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Interview: Stevie Ray Vaughan's guitar tech Rene Martinez

Joe Bosso — Fri, 30 Jul 2010 15:29:00 GMT

Stevie Ray Vaughan playing his 'Number One' Stratocaster live in Dallas, Texas, 1986 © Joe Giron/Corbis/Corbis

Blues Week has quite the celebratory affair on MusicRadar. You can check out all of our incredible (and incredibly comprehensive) content right here. Wrapping things up, we bring you a conversation with Rene Martinez, Stevie Ray Vaughan's guitar tech from 1985 until the beloved bluesman's death in 1990.

When Stevie Ray Vaughan was looking for a guitar tech, he knew just the man: Rene Martinez. Martinez was an old acquaintance, a well-known luthier and repairman at Charley's Guitar Shop in Dallas. Jimmie Vaughan was a customer, and eventually Stevie started dropping by the store.

Martinez, a classical and flamenco guitarist who got his start in the repair business painting cars and refinishing violins, was initially hesitant about going on the road with Vaughan. And the way that the guitarist treated some of his instruments on stage - slamming them against walls, dragging them across the floor by the tremolo arm, standing on top of them - might have played into his reticence.

But Martinez was charmed by Vaughan, dazzled by his talent and won over by his persistence - Stevie kept calling until Rene said yes. It wasn't always an easy gig, though: Vaughan didn't bring an arsenal of axes on the road; in fact, he toured with a prized but small selection of Fender Stratocasters that included the famed 'Number One,' its sidekick called 'Lenny,' another called 'Butter,' one called 'Red,' and a Frankenstein model called 'Charley.' (The latter wasn't a true Stratocaster; it was assembled from spare parts by Charley Wirz, owner of Charley's Guitar Shop.) Which meant that the touring life for Martinez was one in which he was "always in repair mode" at every show.

In the following interview, Rene Martinez recalls working with Stevie Ray Vaughan, detailing the specifics of the Number One guitar and Vaughan's live rig and speaks eloquently about the legendary bluesman he came to think of as a friend as well as a boss.

What was the first guitar Stevie brought in to you, the Number One Strat?

"Yes, indeed. It was the Number One Fender Stratocaster. The action on it was pretty high. The guitar was pretty beat up, even then, showing a lot of wear and tear. He had had somebody install a left-handed tremolo system, even though he was a right-handed player."

Because he wanted to emulate Jimi Hendrix?

"I would imagine that was the case. I never really asked him. But that's what he had done. Maybe he liked the way it moved."

Now, Number One was a '62 Strat, but Stevie was fond of calling it a 1959 model.

"That's right. The reason why he called it a '59 was because of some wiring in it - the back of the pickups said '1959.' So the pickups were a '59, but the body of the guitar was a '62. My attitude was, 'Hey, it's your guitar, you can call it whatever you want.'" [laughs]

(5 pages; go to page: 2 3 4 5)

Keeping The Blues Alive

Ed Mitchell — Fri, 30 Jul 2010 10:40:00 GMT

As Blues Week draws to a close, we look beyond the greats and to the new wave of artists keeping the blues alive. From indie rockers to traditional pickers, mainstream chart toppers to roadhouse brawlers, we look the style, gear and tunes that will keep the blues flame alive.

Slash talks about new Epiphone Appetite For Destruction Les Paul

Joe Bosso — Thu, 29 Jul 2010 15:15:00 GMT

Summing up the appeal of his upcoming Epiphone Slash Appetite For Destruction Les Paul, Slash tells MusicRadar, "The guitar that I used for Appetite, the Use Your Illusion records, Snakepit and my new record, it's a replica of that guitar. The sound on Appetite is a very sought-after tone - I've been hearing that for years and years - so this Epiphone Les Paul is for the die-hard fans who really love that sound."

Having already released two Gibson Appetite Les Pauls, Slash, that most famous of top-hatted shredders, has teamed up with Epiphone for a limited edition (as in only 3000 will be manufactured, and then that's all, folks!) AFD model that will hit stores come October.

"It was always my goal when doing a Slash Les Paul to do the Custom Shop, the USA model and the Epiphone version, as well," says Slash. "The Epiphone is more affordable, but it's still an amazing, great-quality guitar.

Appraising the model, the guitarist enthuses, "I tell you, when you look at the specs between the guitars, they're almost identical: the woods, the hardware, the components. The biggest difference is the headstock - the others say 'Gibson' and this says 'Epiphone' - so they're a steal!!!" And with that, he lets out a hearty laugh.

Getting down to specifics, Slash says, "All things considered, they have the LockTone Tune-o-matic bridge, which is different; the machine heads are different. But most of what's on the guitar - the pickups, the capacitors, all of that - is identical to a model that costs twice as much."

And make no mistake, price was a prime concern for Slash when designing the Epiphone AFD Les Paul. "I know what it's like - it look me years to save up enough money to afford a regular Les Paul," he says.

Slash played a prototype of the Epiphone model on tour recently in Europe, plugging it into his live rig right alongside his Gibson Custom Shop and USA models. "And there was no difference in the sound," he marvels. "Nobody could tell I was playing a different guitar. It sounded incredible."

Each Limited Edition Slash 'Appetite' package will come with a hardshell case featuring Slash's artwork, a certificate of authenticity personally hand signed by the guitarist himself and 12 custom Slash guitar picks. "You don't get picks with the other models," he says, chuckling.

Features

- Solid mahogany body with AAA-grade maple veneer to the top

- 'Appetite amber' color on the top, cherry red back and sides with black cavity covers

- 'Slash Custom' neck profile patterned exclusively from the neck on Slash's original Les Paul

- Rosewood fingerboard fitted with 22 nickel/silver alloy medium-jumbo frets

- Slash's Signature Seymour Duncan™ Alnico II Pro pickups (unique to this model is the 'reverse' Zebra-coil pickup in the bridge position)

- A tone circuit using high-quality 'Orange Drop' tone capacitors, tested and approved by Slash himself

- Epiphone's patent-applied-for LockTone™ Tune-o-matic and stopbar tailpiece, vintage nickel hardware and 14:1 tulip-button tuners

For more information, visit the official Epiphone website.

Slash talks about new Epiphone Appetite For Destruction Les Paul

Joe Bosso — Thu, 29 Jul 2010 15:15:00 GMT

Features

- Solid mahogany body with AAA-grade maple veneer to the top

- 'Appetite amber' color on the top, cherry red back and sides with black cavity covers

- 'Slash Custom' neck profile patterned exclusively from the neck on Slash's original Les Paul

- Rosewood fingerboard fitted with 22 nickel/silver alloy medium-jumbo frets

- Slash's Signature Seymour Duncan™ Alnico II Pro pickups (unique to this model is the 'reverse' Zebra-coil pickup in the bridge position)

- A tone circuit using high-quality 'Orange Drop' tone capacitors, tested and approved by Slash himself

- Epiphone's patent-applied-for LockTone™ Tune-o-matic and stopbar tailpiece, vintage nickel hardware and 14:1 tulip-button tuners

For more information, visit the official Epiphone website.

Robert Cray on playing "blues for life"

Joe Bosso — Thu, 29 Jul 2010 11:45:00 GMT

Blues Week casts a mighty long shadow at MusicRadar. In addition to all of our amazing content covering gear, lists of the greatest players ever (as voted for by you!) and exclusive interviews, we now sit down with the one and only Robert Cray, whom Joe Bonamassa lists as one of his favourite blues guitarists.

In 1986, the world took notice of Robert Cray. With his crossover blues-pop hit Smokin' Gun ruling airwaves and its accompanying video receiving heavy rotation on MTV, Cray became the proverbial 20-years-in-the-making-overnight-success story.

"And just as quickly, MTV forgot all about me," says Cray, chuckling, without a trace of rancor in his voice. "Even back then, I knew that blues wasn't the bread and butter of MTV. It certainly isn't now. I don't even know what they play anymore. Do they still play music?"

In the ensuing years, the five-time Grammy Award winner has toured relentlessly and created an impressive body of recorded work, including Live From Across The Pond, a sizzling two-CD set drawn from a series of shows (opening for Eric Clapton) at London's Royal Albert Hall.

"It really doesn't bother me that I'm not the flavor of the moment," says Cray. "I've got the blues for life. I don't even think about topping the charts anymore. I play the music I want, with people I want, to fans that want to hear it. If you ask me, that's not a bad gig."

Recently, Cray has released two albums, This Time and the live set Cookin' In Mobile. On both discs, he's working with a new band which isn't really a new band at all: Richard Cousins, Cray's friend and bassist since 1974, returns after a long absence, as does keyboardist Richard Pugh, a cornerstone of the guitarist's group since 1989. At the suggestion of Cousins, drummer Tony Braunagel is the 'new' new addition to the Robert Cray Band.

"It was time to shake things up," says Cray. "Everything was getting a little too comfortable. I like things to be on the edge, from calling out the songs to just doing what I want to do on the bandstand."

Let's talk about your musical evolution. You're a blues artist, but you started playing the guitar after seeing The Beatles.

"Well, I got a guitar after seeing The Beatles on TV. They were a big deal, of course, and they got a lot of people picking up instruments and thinking about forming bands and stuff. But really, they were just a part of all the music I grew up listening to.

"I was lucky: my parents had a great record collection. Sarah Vaughan, Ray Charles, Sam Cooke - everything from pop singers to blues, they seemed to have it all. I was listening to those records before I saw The Beatles. But yeah, The Beatles did get all the kids hyped up on buying guitars, and I was one of them.

"Once I got that guitar, I wanted to learn to play everything I could. Some of my buddies were listening to Buddy Guy and Magic Sam and BB King and Muddy Waters, and those records really hit me. I loved The Beatles, but I guess I was looking for something different. And then when I saw Jimi Hendrix live, well, that had a major impact on me."

(4 pages; go to page: 2 3 4)

Kanye West's social network office tour

Alice Porter — Thu, 29 Jul 2010 11:21:00 GMT

As tweeted yesterday, Kanye West appears to have embarked on a social network tour. Stopping off first at the offices of Facebook and then Twitter HQ to treat bemused staff to a cappela performances of previously unheard album tracks.

You can watch a suited and booted Kanye West performing Lost In The World, Chain Gang and Mama's Boyfriend – all taken from the new album which is no longer called Good Ass Job.

Kanye set up an official @KanyeWest Twitter profile earlier this week, attracting more than 140,000 followers on his first full day.

Next stop? MySpa… nah.

Plastic Bertrand denies then admits to Ça Plane Pour Moi miming allegations

Alice Porter — Thu, 29 Jul 2010 11:14:00 GMT

UPDATE: Despite denying original allegations, Roger Jouret has admitted that the voice behind Ça Plane Pour Moi was not his.

The man recognized behind Plastic Bertand and the 1977 song Ça Plane Pour Moi (All's Cool With Me) might not actually be the real star. Roger Jouret - onetime hero of Brussels' Euro-punk music scene - denies allegations from his former producer, Lou Deprijck, who claims to be the true singer.

Findings by a linguist who has examined the original recording of Ca Plane Pour Moi claim that the singer of the track spoke with a distinctive twang that would not have come naturally to Brussels-born Jouret.

Having spent the past decade pursuing his music career in Thailand, Deprijck claims he recorded the song but that the record label wanted a flamboyant punk figure to carry it off, and Plastic Bertrand obviously fitted the bill.

Asked to rule four years ago on the question, the Brussels court of appeal decided that Roger Jouret was the 'legal performer' of the song because he had appeared on the cover and had signed the original contract.

New evidence on the 33-year-long legal saga has called for another court date this week, where the same question will be raised; should Ça Plane Pour Moi have been another man's victory?

(Via Guardian)

The 25 best female blues artists ever

Ed Mitchell — Wed, 28 Jul 2010 15:00:00 GMT

Blues Week continues as we present our guide to the best female blues artists ever, starting off with the original Queen of the Blues - Mamie Smith.

Mamie Smith has the distinction of being the first African-American to record a vocal blues.

Recorded on August 10 1920, Crazy Blues established the now classic lyrical blues theme of tainted love ("The man I love/He don't treat me right/He makes me feel so blue?I don't know what to do'). Mamie put in an incredible, lung-shredding performance on Crazy Blues which became a million seller in less than a year.

Record companies couldn't ignore sales figures like that. The race was on to find other great female artists of which, it turned out, there was little shortage. The 'classic female blues' era had begun…

Double Trouble's Chris Layton, Tommy Shannon on Stevie Ray Vaughan

Joe Bosso — Wed, 28 Jul 2010 14:50:00 GMT

Blues Week rolls on at MusicRadar. In addition to all of our amazing content which you can find right here, we now bring you an in-depth discussion with two of the people who knew the late Stevie Ray Vaughan better than anybody, his blues brothers Chris Layton and Tommy Shannon, the rhythm section that was Double Trouble.

When Stevie Ray Vaughan and Double Trouble entered New York City's Power Station studios in January 1984 to record their second album, Couldn't Stand The Weather, they knew the pressure was on.

"We were being looked at very closely," remembers bassist Shannon. "Texas Flood went Gold, which shocked everybody. Here this little blues trio out of Austin comes along and makes good - nobody could believe it. So we had to outdo that album and prove that we weren't some fluke. We had no idea that we'd make what people nowadays are calling a classic."

It was a heady time for the band. Signed just a year earlier by the legendary A&R executive and producer John Hammond, whose discoveries included the likes of Billie Holiday, Bob Dylan and Bruce Springsteen ("a brilliant man," says drummer Layton, "and we were honored to be his last signing"), the group lived it up in the Big Apple, thrilled to be working with an actual budget and in a world-class studio.

"Those were during our wild and crazy days of drinkin' and druggin'," says Shannon. "We took the music very seriously, but we also took the partying seriously. The two sort of went hand in hand back then."

Armed with strong originals (Scuttle Buttin', Honey Bee, Stang's Swang and the title track), along with an inspired selection of covers, including their blistering take on Jimi Hendrix's Voodoo Child (Slight Return), the band served up was a staggering set of white-hot blues mixed with imaginative touches of jazz, soul and rock.

The recently released deluxe reissue features a remastered version of the original album along with previously unreleased bonus tracks, alternate takes and a second CD which documents a live concert recorded at the Spectrum in Montreal, Canada on 17 August 1984.

"When I listen to the record now, I hear a band that's hungry," says Layton. "We were being given the keys to the car, and we were ready to go out and tear it up and make our mark on the world. All in all, I think we did just that."

Recently, MusicRadar sat down with Tommy Shannon and Chris Layton to discuss the making of Couldn't Stand The Weather, their personal and professional relationship with Stevie Ray Vaughan and to share their heartfelt, moving reflections on the iconic bluesman they called a friend.

It's been 20 years since Stevie died. Is it still hard to believe? Do you ever get over such a tragic event?

Chris Layton: "Twenty years doesn't mean anything to me. I think about Stevie every day. We spent a musical lifetime of 16 years together - that's incredible to me. I feel so honored and blessed to have been a part of that. But do you ever get over it? No, I don't think so. You accept it, but you don't get over it."

Tommy Shannon: "There's still a hole in my heart, and it'll always be there. I miss him so much. He was taken away so fast - I don't know if you can ever get over something like that. Even though I've learned to get on with life…[pauses] He was my best friend. I had the best gig in the world. In a second, everything changed forever."

(7 pages; go to page: 2 3 4 5 6 7)

Hugh Laurie to make a blues record

Joe Bosso — Wed, 28 Jul 2010 13:55:00 GMT

It's Blues Week on MusicRadar, so we just had to report that Hugh Laurie, the celebrated star of the hospital drama House (that's what he's known as in the US, anyway), is set to record an album of what he calls "New Orleans blues."

Laurie is booked to hit the studio with acclaimed producer Joe Henry, who has worked with artists such as Elvis Costello, Aimee Mann and Allen Toussaint. The Golden Globe-winning Laurie, though itching to lay down tracks, is well aware that past musical efforts by actors haven't always been well received.

In a press statement, Laurie said, "I am drunk with excitement at this opportunity. I know the history of actors making music is a checkered one, but I promise no one will get hurt. I am particularly thrilled to be working with Joe Henry, who has produced some of my favourite records of all time, and I can't wait to get started."

While it is true that albums by actors such as Bruce Willis, Keanu Reeves, Steven Seagal and Eddie Murphy have been savaged by critics, Jeff Bridges recently won accolades (and a pantload of awards, including an Oscar) for doing his own singing and guitar playing in the movie Crazy Heart.

Laurie has signed a deal with Warner Music Entertainment and will go into the studio in the coming months. Stay tuned.

In the meantime, we couldn't let a story about 'Hugh Laurie: musician' pass without reminding you of some of the great work he did with Stephen Fry...

Actor Hugh Laurie to make a blues record

Joe Bosso — Wed, 28 Jul 2010 13:55:00 GMT

It's Blues Week on MusicRadar, so we just had to report that actor Hugh Laurie, the celebrated star of the hospital drama House, is set to record an album of what he calls "New Orleans blues."

Laurie has signed a deal with Warner Music Entertainment and will go into the studio in the coming months. Stay tuned.

Are The Cars reuniting?

Joe Bosso — Wed, 28 Jul 2010 12:29:00 GMT

You might think they're crazy, but it looks as though The Cars are reuniting after a split of 23 years. At least they're hinting at something to that effect.

Recently, on their official Facebook page, the band posted a photograph of the surviving members - singer-songwriter Ric Ocasek, keyboardist Greg Hawkes, drummer David Robinson and guitarist Elliot Easton - gathered together in a messy studio surrounded by their instruments.

MusicRadar contacted Easton, who declined to offer any definitive answers. "We're really not talking to the press," he said.

Similarly, Hawkes (pictured playing bass in the Facebook photo), when asked by the Boston Globe whether the group was reuniting, said, "I hate to be vague, but I really can't say." He then added, somewhat tellingly: "It's a crazy world."

However, if the band is trying to keep a lid on things, they're doing so with a nod and a wink. A link on the band's Facebook to a story about the reunion rumors is accompanied with the following note: "Anyone in the mood for a reunion by the Cars?" Hmmm, not too subtle.

Hailing from Boston, The Cars enjoyed massive popularity in the late '70s and into the '80s, becoming one of the first New Wave bands to score with both critics and public alike. Their hits included My Best Friend's Girl, Just What I Needed, Let's Go and You Might Think, among others. Although the group broke up following the 1987 album Door To Door, reunion rumors have popped up periodically. (Of course, a true reunion of the classic lineup is impossible, as bassist-singer Benjamin Orr died of pancreatic cancer in 2000.)

Since the band's breakup, Ocasek has become a mega-successful producer for acts such as Weezer and No Doubt. Easton, for a time, played with the John Fogerty-less Creedence Clearwater Revisited. In 2005 he and Hawkes recruited Todd Rundgren for what they called The New Cars, but that project stalled two years later.

Warren Haynes' 10 greatest blues albums of all time

Joe Boso — Mon, 26 Jul 2010 20:40:00 GMT

While touring the world with The Allman Brothers Band, The Dead and, of course, leading his own outfit, Gov't Mule, it's a wonder that Warren Haynes has any time at all to listen to music that he isn't making himself.

And yet, the guitarist who has traded licks with everyone from Eric Clapton to Billy Gibbons, and who was not only ranked 23rd on Rolling Stone's list of the 100 Greatest Guitarist Of All Time but was also voted by MusicRadar readers as one of the 17 Unsung Les Paul Legends, has a record collection (not to mention an iPod) that goes deep.

Deep blues, that is. On the following pages, Haynes runs down his favorite blues albums of all time, those records that got under his skin, made the hair on the back of his neck stand on end and, more importantly, forced him to strike a deal with the Devil...at the crossroads, naturally. He kicks things off with Freddie King:

Jimmie Vaughan remembers Stevie Ray Vaughan

Joe Bosso — Mon, 26 Jul 2010 14:05:00 GMT

Blues Week continues with blues legend Jimmie Vaughan talking on his new album plus his memories of his late brother, Stevie Ray. Keep it locked with MusicRadar for more classic SRV interviews when later this week, we talk to Double Trouble's Chris Layton and Tommy Shannon, Robert Cray and SRV's guitar tech Rene Martinez about their time with the late blues great.

Jimmie Vaughan plays blues, ballads and many of his favorite songs on his new album, so when it came time to title the record, he called it, appropriately, Plays Blues, Ballads And Favorites. "Well, that's what I do," he says, laughing. "The title just seemed to fit."

True to its billing, Jimmie Vaughan covers standards popularized by artists such as Little Richard, Jimmy Reed, Willie Nelson, Roy Milton and Roscoe Gordon on what is his first release in nine years (his last was 2001's Do You Get the Blues?). "It's a challenge to do other people's songs," says Vaughan, whose sole original on the CD is the spunky instrumental Comin' & Goin'. "With covers, you feel as though you'll never get the song just right. But when you listen back and it sounds good, hey, that's pretty fun."

It's a bit startling to hear Vaughan say the word 'fun' when you consider that the very idea of enjoying himself, or just getting through life, was all but unfathomable 20 years ago when, on 27 August 1990, his younger brother Stevie Ray perished in a tragic helicopter crash after a performance in East Troy, Wisconsin.

For the elder Vaughan, whom his celebrated sibling worshipped, the blow was soul crushing. "For a while there, I was pretty lost," he says. "It took me some time to gain the perspective to realize that I had to move on and live my life. It was hard, though. Still is. A big part of me was gone in an instant. Life isn't supposed to be like that."

Since he was a teenager in his hometown of Dallas, Texas, Vaughan's existence revolved around the guitar and the study of blues greats such as Freddie King and Johnny "Guitar" Watson. He became a young hotshot, playing clubs (and even opening for Jimi Hendrix!) before he was old enough to drive. Stevie, three years Jimmie's junior, was inspired to follow in his brother's footsteps. "He picked up the guitar after I did," says Jimmie, "but he was a fast learner."

So fast that, by the time Stevie joined his brother in the vibrant music town of Austin, Texas, his playing skills were already on par with Jimmie's. The two Stat-toting Vaughan brothers made a lot of noise in Austin - Jimmie in the critically acclaimed Fabulous Thunderbirds and Stevie in a variety of bands that would eventually morph into Double Trouble. Everybody expected Jimmie to hit the big-time first, but ironically, Stevie's 1983 debut, Texas Flood, would instead make the world take notice - and in the process, pave the way for the T-Birds' success three years later with hits like Tuff Enough and Powerful Stuff.

Jimmie left the T-Birds in 1989 and recorded the long-awaited album Family Style with Stevie. The two brothers, after years of struggle, were sitting atop the blues-rock world when tragedy struck. As is often the case, when an artist dies young, Stevie Ray Vaughan became a legend. Jimmie, meanwhile, had to learn to go it alone, which meant accepting the cards that he had been dealt while rediscovering his love of music.

In the following interview, Jimmie Vaughan talks about his new album, how he's just as excited to play the guitar as ever, recalls his surreal encounter with Jimi Hendrix and speaks movingly about his beloved brother, Stevie Ray.

Why so long between records? And what made you decide to do an album of mostly cover tunes?

"Well, the biggest reason for the gap is because I got married and had identical twin daughters. They've occupied a large chunk of my time, but it's all good. Basically, I've been living life and trying to be happy. You have to achieve some sort of balance between work and everything else - for far too long, I was all about work.

"Plus, I've always had a love-hate relationship with making records. I never liked the idea of going in the studio until I felt like I really wanted do. Why make a record just 'cause someone says you have to? That makes no sense. You make a record when you have something you want to say."

(5 pages; go to page: 2 3 4 5)

YouTube launches re-vamped music discovery page

Alice Porter — Fri, 23 Jul 2010 16:32:00 GMT

YouTube has re-created its music landing page, specifically designed to help users find the playlists they want quicker and easier.

The all-new page features different sections for each genre of music including Today's Hits, World Music, Religious, R&B and Soul, Rock, Classical, Rap and Hip-Hop, Country and Folk, Electronic and Pop. The site allows users to listen to an 'instant playlist' of their desired genre of music.

Possibly now the easiest place to watch your favourite music videos, the new YouTube page has a list of added extras including special promotions, most viewed music, unsigned talent and curated playlists.

YouTube's blog also reveals plans to launch an 'events near you' section, featuring upcoming live shows based on the users location.

YouTube launches re-vamped music discovery page

Alice Porter — Fri, 23 Jul 2010 16:32:00 GMT

YouTube has re-created its music landing page, specifically designed to help users find the playlists they want quicker and easier.

YouTube's blog also reveals plans to launch an 'events near you' section, featuring upcoming live shows based on the users location.

Slash: my favourite blues guitarists of all time

Joe Bosso — Thu, 22 Jul 2010 23:02:00 GMT

Through his illustrious career with Guns N' Roses to Velvet Revolver and right on up to his recently released, star-studded solo album, Slash has proved himself to be a master of instantly memorable, titantic riffs and scorching solos.

Recently, MusicRadar sat down with the chapeaued guitar hero to discuss his upcoming Epiphone 'Appetite For Destruction' Les Paul (due to hit fine retailers near you in October). During our chat (coming to the site very soon!), we asked Slash about some of his early influences - specifically, the blues.

Why? Because as anyone who's voted in our poll will know, next week is Blues Week on MusicRadar. We'll have our definitive list of the best blues guitarists of all time, gear buyers guides, tuition guides and lessons, an exhaustive track-by-track review of the forthcoming deluxe reissue of Stevie Ray Vaughan's Couldn't Stand The Weather plus interviews with everyone from Robert Cray to Jimmie Vaughan - and that's Jimmie talking about the memory of Stevie Ray in an exclusive interview you have to read!

Back to Slash! As it turns out, the blues played a major role in his musical development.

Slash talks the blues

"All of my playing is basically influenced by blues players," says Slash. "That might sound surprising, but really, that's where my whole trip comes from.

"Like a lot of people, I started backwards. Growing up, there was all kinds of music being played around me, and blues was definitely a part of it. I didn't know I was an aspiring guitarist at the time, however - I didn't pick up the guitar till I was 15."

(2 pages; go to page: 2)

Slash: my favourite blues guitarists of all time

Joe Bosso — Thu, 22 Jul 2010 23:02:00 GMT

Back to Slash! As it turns out, the blues played a major role in his musical development.

Slash talks the blues

"All of my playing is basically influenced by blues players," says Slash. "That might sound surprising, but really, that's where my whole trip comes from.

(2 pages; go to page: 2)

Slash: my favourite blues guitarists of all time

Joe Bosso — Thu, 22 Jul 2010 23:02:00 GMT

Back to Slash! As it turns out, the blues played a major role in his musical development.

Slash talks the blues

"All of my playing is basically influenced by blues players," says Slash. "That might sound surprising, but really, that's where my whole trip comes from.

(2 pages; go to page: 2)

The Grateful Dead's Jerry Garcia to get biopic treatment

Joe Bosso — Thu, 22 Jul 2010 18:05:00 GMT

Jerry Garcia could be truckin' to a cosmic IMAX 3D cinema near you very soon. According to reports, a script about the late Grateful Dead leader has been completed and a director is in place.

Written by Topper Lilien, who based his screenplay on author Robert Greenfield's Dark Star, the film will be directed by Amir Bar-Lev. Bar-Lev has recently received accolades for The Tillman Story, a documentary about deceased soldier and former NFL player Pat Tillman.

The still-untitled Garcia film is set to detail the late guitarist/singer's life before the Grateful Dead era. Garcia was born on 1 August 1942 in San Francisco and had his right middle finger partially amputated at age four in a wood chopping accident. The loss of his digit would later serve as fodder for Deadheads as to why he could ease through guitar chords with such fluidity.

Still, the question remains, who should play Garcia? Since the movie will focus primarily on the pre-Dead years, a young actor is being sought, and names such as Joseph Gordon-Levitt (Inception) and Seth Rogen (Knocked Up, Funny People) have been tossed about. As of yet, nobody is firmly attached.

Interestingly, this project has been percolating for some time, and back in 2008 we suggested Jack Black for the role. So what do you think? Did we nail it, or is there somebody better suited to portray Jerry?

The Grateful Dead's Jerry Garcia to get biopic treatment

Joe Bosso — Thu, 22 Jul 2010 18:05:00 GMT

Jerry Garcia could be truckin' to a cosmic IMAX 3D cinema near you very soon. According to reports, a script about the late Grateful Dead leader has been completed and a director is in place.

T3 announce shortlist for the Music Gadget Of The Year

Si Truss — Thu, 22 Jul 2010 14:41:00 GMT

Do you love music? Do you also love gadgets? Of course you do, we know what you lot are like. As if we had to ask!

Well, the gadget loving people over at MusicRadar's sister magazine T3 need your valued opinions.

As of today the final shortlists are announced and the voting is open for the technology magazine's much-coveted Gadget Awards. Among the categories, and of particular interest to us at MusicRadar, is the shortlist for the 2010 Music Gadget Of The Year - check out the nominations below.

Last year Sony pipped Apple to the post to take home the award for their OLED touchscreen X-Series Walkman. But who should take the prize this time around? Is it the turn of Apple's seemingly unstoppable IPod Touch? Or should one of the other bits of kit take the prize?

Head over to the Gadget Awards site to get voting in this, and any of the other categories, now.

The full Music Gadget of the Year shortlist:

Apple iPod Touch 64GB
Brothers Wall of Sound
Pure Sensia
Sonos S5
Cambridge Audio DAC Magic

T3 announce shortlist for the Music Gadget Of The Year

Si Truss — Thu, 22 Jul 2010 14:41:00 GMT

Do you love music? Do you also love gadgets? Of course you do, we know what you lot are like. As if we had to ask!

Well, the gadget loving people over at MusicRadar's sister magazine T3 need your valued opinions.

Head over to the Gadget Awards site to get voting in this, and any of the other categories, now.

The full Music Gadget of the Year shortlist:

Apple iPod Touch 64GB
Brothers Wall of Sound
Pure Sensia
Sonos S5
Cambridge Audio DAC Magic

Iron Maiden: The Final Frontier review track-by-track

Joe Bosso — Thu, 22 Jul 2010 12:40:00 GMT

REVIEW: On Iron Maiden's 15th studio album, The Final Frontier, the veteran heavy metal band, 35 years into their career, pull off something extraordinary that could very well be revolutionary (made all the remarkable given their age): they reinvent themselves - whether they know it or not, whether that was the plan or not - and in the process, challenge the notions of what of heavy metal, or at least their contributions to the genre, can be.

In 2010, that's heady stuff. Who was expecting Iron Maiden, pioneers of the late '70s/early '80s New Wave Of British Heavy Metal, to turn the art form on its ear once again? Answer: not many, except perhaps their fans, and even they might be taken aback by the group's splendid zenith here.

More aggressive than 2006's A Matter Of Life And Death but every bit as experimental, the Kevin Shirley-produced The Final Frontier (recorded at Compass Point in the Bahamas, where such seminal works as Piece Of Mind and Powerslave were tracked) has been described by some as 'demanding'. This is misleading to some degree, for music, as in cinema, functions best when rules are broken, when accepted practices are abandoned. Iron Maiden have put a new fork in the well-trodden heavy metal road, and they might have altered the course of the art form for good. Perhaps the fans really weren't expecting that, but that's what they're getting.

Think about it: How many times have you watched a film or listened to a record and you knew exactly what was going to happen from one moment to the next? Way too many times, and you feel cheated and ripped-off - used. But how many times have you said to yourself, 'Now, where in the world is this going?' - and yet, you were positively riveted? Hardly ever. But on those rare occasions when that does happen, you're going to come back, fascinated, perplexed, turned on. Art that can provoke such reactions, more often than not, can stand the test of time.

Now in their fourth decade as a band, Iron Maiden have created a work full of hypnotic excitement, unconventional structure (it's a shape-shifter all right, from song to song and sometime during the course of individual songs) and dizzying vision. So if 'demanding' means you might not understand it (and that may have been the point here) but you'll certainly feel it, then the group have succeeded beyond their wildest dreams.

Iron Maiden: The Final Frontier review track-by-track

Joe Bosso — Thu, 22 Jul 2010 12:40:00 GMT