evick, open on a lot of the tour. We also opened for him again on his next tour. Eventually an opportunity came up to play guitar in his band, and his musical director Steve Frangadakis got me the gig. But what happened was, a last minute show came up and Bret decided that rather than fly me to L.A. to break me in with his band, it made more sense to have me and my band back him. So we learned the songs and headed out to what Bret called a “little radio gig.” Well, his idea and my idea of a “little gig” must be different, because suddenly I found myself in front of 10,000 people! After the gig I was really down on myself about how I played—I learned that day why Bret was a star and I wasn’t yet. I figured I’d ruined my rep and that was the end of it, but Bret called me and said, “I’ve seen your band, and I know what you can do. Let’s try it again—we’re playing a sold-out Memorial Day weekend gig with Lynyrd Skynyrd for 30,000 people.” No pressure, huh? But we killed it. Bret walked up to me after the show and said, “That’s the Petie I’m lookin’ for!” And here we are going on a decade. And I have to say, that guy has a sense of loyalty like no other. He may be the best frontman in rock and roll, and he could also teach you a bit about being human.

Bret keeps the band on a pretty busy schedule. How many shows would you say you do each year?

We do 180 to 220 gigs a year. Then he does Poison as well. The guy doesn’t stop. We were on the road just weeks after his brain hemorrhage, even after everyone told him not to do it.

How did the opportunity to do “Get Your Ride On” for AMA Supercross come about?

Bret is an avid motocross fan—he has a motocross track in his backyard, and even as far back as Poison’s “I Won’t Forget You” video you can see him riding his motorcycle. Last year he initiated the Rock Hard, Ride Hard award for Supercross, and with anything Bret does he gets involved 200 percent, so it was a natural progression to do more this year. The guys from Supercross heard the track and thought it was a no-brainer for the theme song. And I gotta tell you, it sounds good being played in those big arenas during their events!

How did Phil Collen and Sal Costa become involved in the song?

With Sal, we were touring in Canada last Halloween and My Darkest Days were on the bill with us. We were all blown away by them. I remember sitting in the dressing room with Bret and he said, “Wow, who are those guys?” Next thing you know, their song “Porn Star Dancing” takes off and they’re the hot rock band on the scene. We kept in touch with the guys and Sal came out on the Poison tour and jammed with them a few times. So when we were doing this song I called him up and said, “Hey, check out this track and throw some guitar on it if you want. A few hours later he sent me back some killer fills and lead stuff, I flew it in to the mix and that was that. He played a few licks that I couldn’t imagine the song not having now. Then with Phil, he and Bret have been buddies a long time. I’m not sure how it happened but Bret said to me, “Call Phil—he’s waiting on you to send him the tracks.” Next thing you know I’m mixing Phil Collen’s guitar, the guy who played on Pyromania and Hysteria, two of the most well-produced albums in rock history.

Who plays the solo on the song?

On the version that’s out there it’s Phil doing the lead. I believe when we put the whole album out, we’ll have a bonus track with my original solo.

What gear did you use on the track?

Guitar wise, I used my Dean Soltero and Bret used his Dean Z—Bret is actually playing throughout the song, basically everything but the lead and what I call texture parts. And that’s him killing it at the beginning. I don’t know what guitars the other guys used, though I know Phil’s tracks were recorded with GTR from Waves. Otherwise, I’m a big tech guy, so I use emulators and plug-ins, and I also used AmpliTube 3—the Orange amp model. We recorded the song at the studio on Bret’s ranch, and also flew in some vocals that were done at my house on the east coast, which is also where I mixed it. Sal and Phil did their parts in their home studios.

In addition to playing with Bret, you lead your own band, Evick. What’s on the horizon for you guys?

We recently released our third EP, Reflections, and on rare off time from the BMB [Bret Michaels Band] we’ll tour in support of it. We’re also releasing a new single this week called “Big Rock Guitars.” It’s a song I wrote almost ten years ago, the day I heard that Sammy Hagar rejoined Van Halen, because I’m a huge VH fan and was so excited about that. In celebration of the return of Van Halen once again, I’ve decided to finally officially release it. As far as the future of Evick, it’s just a wave I ride when I can. It’s my baby, and I’m very passionate about the music I write, but the Bret Michaels thing is my world now. It’s a full time gig and then some to keep up with him.

You’ve also established yourself as a producer in your own right. What artists have you worked with in a production capacity?

Bret keeps me real busy, but in recent years I’ve received a gold award for my work with Paramore and a Platinum award for Shinedown. Most of that was editing work. But I’ve been at it for many years. When the grunge scene hit [Bret Michaels Band and Evick drummer] Chuck Fanslau and I opened a studio in the D.C. area. I’ve worked with everyone from Raven to Godhead, and early on I got to work with Steve Whiteman of Kix. I did some mixes for my good buddy Steve Brown on the new Trixter record, and worked with a killer up-and-coming band out of New Jersey called Toxin. Through Bret I also got to work with Miley Cyrus, sit beside the legendary Don Was, and have made a record with the co-founder of Sire Records, Richard Gottehrer.

What’s coming up for the Bret Michaels Band?

Currently we have a new record called Get Your Rock On coming out, and we’re also working on an acoustic Americana album. And we start the tour back up again in two weeks. We just keep going. Bret has many business ventures coming this year and you will see a lot of amazing things from us. But for right now it’s all about “Get Your Ride On,” which I think is a killer track. So check it out!

Here's a technique I have found to be quite useful in my repertoire because it allows me to fire off fast technical passages without having to be warmed up.

It consists of using a combination of unassisted hammer-ons, slides and tapping to execute relatively quick licks and runs. While "shredding" tends to traditionally require all of your fingers working rapidly to produce a steady flow of notes, this technique allows you to use only a couple of fingers at a time.

FIGURE A (below) utilizes the E natural minor scale (E Aolean), and it is grouped in 16th notes (Or as I like to think of it, in "fours").

It's very important to note the specific fingering that should be used when playing this. You might also benefit from using a dampener, which can be something as simple as a hair scrunchie that is tied around the neck of your guitar where the nut sits, just to keep the rest of the strings from generating unwanted noise as you are hammering on, tapping and sliding throughout this lick.

FIGURE B starts off with an unassisted hammer-on and ends with one as well. Another thing to make sure while practicing this is to maintain the same volume of attack between every note, whether it is an unassisted hammer-on, a slide or a tapped note.

Finally, the last example is FIGURE A and B combined. They flow into each other to create one long lick. Remember to check out the video below, too!

Cyamak Ashtiani is an award-winning rock/pop guitarist and songwriter who has written, toured and recorded with a multitude of major and indie recording artists. Recently, he has toured with Rockstar: Supernova's Lukas Rossi and country/rap artist Mikel Knight. You can catch his new project with former Dry Cell frontman Jeff Gutt at ShadesOfTheVillain.com and his clothing line at 1251Clothing.com, of which he is a cofounder.

This video is related to the March 2012 issue of Guitar World. For the full text and tablature for the column, you can pick up the issue of newsstands now or in our online store.

In the first edition of Glenn Proudfoot's new Guitar World column, "Loud & Proud," the Australian guitarist looks at a few simple ways of building patterns inside the pentatonic box.

"Early in my development, I always struggled to find ways to build nice-sounding runs that moves across the neck," said Proudfoot. "I found that grouping notes in different patterns of threes, fours and gives, as well as other patterns, helped me tremendously in this pursuit."

For all of the March 2012 videos, head here.

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Today is February 1, 2012 -- or 2.1.12. That magic combination of numbers makes today Rush Day, if only in the minds of the worldwide community of Rush fans.

In celebration of all things Rush, we got former Metal Maniacs editor and author of Mean Deviation: Four Decades of Progressive Heavy Metal (Bazillion Points) Jeff Wagner to step in and name his top five Rush albums.

For more on Mean Deviation -- which may very well be the definite prog metal text -- head to Mean-Deviation.com.

The Beatles' 19th single in Britain -- "Get Back," backed with "Don't Let Me Down" -- was released April 11, 1969, so the song was already well known when the Let It Be album was released more than a year later.

However, the single version (available on Past Masters) was recorded January 28, 1969 (as was "Don't Let Me Down"), while the album version was recorded the previous day -- and it shows. The single version is more powerful, and the band attacks it with a bit more confidence, perhaps the result of giving the tune an extra night to sink in.

Other differences are the result of mixing; the single version (3:11), which benefits from a healthy dose of reverb, starts off cold and features nothing but pure Beatles-style R&B, fading out after some extended jamming and riffing by Paul McCartney ("Your mama's waiting for ya, wearing her high-heel shoes and her low-neck sweater").

The album version opens with some January 27 studio chatter (including John Lennon's "Sweet Loretta Fart, she thought she was a cleaner, but she was a frying pan" parody) and ends with a snippet of the January 30 rooftop performance, with Lennon hoping the band had "passed the audition."

Both versions feature Lennon playing lead guitar, getting a pleasing P90 tone out of his sanded-down Epiphone Casino; George Harrison on his custom-built rosewood Telecaster and McCartney on a Hofner 500/1, most likely his 1963 model. Both versions also feature brilliant playing by longtime Beatle friend Billy Preston, a recent Apple Records signing and true professional who melded quickly with his new, albeit temporary, band mates.

The song's chorus was initially inspired by the plight of Kenyan Asian refugees who were bound for Britain; the phrase "get back" wasn't meant in earnest, however; it was McCartney's satirical comment on the resulting racism brewing in Britain.

Damian Fanelli is the online managing editor at Guitar World.

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Related Artist: 

The Beatles Paul McCartney John Lennon George Harrison

2012 is a year fraught with cosmic significance. Musicians and artists, more sensitive to vibrational influences than most, will benefit from knowledge of these heavenly influences.

This year started with major planetary shifts that will continue to bring transformation throughout 2012. Jupiter, the planet of luck, expansion and optimism, entered Taurus on Christmas day and will remain there throughout the year, which supports the realization of abstract ideas.

Uranus, the planet of unexpected surprises and social networks, is finally fully established and moving forward in Aries (and will be through most of 2019), bringing excitement and massive change. Neptune is preparing to make a major shift from Aquarius into the sign it rules, Pisces, in February, enhancing everyone’s creative self-expression for years to come.

And last, but definitely not least, Mars, the planet of ambition and aggression, is retrograde through mid-April, enabling us to go back and put effort into finally finishing something started long ago.

ARIES

In 2012, Uranus, the planet of freaky surprises and out-of-the-blue changes is in your sign, Aries, for the first time in 86 years. This is the year to get the band back together, meet new people and collaborate. Merge your energy with others to create innovative, maybe even rebellious, expressions of your inner-soul. You will be singled out for past achievements this year, enabling you to forge ahead into completely new creative territory. 2012 is the time to initiate a new quest. You have the confidence and finesse to turn a partnership that made a rocky start into a powerhouse combination.

Theme Song: “Break on Through (To the Other Side)” by The Doors (The Doors, Elektra, 1967)

TAURUS

In 2012 Jupiter, the "greater benefic" of the zodiac, is in Taurus, a cycle that happens only once every 12 years. This is your year to shine; the stars are definitely on your side. You will accomplish whatever you set your mind to if you concentrate fully on objectives and banish nagging negativity. Publishing endeavors, touring, and academic pursuits are all highlighted in 2012. It is a perfect time to go back and revisit an old project, with Mars retrograde in your fifth house of creativity; you have the power to completely transform a work you incorrectly assumed was lost forever. Remix, re-master, or re-record your grand opus this year; the final result may astound you.

Theme Song: “Instant Karma (We All Shine On)” by John Lennon and The Plastic Ono Band (Single, Apple Records, 1970)

GEMINI

You are more reserved and introverted than usual in January, Gemini. Repair broken or struggling relationships using one of your undisputed strengths: your gift of gab. You can talk your way out of almost anything right now. When it comes to the domestic scene, make an extra effort to clean out the old in order to make way for the new. Expend that extra energy organizing and streamlining your home base of operations; Mars’ retrograde in the fourth house will wreak havoc in coming months if you do not nip problems in the bud NOW.

Theme Song: “Ramble On” by Led Zeppelin (Led Zeppelin II, Atlantic, 1969)

CANCER

In 2012, Uranus forces you out of your shell toward a more extroverted and social existence. Acquaintances and friends prove instrumental in furthering your career ambitions. You finally meet the partner of your dreams this year, or make it possible by ending a dead relationship. Mars’ retrograde in the third house of siblings, neighbors, and communication brings sublimated domestic tension to the fore, and a confrontation at the end of January is possible. Don’t let others’ aggressive energies get you down or force you off your course.

Theme Song: "After Midnight" by Eric Clapton (Eric Clapton, Polydor, 1970)

LEO

It is time to get to work, Leo. Mars is retrograde at the end of January, so tackle financial and practical matters right away before they tackle you. External aggression may force you to address issues that have been lingering for months. Jupiter, the planet of luck, optimism, is in your tenth house of career all year, supercharging your creativity leaps forward. Communication, neighbors, and socializing may seem burdensome; work through invisible barriers that have been blocking your progress in the social arena. Have faith in your values and what -– and who –- is really important to you (and what is not).

Theme Song: "Takin’ Care of Business" by Bachman-Turner Overdrive (Bachman-Turner Overdrive II, Mercury, 1973)

VIRGO

There is no more fooling around for Virgos in 2012. Mars is in Virgo all year long, giving workaholic Virgos an extra dose of super charged universal consciousness. 2012 brings with a super creative streak; but beware, Mars is slowing down and will turn retrograde in your Sun sign on the 24th, so get your ducks in a row now. With Mars’ help, in February and March you will be able you to turn your energy inward and resolve deeper issues. Subvert all negative energy by converting aggression aimed in your direction into a defensive weapon.

Theme Song: “Get Down to It” by Humble Pie (Eat It!, A&M,1973)

LIBRA

You are tempted to focus solely on home and hearth with the Sun in your fourth house. However, Uranus settling into Aries in your seventh house of partnerships (of all kinds) forces you to deal with external influences as well. You’ll experience a refresher course in exercising the Libran principles of balance through this constant push-and-pull all year long. In addition, taskmaster Saturn, the stern teacher of the zodiac, is also in Libra throughout 2012, bringing a mixed bag. The heavy responsibilities and burdensome challenges may seem dark at times, however, Uranus in Aries will lighten your load by surprising you with new and unusual potential partners who can lend a helping hand.

Theme Song: “With A Little Help From My Friends” by The Beatles (Sgt. Pepper’s Lonely Hearts Club, Capitol, 1967)

SCORPIO

You are on fire creatively as January starts, with the Sun in your third house of writing, intellectual pursuits, and communication. You are a social butterfly in January, but don’t get caught up in external affairs or get sidetracked by distractions from the social sphere. As Uranus energizes your sixth house of work in 2012 you are fired up, ambitious, and more motivated than you have been in years. You have the power to establish a productive new daily routine that will enable you to not only accomplish long pending goals but also new ones that come up along the way. Get your flow established in the first half of the year; taskmaster Saturn enters Scorpio in October and will force a reckoning if you don’t get it together now.

Theme Song: “Bang a Gong (Get It On)” by T-Rex (Single, Reprise, 1972)

SAGITTARIUS

Sagittarius, you can make enough money in January to last you for all of 2012 (perhaps the rest of your life, if you play your cards right). There is an auspicious combination of Uranus activating your creativity sector with the Sun in your second house of money and finances that makes January extremely lucky for you. Saturn in Libra teaches the lesson that you need to learn to balance your reliance on others for your own success. Another lesson you may learn is to stop blaming others for your problems, especially in your career. Mars’ retrograde in Virgo will prompt you to take a long hard look at yourself and take responsibility for your own decisions. Take control of your destiny in 2012, and start by making the hard decisions. Don’t flake out or bow out; and most importantly of all: don’t burn out.

Theme Song: “Money” by Pink Floyd (Dark Side of the Moon, Capitol, 1973)

CAPRICORN

It’s your time of the year, Capricorn, with the Sun in your sign. This year brings major changes on the home front, as the very foundations of all that you hold dear and stable domestically begin to shake under your feet. Rather than look outward for the causes, Mars’ retrograde later in the month forces you to take a long hard look at yourself in the mirror. Pluto has been transiting Capricorn for some time, and continues its long trek through Capricorn, so your journey is just beginning. As you adjust to the utter transformational powers of Pluto this year, Saturn puts your actions in the spotlight – for good or bad. If you have worked hard and accomplished important milestones, you will be rewarded. If you have been making excuses and not taking responsibility for your life, Saturn will force you to do so.

Theme Song: ”Shake Your Foundations” by AC/DC (Fly on the Wall, Atlantic, 1985)

AQUARIUS

You may need to turn inward and address deep emotional issues as the Sun transits your twelfth house, stirring up your deepest feelings and sharpening your psychic abilities. You feel closer than ever to friends and co-conspirators, you have the ability to almost read their minds. No matter the distances that separate you, you are able to connect on a deep level with friends, romantic interests and family members. Rather than fall back into your somewhat aloof Aquarian detachment, in January, express your feelings for the important people in your life (no matter how sappy you think they may sound). Doing so will make a major difference when Mars goes retrograde later in the month, stirring the depths of your soul and connecting you with your deepest emotions.

Theme Song: “I Can See for Miles” by The Who (The Who Sell Out, Polydor, 1967)

PISCES

Uranus is finally left your Sun sign, Aquarius, and as you get used to the luxury of not having this unpredictable (although exciting) planet hovering over your every move you will regain confidence in yourself – and your work. Clearly and effectively communicating your emotions and thoughts is absolutely essential in January, or else a one-on-one partnership will blow up in your face when Mars goes retrograde at the end of the month. Rely on your friends for support in all aspects of your life, especially when it comes to a shoulder to cry on. If you are confused about an important decision you have to make, don’t be afraid to turn to a trusted friend or family member for advice. Just be sure to inform anyone else’s advice with your own intuitive sense of the situation.

Theme Song: “Let it Bleed” by The Rolling Stones (Let It Bleed, ABKCO, 1969)

Margaret Santangelo is a New York City-based freelance writer and astrologer specializing in the astrology of rock and roll. She has been a contributor to Guitar World, XXL, CosmoGirl!, Seventeen and other publications over the past 15 years.

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The Doors The Beatles Pink Floyd John Lennon

The powerful and bluesy "I've Got A Feeling," which John Lennon jokingly called "I've Got A Fever," is a true Lennon/McCartney composition. It blends -- via alternation and superimposition -- two incomplete songs, one by Paul McCartney, one by Lennon.

Both happened to have been written around the same period and based on the same two-chord motif built around a first-position A chord (with the high A note fingered with the pinky). It is the last true collaboration by Lennon and McCartney.

McCartney's share of the song, called "I've Got A Feeling" from the get-go, includes a verse, chorus and bridge and was inspired by his relationship with his soon-to-be-wife, Linda Eastman. Lennon provides alternate verses inspired by his personal upheavals of 1968.

"I've Got A Feeling" is one of three "live" songs to be included on Let It Be, having been performed as part of the January 30, 1969, rooftop concert. It features McCartney on vocals and his 1963 Hofner 500/1 (adorned with the rectangular "Bassman" sticker from his Fender Bassman amp), Lennon on vocals and his Epiphone Casino, George Harrison on backing vocals and his rosewood Fender Telecaster, Ringo Starr on Ludwig Hollywood Maple drums and Billy Preston on Hohner electric piano.

The gritty, hard-edged song, which McCartney still performs live today (See below), benefits from McCartney's screaming vocals, creative, octave-infused bass line (especially during Lennon's portion of the song) and Harrison's tasteful bends and double stops during McCartney's raucous bridge.

Although the version featured on Let It Be is the result of a single live take, Phil Spector edited together three mixes to come up with the final product.

Damian Fanelli is the online managing editor at Guitar World.

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The Beatles Paul McCartney John Lennon George Harrison

Hey, readers. Thanks again for the continued support for my blogs. I find that writing and sharing my own perspective on music knowledge lots of fun!

I enjoy playing guitar in a vast array of styles, but those who know me best know that my true love is melodic metal. Today I offer the metal heads a different type of blog than I often write and see in regards to applying theory in your playing.

I dedicate this blog post entirely to metal and rock songwriting tips. This article is solely for you rock and metal players out there who have never written a full song or for those who want to try a different approach to songwriting.

MELODY FIRST

Many metal bands don’t realize that melody is a hugely important aspect of a song; in my opinion the most important! Long ago, when I was a little 12-year-old headbanger, I would write a bunch of riffs (hopefully in the same key) and attempt to superimpose some type of verse or chorus melody on top. I found in my own personal experience that the melodies I wrote were never as memorable as the riffs, and the songs didn’t possess enough movement to keep me excited.

A great way to start writing a song is create the vocal melodies first and then write the riffs around that. Try writing a verse and chorus melody with some semblance of words until you get a melodic and rhythmically interesting gem.

A keyboardist I used to play with gave me some great advice in regards to melodic construction, “A strong melody should stand on its own and should immediately be recognized played in single notes unaccompanied.” If the melody sticks in your head after a few days, then you are off to a great start. If not simply discard it and try again.

Think of some jingles on TV or some of the greatest songs of all time; they all have catchy, memorable melodies. All of the most brutal interesting riffs and drum beats in the world are worthless to the non-musician without a powerful melody. Does your melody have hooky, sinewy, singable vibe to it or does it fall flat? Experimentation and experience will aid in tweaking would-be masterpieces, so try to be as objective as possible.

What would the listener expect and be pleasantly surprised by? A strong verse and chorus will give you an enviable start.

RIFFS AND RHYTHM

The metal genre is known more for its intense guitar wizardry and its savage war-cry percussion than for its cleverly crafted melodies, but when both align it is a marvelous sound indeed! Now that you’ve spawned a bulletproof melody, how do you write a killer riff to back it up? One word ... CONTRAST! If your melody is based off of long-held mid-range notes, try a razor-sharp, syncopated, heavy-as-hell rhythm like “End of Heartache” by Killswitch Engage. This will surely keep females in your audience and also give the dudes an excuse to wreak havoc in the mosh pit!

Try writing your intro and other riffs now after you have already tackled the main bits of the song. You may find this method of working inside out quite helpful. Remember there are endless ways to go about writing music this is only one suggestion. HAVE FUN!

Shawn McGovern is a Musicians Institute graduate and a highly sought-out guitar instructor in the New England area. He is the president and director of curriculum for the Rhode Island Music Workshop, a contemporary music school that offers individual and ensemble training. Shawn also plays guitar and sings lead vocals in his band For Solace. For more information on Shawn, check out ShawnMcGovern.com or RIMusicWorkshop.com.

This week saw more hype leading up to Van Halen's new album, A Different Kind of Truth, with three clips of new songs appearing online (four if you count a preview on Amazon.com.) We've also got new tracks from Adrian Smith's Primal Rock Rebellion, Soulfy, Pelican and Korpiklaani.

As usual, we debuted some new music on GuitarWorld.com as well, and you can listen to "The Blessed Void" from All Pigs Must Die here and the new album from Beyond the Bridge, The Old Man and the Spirit, here.

Also, you can check out the full stream of Lamb of God's Resolution here and the Scorpions' Comeblack here.

Van Halen, "Blood and Fire" (clip)

Van Halen, "Stay Frosty" (clip)

Van Halen, "China Town" (clip)

Primal Rock Rebellion, "No Place Like Home"

Korpiklaani, "Metsälle"

Soulfly, "World Scum"

Pelican, "Lathe Biosas"

Cheap Girls, "Communication Blues"

Primitive Weapons, "Quitters Anthem"

Psycroptic, "Throne of Kings"

Crippled Black Phoenix, "A Letter Concerning Dogheads"

El Caco, "Hatred"

Cancer Bats, "Old Blood"

Alcest, "Faiseurs De Mondes"

Diamond Doves, "Eat Your Heart Out"

Revocation, "Surprise! You're Dead!" (Faith No More cover)

Goatwhore, "When Steel And Bone Meet"

Happy New Year! I can't believe 2011 came and went so fast. Thanks to everyone for all the support and a great year.

I spent the last month of the year in Europe with Hawthorne Heights on a co-headlining tour with Red Jumpsuit Apparatus. I had a great time and the shows were top notch.

The only real hiccup happened early on. Upon arriving in Zurich, Switzerland, I got off the plane to experience every guitarist's worst nightmare: My guitar was not in the baggage claim area. Most of our stuff made it, but JT's guitar and mine were lost and not showing up in the tracking system.

This particular guitar is very dear to me, so I was extremely worried. Luckily, after a few days of confusion, finger crossing and not really knowing anything, we were able to get them delivered to a venue in Germany. A band from the UK called Failsafe were on the entire tour with us. They were not only a solid rock band, but really good guys who were nice enough to lend us two guitars until we got ours back.

After many years of touring, this was my first on a full-sized tour bus. I really enjoyed it and having a driver make most of the drives overnight while we slept made for having more time during the day to explore Europe before the shows. Getting to see more of Paris this time was an absolute highlight for me. It's a remarkable city. Shows that stand out in my mind as being the most fun were London, Glasgow, Cardiff and Amsterdam. We had really fun days off in Brighton and London. I tried to get most of my holiday shopping done, which was fun but expensive!

After getting back to the States, I had a day off then played our annual HoliDayton hometown show with The Story Changes. This was our ninth year of throwing the show, and it's always one of the highlights of the year for me. This year was no exception and it turned out to be a great night of music. Dayton has so many talented artists and performers. It's always inspiring to see so many friends making great music from your own neck of the woods.

In other The Story Changes news, some tracks are now available for the Rock Band network. I'm horrible at those games, but I'm wondering if I can get any better at them through trying to play my own songs? Probably not, ha!

We've been hitting our rehearsal studio hard, working on fine-tuning a batch of new songs and getting a plan together for a new album. Listening to the demos of the new songs has been getting me really excited. Songs like "State Lines" and "Never Not Ever" are turning out really cool.

Favorite releases of 2011:

Foo Fighters -- Wasting Light
Into It. Over It. -- Proper

My favorite shows played in 2011:

The Story Changes - HoliDayton 2011 at Blind Bob's on 12/23/11
Hawthorne Heights - Hollywood, CA at the Key Club on 10/11/11
The Story Changes - Bledfest in Howell, MI on 5/28/11
Hawthorne Heights - London, UK at Scala on 12/18/11

2012 is already looking to be a busy year. I leave in a few days for an Eastern US Hawthorne tour with Me Talk Pretty and Medina Lake. Check out HawthorneHeights.com for dates and come say hi.

Cheers!

Mark

Hey there. How the hell have you been? I know it's been awhile since we last spoke -- a little too long, actually. I want to assure you that all is well on my end of the computer screen, and I hope that the same goes for you.

Last time you were here with me, we discussed some of my ideas on "training the mind" to better prepare you for your ascension. I hope you took the time to really digest and absorb what was said in order to get the full effect and really feel the power of that particular column. Please let me know if you've gotten anything useful out of it by contacting me at dansugarman12@gmail.com. I look forward to hearing from you!

Since my last column, I have definitely been getting busy and making good use of my time. Besides finishing out the Never Say Die European Tour 2011, being a part of the almighty Thrash & Burn Tour 2011 (USA) and having a fuckin' blast while doing it, I've started teaching online private guitar lessons through bandhappy.com.

This innovative and forward-thinking website is going to single-handedly change the face of today's music world. It will do this by connecting musicians across the globe and giving anyone the chance to learn from thousands of their favorite musicians. Everyone now has the ability to grow and evolve into an incredible musician with the guidance and helping hand of their own personal influences and musical idols, thanks to this amazing new tool. Five years from now, our idea of talent and virtuosity will be completely different, thanks to BANDHAPPY. Get into it; join the movement.

You can take a lesson with me at virtually any time and date of your choice from the comfort of your own home. Lesson topics can be on literally any subject of your choice, ranging from (but not limited to): mastering the fundamentals and mechanics of proper guitar playing, learning music theory, perfecting the acoustic arts, advanced solo and rhythm techniques, honing your songwriting and creative skills -- all the way to getting personalized band advice and consulting on what steps your band needs to take in order to gain fans, be heard and get noticed by the people who matter.

You can contact me on my BANDHAPPY teacher profile here to schedule your first lesson with me. You will receive a special deal on my hourly rates just by mentioning you've read this column. Make a move. The ball is in your court now!

On top of offering these lessons to those who are interested (Shouldn't you be?), I am also writing the third As Blood Runs Black record, the second Fallen Figure record, as well as starting and writing for various other projects that I have had in the works behind closed doors. One of those projects is called The Ocean Above, another is called Blindlight, and the third one is called CenterSun. Be on the lookout for updates and new music from these bands soon!

To say I'm on an obsessive creative kick at this point in my life would be fair to say, and I won't take offense -- just don't call me crazy! I've been known to write and work on my music at pretty odd times of day and night for hours and hours without even taking a single break. That includes breaks for eating, drinking water, resting my eyes/brain/hands and even just getting up to use the bathroom. Maybe I am crazy?

I feel that once the creative flow has taken over my body and mind that if my concentration is broken, then I will lose the organic flow and momentum of that once-in-a-lifetime moment of creation. That isn't to say you can't jump back into another creative flow, but it just won't be the same as before. In other words, the musical path you take on your second attempt will lead you somewhere else in the end.

Although, sometimes it is wise to interrupt your flow if you've reached a dead end or feel like your brain has turned into mush, but otherwise I tend to commit myself fully to the first organic flow. When this creative mood strikes me and I am possessed by it -- everything, and I mean everything, just kind of falls to the side as my senses shut off. My goal and purpose comes into view, a new level of focus takes over, and then I go into tunnel-vision creation mode. Perhaps I'm channeling messages from another dimension for all I know ... does anybody even know what creativity is or where it comes from? It's a weird thing to be possessed by something so natural, powerful and as unexplainable as music. I'm a slave to it, and I think you are too. That's why you're here, isn't it?

You're here with me now because you're a musician looking for answers -- just like the rest of us. You're here with me right now because you think there is something I might say in the next sentence or two that could help you improve upon your music, or quite possibly even change your way of operating in your daily life. You're still here with me now, reading this very paragraph, because I'm reading your mind ... what? Alright, I'm done with that ... it won't happen again.

Are you in a band looking to take the next step, but you don't feel you have all the pieces that you'll need to be successful? Does your band still have a lot of improvements to make, but you're not quite sure how to do it or where to begin? Maybe you've played some larger gigs, but your band didn't get the reactions or achieve the results that you were looking for? Do you feel like you and your band members put in the time and effort necessary to be the best band you can be -- but you still feel as if there is still room to improve? If so, then this article will help you tremendously.

In today's column, "Band Help! Insight & Tips That Breed Band Success - Part I: Refined Focus," I'm going to reveal some of the biggest secrets about how to turn your band into a marketable product that people will flock to see and want to become a part of. I will also discuss with you in great detail where you need to focus your energy, and how to get the results that you and your band are looking for.

Being in a band -- seeing as you're still reading this particular Guitar World column -- would also mean that you're a musician. But in today's day and age, where the New Music World revolves around social networking, heavy touring, downloads, guerilla-style marketing and merchandising -- being a musician is simply not enough. You must be a true entertainer, and a business man if you want your band to stand out and rise above the rest. More on the latter in my next columns.

Let's kick off today's lesson by talking about what really makes your band stick in peoples' minds and how to stand out from the rest - YOUR LIVE SHOW. You must not forget that being in a band really means that you're an entertainer, right? Playing a show in front of a ton of people means nothing if those people don't walk away with sore necks from head banging, raspy voices from screaming their lungs out, and a hunger for more. If your band can't give solid and consistent performances of your band's music played to perfection, then you have a major problem. If you're not playing those songs with high energy, coordination, and without offering something different visually -- then you and your band are simply out of luck and will fall victim to what every band fears...achieving absolutely nothing. If you're looking to take the next step together -- continue reading.

When your band plays a show, you have to recognize that your music is only about half of what most of your fans are looking at. Whether that decision is a conscious one or not, it is still a fact and it must be attended to. Where does the other half of their interest go you might be wondering? The answer is simple -- it goes into focusing on the visual side of things. They are looking to be entertained by what's happening onstage, and you must to deliver.

If they just wanted to hear your music, then they would have stayed at home and listened to your demo, EP, or album. But no! They've already left their homes hours ago and paid good money to have their ears AND eyes pleased. You need to engage the audience members, fulfill their needs, and leave them feeling like they were just a part of something special -- thus wanting more.

When this is executed properly, these new fans will feel compelled to invite others to your performance the next time you come around their area. If you can succeed in putting on an unforgettable show, then people will walk away with the impression: "Wow! That band sounded incredible AND looked extremely PROFESSIONAL. They must know what they're doing and have something going for them. I want to support this band by doing whatever it takes to become a part of their movement and what they're doing!"

Perception is Reality -- if these people leave your show thinking that you're a professional band because of how amazingly you've executed your show, then you are a professional band. What you present to them on the surface is all that they can see, thus making THEIR perception YOUR reality. Make sense?

In this business, it's the audience who decides which bands make it and which bands break it. Although you can do your part to sway their opinions, in the end it is still up to them. On top of that, people are prone to following the "herd mentality." They often herd together and follow trends, or quite literally jump on the bandwagon. So in other words -- if you put the right amount of effort and ground work into this, then you will have decided the outcome for them. In turn, you will have successfully created a domino effect in your favor. Recruit the right people to your "team", and win over the masses. Simple as that. Well...maybe it's not so simple.

Does luck have anything to do with this? You might be saying to yourself, "Of course it does. Luck is involved in the music business 100%. You have to be in the right place at the right time...right? How else does it happen without luck?" The answer is this -- with the proper planning & preparations, you can do anything that you put your mind to.

Luck is simply a byproduct of those two things -- proper planning & preparation. The phrase "you have to be in the right place at the right time" is incomplete and in this case totally outdated if you take that into consideration. Try this version instead: You have to be the RIGHT PERSON, in the right place, at the right time. What does that mean? It means that you really are in control of your own life, and you are capable of creating your own "luck" -- as long as you take the steps necessary by being prepared and planning ahead.

If you can impress and amaze just a few people from each show that you play, then they will each walk away with your band on their mind. They will go to school or work the next day and tell all of their friends about this amazing new band that they just discovered. Those friends will then turn and tell their friends, who will in turn go and tell their friends, etc. etc.

In business terms, this idea is called exponential growth, and is also known in the musical world as "word of mouth". It is one of the keys to getting your band's name out there and to having your music spread like wild fire. It's like a highly contagious, incurable disease that people actually want!

What does the idea of "exponential growth" mean for your band? It means that next time you play a show in the same area that you'll have 10x as many people there to see your band perform. Quite an awesome thing to witness right? Well, it is -- except that it's not really about how MANY fans you have as much as it's about how FANATICAL those fans are. You want the type of fans that will be in the front row screaming your band's name, singing your lyrics back to you, banging their heads, throwing their hands high in the sky when you tell them to, and air drumming every single snare hit and drum fill that is played.

You see -- those are the people that will go to all of your shows, buy your t-shirts as well as all of your albums (even though they thought your previous album was better). They'll cheer louder for your band then they will for X-Band, they'll tell every person that they walk by in the streets about you after the show, and they'll support you and your band until the very end - no matter what. These people are your loyal supporters -- your super fans. They are the fuel to your fire. The oil for your machine. The air that your band breaths. They are what your band's career is dependent on. You must take care of these people in return for them taking care of you.

Offer these true fans exclusive experiences to show your appreciation and to remind them of how much you really do care about them. Maybe offer them incentives to help your band grow as well. You can do this by asking them to help promote your band in their areas, and in a sense you will be creating a "street team" for your band. You can do this in every city that you play in -- get creative with it.

You can offer them exclusive experiences such as free tickets to shows, backstage passes, one-on-one lessons with members of the band, exclusive video content that only THEY will see, as well as merch contests & giveaways -- all in return for supporting & promoting your band. You'd be surprised at how willing your fans are to trade their time for yours. Why? Because they are just that -- fans of your music and what you do. Just remember that if you want to prolong the life of your band that you must treat your fans with respect, hospitality, honest appreciation, and a true sense of caring. As long as you know how to interact with your fans and deepen the connection that they already have with you, then your fan base will continue to grow, and you will begin to harvest the fruits of your labor.

Take time out of your day to really learn about them and what makes them tick. Take every chance that you get to talk with your fans so that you can strengthen the bond that you already have with them. Doing this will prove that their is no difference between you and them. It will show them your true character and give your fans even more of a reason to love what you do. Remember, you're just another human being playing an instrument -- it just so happens that you've taken the steps (preparation & planning) necessary to be where you are today -- something that they look up to. This genuine interest that you have in your supporters will bring them even closer to you and your music, and it will also inspire your fans to continue their support for you. It might even inspire them to chase after their own dreams and aspirations -- my personal fuel for doing what I do.

When someone approaches me and says that it was my band that got them into metal, or my solos that inspired them to pick up a guitar, or my lyrics that kept them from taking their own life -- THAT is the reason why I do this. It is one of the most rewarding and powerful feelings I've ever felt to know that my music's message has been received and taken to heart. You guys are the reason why I put myself through hell -- I do this all for you.

Keep these ideas in mind and be sure to exercise them daily. Remember that knowledge ISN'T power. It's the APPLICATION of that knowledge that gives you power. Keep going, stay true to yourself, and stay inspired.

Well, that concludes Part I of "Band Help! Insight & Tips that Breed Band Success". Thanks for taking the time to read all of this through until the very end. I hope that you've learned a few things here and are willing to put the time and work that's required into making your dream a reality. Think ahead and take advantage of the tools that you have available to you so that you can leverage your way into the spot light. Take your life into your own hands and forge your own future. You have no excuse not to at this point!

Stay tuned for my next installment of "Band Help!" as I will be discussing the proper way to practice as a band, as well as performance advice & tips.

But until then, this is Dan Sugarman here, signing out.

You stay classy, planet earth.

(Contact me for guitar lessons & band consulting at www.bandhappy.com/profile/dansugarman if you are interested in receiving guidance along your path to greatness. I am accepting students of all levels, ages, and styles. Don't hesitate! Contact me today.)

I know you think guitars and cars have a lock on hot girls, but Mac geeks have to a have a little fun, too!

That’s why my foray into the Macworld iWorld expo in search of some musical fun got a little, shall we say, waylaid.

Did I find some cool music apps, accessories and more as I scavenger-hunted my through the booths filled with many, many iPad cases? You bet. You can read about 'em here. But I know what boys like.

So forgive me ladies, I’ve included a few pix for the baseline readers here at Guitar World as well.

As far as the balls go, well, you’ll have to check out my photo gallery to find out!

Laura B. Whitmore is a singer/songwriter based in the San Francisco bay area. A veteran music industry marketer, she has spent over two decades doing marketing, PR and artist relations for several guitar-related brands including Marshall and VOX. Her company, Mad Sun Marketing, represents 65amps, Acoustic Bass Amps, Agile Partners, Guitar World and many more. Laura was instrumental in the launch of the Guitar World Lick of the Day app. She is the lead singer for the rock band, Summer Music Project. More at mad-sun.com.

In a band? Have no idea how to go about getting a label to take you seriously? We've got the answers you're looking for.

In our new series, "Dear Record Label," we went to Roadrunner Records -- home of Slipknot, Rob Zombie, Opeth, Megadeth, Kenny Wayne Shepherd, Trivium and more -- and asked them the tough questions young bands should know the answers to. Each week, we'll be bringing you advice from members of the Roadrunner staff to try and get you on track to get noticed.

This week, the advice comes from Roadrunner Records Vice President of A&R, Monte Conner.

Q: What are the functions and importance of producers and engineers in the recording process?

Monte Conner: Producers and engineers are vital to the process in different ways, but their functions can overlap as well. An engineer will be key in recording a band the correct way – for example, making sure they play tight and ensuring that the instruments sound powerful and clear in the mix. A producer is needed to help the band shape and arrange their songs in such a way that the magic can be heard. This could mean getting a singer to pour out emotion in his/her delivery or simply acting as band coach/therapist and getting all the members in the right headspace to lay down their tracks. As I said, there is a lot of overlap between these two jobs, and often the same guy does both. In many ways, a great engineer is more vital than the producer because many producers are just glorified engineers anyway. Bands can get by with a only great engineer if they have to. No matter how good the producer is, if there is no one there to properly record and make the songs sound cohesive, the results will be compromised.

And if you're an unsigned band, be sure to check out Roadrunner's Sign Me To website, which allows unsigned bands to display their music, move up charts based on fan ratings, get reviewed by Roadrunner staff and maybe even get signed!

Unfortunately, due to the snow and bad weather, we had to cancel a few shows: Spokane and Seattle, Washington, and Portland, Oregon.

We weren't happy about canceling, but the weather was so bad, we couldn't see where we were going because our windshield was freezing over!

We posted up in Sacramento, California, at our bassist Shep's house. We stayed there for three days then drove down to LA for the last show of the tour at The Key Club in Hollywood. I was so stoked to be back home in SoCal!

Unfortunately, I caught the cold going around in the band, lol; happens when you're in a van for three weeks with seven other people. I still gave it my best for Hollywood and rocked out.

The Something Wicked This Way Comes tour was an amazing experience, and we had a great time touring with Wednesday 13 and Aiden.

Mark Burn is the guitarist in Modern Day Escape, who are touring with Wednesday 13 & Aiden on the Something Wicked This Way Comes Tour. Modern Day Escape's new album, Under the Gun, will be released March 27 via Standby Records. Be sure to visit them on Facebook.

Like the headline says, here are seven habits -- habits you'll need to get into -- that will make you a better guitarist in the new year -- and beyond.

01. Visualize: You don’t just have to practice when there’s a guitar in your hands. There’s plenty of time in the day being wasted that you can use to improve your playing. Whenever you have a spare few seconds to daydream or are zoning out in class or at a meeting or waiting in line at the DMV, etc., use the time to go inside your mind’s eye and ears and visualize yourself perfectly executing the lick, riff or song you’ve been working on.

See and hear yourself playing the part with an expert ease, gliding as one with the strings, “virtually” feeling your fingers and your pick in precise synchronization. Repeat this whenever you can and you’ll find you’re better than you were before the last time you picked up the guitar and that the experience of the real guitar in your hands is enriched for the process.

An added bonus of this is that when you get better at connecting the disparate experiences of the imagined and the real, you’ll find that the accuracy of translating what you hear in your head through your fingers to the fretboard will significantly improve, as will your ability to transcribe things you hear while away from your guitar (if nothing else, you’ll be floored at how realistic your air guitar playing will be!).

02. Learn Something New Every Day: This is one of the easiest things you can do to enrich your guitar playing, musicianship and, most importantly, your discipline and motivation. Simply put, find one guitar-related thing a day that you didn’t know already and learn it. And play it. It can be a riff, a lick, a chord, a scale, an exercise, a song, a melody, an altered tuning, a strum pattern, the part of a song you know all of the cool riffs of but never bothered to learn the “boring” connecting transition sections of, whatever.

The discipline of seeking out, playing and internalizing a new piece of guitar knowledge on a daily basis will feed your subconscious musical instincts, add new concepts to your muscle memory and ultimately aid in your ability to express yourself and perform effortlessly on the guitar.

Make this a part of your day and you’ll find that as you continue on your journey, one thing will become two, then three, and on and on until you are devouring as much as you can absorb on the guitar, every day!

03. Jam! While it’s awesome to have perfected that ripping 128th note shredfest in your bedroom or basement, perhaps the most important thing for a guitarist to do is to play along with or to some sort of accompaniment.

Obviously, playing with another live musician or group of musicians in the same room is the perfect situation (And you should put yourself in those situations as often as possible), but there are many alternatives that can be just as beneficial. Today we have innumerable options, such as virtual backing bands and tracks through the Internet, computer programs such as EZ Drummer (highly recommended for its ease of use and versatility) or Garageband loops, plus apps on our phones that can act as stable backdrops against which we can hone our performance skills.

Playing with accompaniment such as this will greatly improve your consistency, your endurance, your improvisational ability and your feel for locking into a groove.

As another fun and educational option, jam along with your favorite songs. You can play along with the song note-for-note as written and improve your chops by executing the nuances and fitting in seamlessly with the rhythm, or you can use the track as a launch pad for exercising your improvisational muscles and integrating the licks you have been practicing. Play along with songs outside of your comfort zone of style or technicality to gain further benefits from this. Jamming along with TV, commercials or movie soundtracks while you’re relaxing with a guitar in your hands can be fun and rewarding.

04. Record Yourself: There is no better way to see your guitar playing objectively and to motivate yourself to work to become a better player than to record yourself. There are countless affordable media for recording yourself on your own, and when you record, you can listen to yourself with fresh ears and hear the things you like and dislike about your playing. You’ll find it’s infinitely easier to pinpoint your strengths and weaknesses and focus your practice accordingly.

Record yourself playing rhythm and then record other complimentary parts such as leads, melodies, counterpoints and complimentary alternate rhythms and you’ll learn about composition, production and ensemble performance. When you begin to focus on these complimentary parts, you’ll find that your vision and scope expands, as do your goals, and as you work to create complete songs, your abilities grow exponentially while you work to write and perform to the best of your ability.

The other benefit of recording yourself is that you will consistently maintain a record of your growth as a player. The journey of a guitarist is always (or should be) one of constant growth, and recording yourself is an awesome way to measure how far you have come.

05. Take Lessons: As a guitar instructor by trade, I am clearly biased, but the most obvious and productive thing any guitarist can do to improve their playing is to take lessons. While there is an ever-expanding universe of Internet resources, books, instructional videos, etc., available, nothing can compare to the one-on-one interaction with the expertise of a skilled guitar teacher. A teacher will identify your strengths and weaknesses, sharpening your skills and eliminating your flaws. A good teacher also will help you save time in your development by helping you sift through all of the information out there and lead you on the right path toward quickly realizing your goals as a guitarist.

Guitar teachers get paid to make you better, and spending the money will make you take your study seriously. Every story of a “self taught” guitarist still involves some part where they learned a lot from someone they knew who was more proficient and knowledgeable than them who helped shape their development, and even the extremely educated and virtuosic Randy Rhoads (who was a guitar teacher himself) was known to seek out guitar teachers whenever he had available time while making history touring and recording with Ozzy Osbourne, so break out of your rut, accelerate the evolution of your playing to the next level and get some lessons!

06. Focus your practice time: We’ve all heard stories of guitarists with marathon 12-hour or daily three-hour practice sessions, but for most guitarists, a tight, focused 10 to 30 minutes of consistent daily practice will prove more efficient. There is a difference in “practice” and “playing” time, and oftentimes the two get confused.

Practice should involve (after warming up) maintenance exercises to keep up your chops and emphasize your strengths, and focused work on specific goals that deal with integrating new knowledge and technique. Keeping the time spent on practice to an intelligent minimum, breaking up the topics to be addressed into small chunks, will help avoid wasted effort and will leave time to play.

In an ideal world, we’d all have three to six or more solid hours each day to spend with a guitar in hand, but for most of you reading this, the time you have available is substantially less. Oftentimes, setting out to practice for an extended period of time becomes a chore for some, and then the practice gets put off if something else comes up. Planning for at least 10 minutes of consistent daily practice time isn’t much of a chore for anyone, and if you get into the habit, you’ll find that you find ways to make more time to practice more.

Break up your practice regimen into skill sets and techniques, practice them daily, and then use them more efficiently when you’re playing. Let a guitar teacher mentor you through the process of designing a suitable practice routine for your schedule, or do your best assessing yourself and create your own. They key is consistency and brief, yet physically and mentally intense sessions.

Twenty minutes every day of truly focused practice is tremendously more conducive to development than a two-hour session every once in a while. And if you keep up with a reasonable, steady schedule, you’ll find that those occasions when you have time for an all-day practice session are all the more fruitful for it.

More importantly, keeping a consistent, intense practice regimen will leave all of your other free “guitar time” available for jamming, improvising, recording and experimenting, all of the while being able to do so with your skills at the highest possible level.

07. Track Your Progress The growth of any guitarist can be greatly improved by the simple awareness of the development of that growth. As you develop the discipline to be learning and practicing on a daily basis, it is extremely important to keep a log or diary of the process of your improvement in order to further maximize growth. The easiest way to do this is to keep a consistent log of your daily routine.

While this may seem a bit obsessive, you’ll find that keeping track of your daily practice will help you focus future practice sessions, maintain and continue awareness of steady progress, and also locate particularly fruitful practice phases in your past that can be replicated and upgraded when you feel your growth has stalled.

Create your own daily “workout log” or click, save and use the example below:

Scott Marano has dedicated his life to the study of the guitar, honing his chops at the Berklee College of Music under the tutelage of Jon Finn and Joe Stump and working as an accomplished guitarist, performer, songwriter and in-demand instructor. In 2007, Scott developed the Guitar Strength program to inspire and provide accelerated education to guitarists of all ages and in all styles through state-of-the-art private guitar lessons in his home state of Rhode Island and globally via Skype. Visit Scott and learn more at www.GuitarStrength.com.

For the final installment on the Delta blues, I've chosen to write about one of my favorites, the legendary John Hurt. First recorded in the '30s and '40s and later rediscovered during the folk revival of the '60s, Hurt's career was long, and his impact on the Delta blues is profound.

It's like I always say, it's hard to classify these artists in one category. Listen to Robert Johnson and John Hurt back to back and it's hard to say they play the same music. But there it is, the Delta blues in all its rage and glory.

When I think about Mississippi John Hurt, I think of adjectives like gentle, soft-spoken, soothing, sly, charming and personable. He is indeed a very likeable character. He is one of those rare musicians who you feel like you really know. His songs are so personal and his delivery is nothing but inviting.

When I listen to his music I feel like I know him. I know his loves, his hometown, his trials and tribulations. That’s what music is all about: communicating. And that's what Hurt does best.

Hurt's fingerpicking is about the best fingerpicking you can find. All of his songs are in that picking style with the thumb droning on the bass note and his fingers plucking melodies that echo or respond to his lyrics. His rhythm is steady and rolling, never in a rush, never too slow, always just right. His vocals are a melodic rap and he is almost singing through his songs in a talking voice. He never raises his voice, no yelling or hooting, jut steady and mellow with an entrancing lilt. He sings of love, home, gunfights, John Henry and coffee.

Here are a couple of my favorite Mississippi John Hurt tracks, "John Henry" and "Avalon Blues," which is a song about his hometown Avalon, Mississippi. I always love this one because my part-time hometown was Avalon, New Jersey, but wherever you're coming from, you can dig it.

Over the years, Hurt's fluid picking style has been a huge influence on me and has inspired many tunes of mine, including "Gimme Some Lovin'," "Everybody" and "Katie Miss" from my latest release, Fixin to Die.

All in all, Mississippi John Hurt's style is a wonderful example of the fact that blues can be stylistically anything you make of it. Find your originality within these blues and you've really found something.

Check out this tab for another of my favorites, "Coffee Blues."

Trust me: He ain't talking about coffee.

Keep on jamming and keep it down and dirty.

Thanks for stopping by. Your friend,

G. Love

G. Love, aka Garrett Dutton, has been the front man and founder of the alternative hip-hop blues group G. Love & Special Sauce since their inception in 1993. Widely known for his upbeat hits "Cold Beverage," "Baby's Got Sauce" and "Hot Cookin'," G. Love returned to his blues and country roots on his latest release, Fixin' To Die (Amazon, iTunes), produced by Scott and Seth Avett. A road dog if one ever existed, G. Love performs roughly 125 shows a year all over the world including Australia, Japan, Brazil, UK, Canada and the U.S. G. Love teamed up with Gretsch to create his own signature model, the Gretsch G. Love Signature Electromatic Corvette, which features a pair of TV Jones® Power'Tron™ pickups, deluxe mini-precision tuners and a cool Phili-green color scheme with competition stripe that would make ANYONE from Philadelphia proud! Check it out here.

What do you do when metal just doesn’t work out? Mexican guitar duo Rodrigo y Gabriela answered that question by moving to Europe and playing intricately fingered acoustic versions of their metal favorites.

Gabriela Quintero’s unique quasi-flamenco hand tapping and speed-blurred strumming technique fill in like a one-woman rhythm section. With Rodrigo Sánchez’s lead stylings dancing on top, their performance is spellbinding.

Past tours have included special appearances by some of their metal favorites, such as Alex Skolnick of Testament and Robert Trujillo of Metallica. They scored Pirates Of The Caribbean: On Stranger Tides with Hans Zimmer. And now it's a walk on the Cuban side with their fifth studio album, Area 52.

The album, which was produced by Peter Asher, is out today, January 24. It includes nine of Rod and Gab’s favorite songs from their own catalog, re-arranged and re-configured for a 13-piece Cuban orchestra comprised of some of Havana’s finest young players, collectively known as C.U.B.A.

It’s Rodrigo y Gabriela’s first recorded collaboration with another group of musicians. You’ll even find John Tempesta of White Zombie behind the kit for this one.

“The album is called Area 52 because we felt like Mulder and Scully approaching this — it was just a crazy idea, to see if a big Cuban band could play our music, a step in the dark," Rodrigo says. "We knew it was out there, everyone has heard of Area 51, but we wanted to take it a little further.”

Guitar World spoke to Gabriela about the new album.

GUITAR WORLD: Tell me about your new project, Area 52.

This album is a side project from the Rodrigo y Gabriela thing. We wanted to go to Cuba and do a musical project, because as kids, Rodrigo and I grew up in very musical families. Not that our families play music, but they listen to a lot of music. And it’s a tradition that all our grandparents, they used to listen to Cuban traditional music, so I grew up listening to that music also.

So we love it, and we thought that maybe one day we will go to Cuba. We will go and play music and learn that sort of music. So, this is the time that we decided to do that! And Rodrigo came up first with the idea that we should do our own music with a Cuban orchestra. We came to Cuba and we stayed there for a month. We met all these great musicians, we recorded a band there, and then we did record our own lines over there as well. But we re-recorded our lines back here in Mexico. As the project started to evolve, we started to rearrange and we change parts.

You must have had to change the approach to the way that you play a bit to accommodate the fact that there are so many other players performing with you.

Yes. Well, at least I had to step out of my comfort zone as a player, and I had to learn a lot of new, incredible rhythms. At the beginning when you are not that familiar with them and your hands are not familiar with the moves. It’s painful at the beginning, because you start from zero, from scratch. You are beginner again, and that’s so cool because then you have to practice again.

You have to do music all day long, so it’s very good in that sense, you know? You have to learn that the music is the one that dictates what it’s going on. It’s not a person or thing. It’s what feels right for the recording. And I think that’s very important.

And so we think that, me and Rod, we have to step out of our comfort zone and we have to rearrange most of everything. But on the other hand, it was just incredible to see and to hear our own music played by incredible musicians with other instruments like the flute and the violins and the piano and all that, you know? It’s very good.

Yeah, so you have to stretch a little bit there.

Absolutely.

Can you tell me a little bit about how you got into playing guitar?

When I was young, but I always loved music. When I was maybe 13 years old, 12 years old, I had so many records, and my auntie had so many rock records, so I wanted to play the guitar. I liked Eric Clapton and the Beatles. It was in the ‘60s, you know? I loved Jimi Hendrix. My auntie has some really good records -– Black Sabbath. So I wanted to play that. Really. I went through all the music, but I wanted to play that particular. But I did not have a clue, and I didn’t have any guitar.

And then eventually, I asked for some guitar lessons, and they taught me some chords slowly. I was very excited, because I wanted to play rock. And then I met Rodrigo, and he had a band at the time. So eventually I joined that band, and we start to play together. And then that band finished, and so Rodrigo and I started to do this duo.

For us, it was easier to travel, and also we wanted to step out of the metal music that we had done. It was the only music we knew how to play, and we loved music even before we discovered metal music. So we wanted to just expand and travel, so just give up all these expectations to become famous and whatever. It was a very simple goal. We played at the resorts.

We started traveling in Europe and all that, and eventually a manager contacted me, and we had record deals and all that, everything. Yes! It would’ve been very silly if we said, “No, no, no, we are hippies!” You know? So we said yes, and we’re pretty much doing the same thing, playing and traveling! That’s the sort of combination we’ve been doing for many years now.

Do you ever miss just plugging in and playing really loud?

Oh, I do sometimes, but more Rodrigo than me. He loves to jam with Alex Skolnick from Testament and with John Tempesta from White Zombie. And I like metal music, but I really enjoy transcribing all the metal riffs on the acoustic guitar. That’s a lot of fun for me. Because usually they play the metal music with a plectrum, but I love the way I can do it with my hands, you know? Some of the riffs by bands like Metallica. It’s great fun to play, ‘cause how am I going to play the same riff with my hand? It’s entirely different. And because with the hands you kind of have to play the beat all the time, constantly. It really tricks me, you know? And I get so obsessed with one riff until I get the riff with the beat at the same time.

Well, I love how you’ve done that. I really don’t know of anyone else who sounds like you do. I think you’ve brought a really unique energy to the acoustic guitar.

Oh, well thank you so much. I guess when players find their own way to do things, it does become unique.

Can you tell me the guitar you use?

This guitar is Yamaha, custom-made by the Japanese Yamaha engineers. And because of the nature of what I do, basically a lot of percussion on the guitar and the beat and all that, I need a lot of piezo pickups. So this guitar has a lot of piezos all around the guitar.

I’m not very technical, but I know it’s a very complex pickup system. I keep breaking the system, and they have to send more from Japan. But the guitars are quite good, and they sound incredible acoustically and also on the live gig. They are really, really good guitars. And we travel with ten or eleven on the road. It’s just in case we break one, we have another one.

So we are not the type of guitarists that have different guitars, because each song is being played with a different guitar. No no no no no, we don’t do that. ‘Cause we are just two people on the stage, you know? But we better bring lots of them just in case something happens!

I’m wondering if you might have any advice for aspiring female players, just from your own experience.

I guess that my advice is don’t get too focused to female or male, because music is music, and it has no gender whatsoever. So when you play, you have to become you. The idea is to become the music you’re playing for, just forget about who you are. You are a man, or a woman, or an old lady, or a dog or whatever.

Play and just practice and be inspired more than being disciplined, because discipline is fucking boring and instead, if you get inspired, you want to play all day long. And if you keep disciplining shit, you don’t want to play. So if you keep yourself inspired…you can listen to a lot of music, or you can read incredible books or whatever.

To me, in my case I love arts and I love nature. That really keeps me inspired, so that I really crave to play guitar, or I really crave to do creative things. Whereas before when I was young, I was very disciplined, just very straight, you know? I wanted to do two hours a day in the morning, three hours a day in the evening, very like military, you know? But I think that’s not so much fun!

Look for Rodrigo y Gabriela and C.U.B.A. on tour now. Find out more right here.

And check out the video trailer for Area 52:

And here are Rodrigo y Gabriela tearing it up on the Tonight show with Jay Leno a couple of years ago:

Laura B. Whitmore is a singer/songwriter based in the San Francisco bay area. A veteran music industry marketer, she has spent over two decades doing marketing, PR and artist relations for several guitar-related brands including Marshall and VOX. Her company, Mad Sun Marketing, represents 65amps, Acoustic Bass Amps, Agile Partners, Guitar World and many more. Laura was instrumental in the launch of the Guitar World Lick of the Day app. She is the lead singer for the rock band, Summer Music Project. More at mad-sun.com.