LOCAL H’S BIG HIT DURING THE SUMMER OF 1996 WAS “Bound for the Floor,” otherwise known as “the copacetic song” for its sing-along chorus (“And you just don’t get it / you keep it copacetic / and you learn to accept it/you know it’s so pathetic”) and a gnashing guitar sound that fit in nicely with playlists leaning heavily on Pearl Jam, Soundgarden, Alice in Chains and other au courant grunge/alt-rockers. The band’s 1995 debut album, Ham Fisted, failed to elicit much attention, but with “Bound for the Floor” receiving constant radio and MTV play, they saw their second disc, As Good As Dead, reach gold status. And now the pressure was on. As Lucas recalls, “All of a sudden, we were faced with this new set of expectations, all focused around one thing: Can we do it again?”
After the first grunge-rock signing spree tore through Seattle in the early Nineties, record labels invaded Chicago, waving big contracts and snapping up alternative acts such as the Smashing Pumpkins, Urge Overkill and Liz Phair. “It was an exciting time,” says guitarist-singer Louise Post, whose band Veruca Salt was wined and dined by scores of A&R reps before they ultimately signed with Geffen. “Things were happening so quickly. You have your first hit, and just as fast you’re placed in this pressure cooker. Your song is on the radio, but you don’t even have a moment to soak it in because everybody’s running around going, ‘Oh, God, the house is on fire!’”
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Esta historia es de la edición September 2020 de 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
Nashville-based blues rocker McKinley James came flying out of the gate in 2022 with his Dan Auerbachproduced EP, Still Standing By. His momentum screeched to a halt, however, when his keyboardist split, leaving only him and his drummer, Jason Smay (who also happens to be his father). “For a moment, I was like, ‘What are we going to do?” James says. “But then I thought, ‘Well, other bands have succeeded as a duo. Maybe we can, too.”
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
The former David Bowie guitarist talks Young Americans, Station to Station and the Berlin Trilogy, plus recording (and co-writing) \"Fame\" with John Lennon
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
