PAT TRAVERS WILL be the first to tell you that he had a very good time in the 1970s. “It was an incredible decade,” he says. “We played hundreds of shows and traveled everywhere. Yeah, after the gigs, I knew how to have fun — maybe I’d smoke a little and drink a little with the other bands on the bill. But I never trashed my hotel rooms or carried on and did anything too crazy. I always knew my limit.” He laughs. “Maybe that’s why I can remember the Seventies. A lot of people I came up with have no memory of what went down.”
During the second half of the Seventies, the Canadian-born singer and guitarist was an omnipresent figure on the live show circuit. He’d cut his teeth playing the clubs of Quebec and spent a year in Ronnie Hawkins’ band, but when he decided to get serious about a record deal, he found no takers in his homeland. “I didn’t want to go to New York or L.A., so I thought, ‘Let me try England,’” he says. In London, Travers’ rough and ready blues rock sound netted him a contract with Polydor, and his cover version of the boogie-woogie gem “Boom Boom (Out Go the Lights)” quickly became a fan favorite.
“I didn’t try to fit in with anything that was going on,” Travers says. “I was lucky enough to get my deal in England, but then the whole punk thing exploded, and that morphed into new wave, and then disco got huge. There was a lot of musical friction and changing tastes, and everything got too trendy in England. That’s when I decided to do my thing in the States.”
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Diese Geschichte stammt aus der November 2024-Ausgabe von Guitar World.
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Kittie - Guitarists Morgan Lander and Tara Mcleod discuss the canadian metal powerhouse's unexpected rebirth — by fire!
Guitarists Morgan Lander and Tara McLeod explain that making new music was “not on their bingo card” when the band regrouped in 2022 for a few festival appearances, preferring to think of the sets as more of a “final lap” than a new beginning. But drilling into old favorites — whether the nu-flavored teenage slams of 1999’s Spit or the more venomously groove-thrashed tunes of their late-’00s period — revealed that despite not having raged together in years, there was something undeniably special about Kittie’s musical connection. “Playing with these girls is like putting on an old pair of pants,” Lander says. “It’s very comfortable — and it looks good too.”
McKinley James - Why all you really need is a guitar, a drummer and some serious low-end six-string skills
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TC Electronic TC 2290P Dynamic Digital Delay
THE MID EIGHTIES was a golden age for digital delay, thanks to the proliferation of pro- and studio-quality rack effects units from Eventide, Korg, Lexicon, Roland and Yamaha.
Danelectro Doubleneck
WHEN I THINK back to the Seventies, the famously coined “Me” decade, it seems the only surefire way you could leave audiences awestruck was to strap on a doubleneck guitar.
CARLOS ALOMAR
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GEORGE TERRY
It turns out Eric Clapton's Seventies guitarist (and co-writer of \"Lay Down Sally\") also played on ABBA's \"Voulez-Vous.\" Below, he looks back on a decade-plus of E.C., Bee Gees, Diana Ross and more
FRANK MARINO
The Mahogany Rush frontman charts the band's Seventies lows and highs, plus SG's, pickups and how he was definitely not visited by the ghost of Jimi Hendrix
DEWAYNE "BLACKBYRD" MCKNIGHT
The jazz/funk/fusion veteran on his smooth segue from Herbie Hancock sideman to full-on Funkdaledic member -plus his '70s gear and what he learned from Shuggie Otis
PAT TRAVERS
The Canadian-born virtuoso discusses the rise and fall of the Pat Travers Band, witnessing the U.K. punk revolution and the riotous roots of \"Snortin' Whiskey\"
JOE PERRY
The iconic guitarist looks back on Aerosmith in the Seventies, the decade that literally made and temporarily broke apart those Bad Boys from Boston
