This is sort of the next step on from that guitar, which Chip Ellis and I had started working on around the Raconteurs’ last album, before the pandemic. It resembles the more copper/orange sparkle Tele you played with the Raconteurs… Let’s start with the very unique blue and white Telecaster you’re featured holding in our cover shot this month.
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The sounds are outrageous: White’s guitars practically peel the steel off your studio monitors with aggressive, even explosive tones that are anything but manicured, despite the album’s obvious top-tier engineering and mixing.Īs a sort of aesthetic palate cleanser, White will also be releasing Entering Heaven Alive, a full-length album of predominately acoustic guitar songs, something he’s more than proved his mettle at already, as evidenced by the lovely collection, Acoustic Recordings, 1998–2016.Īs White and his band prepare for his first full tour in more than two years, he sat down with Guitar Player to discuss the methods to the madness behind his creative and fluid approach to recording, writing and modifying both guitars and pedals – including his own Third Man line of effects (opens in new tab), which includes the cool Bumble Buzz, Triplegraph and Mantic Flex – and how his tone has evolved from his early days with the White Stripes through his Raconteurs years (with co-frontman Brendon Benson), the Dead Weather and his own unique and often challenging solo albums. Rex, Thin Lizzy and Tom Morello as much as it does the kind of garage psych nuggets on which White built his reputation. Likewise, on Fear of the Dawn, White strays about as far from mainstream pop and indie rock as one could possibly go, turning in a blistering electric guitar statement that suggests timeless touchstones such as Frank Zappa, Prince, T. White and Ellis’s latest co-creations, used liberally on White’s newest release – the wide-ranging and explosive guitar showcase Fear of the Dawn (Third Man) – are every bit as unique in form and function as you’d expect.Īnd although they are unmistakably Fender guitars – including a customized Telecaster and Jazzmaster, and two Acoustasonics – they stray as far from the production models (opens in new tab) as one could possibly go.Įddie was really gratified to learn that Jack was playing the Wolfgang guitars Chip Ellis The opener of the band’s legendary 1994 debut The Blue Album, ‘My Name is Jonas’ set a precedent for the rest of the record and what was to come over Weezer’s long career.“Eddie was really gratified to learn that Jack was playing the Wolfgang guitars,” says Fender Master Builder Chip Ellis, who oversaw the design of the EVH Wolfgang line (opens in new tab), as well as the customizations on White’s specific axes, and has been White’s collaborator on custom designs ever since. Weezer’s six definitive songs: ‘My Name is Jonas’ – The Blue Album (1994) There is no surprise that Weezer continues to be one of the most influential bands out there, and duly, we’ve listed their six definitive songs that give you a rounded account of just how excellent they are. Regarding this aspect of their sound, there is nobody who does it better. All band members chip in with their doo-wop-esque vocals, with drummer Patrick Wilson, current bassist Scott Shriner and the band’s iconic former bassist Matt Sharp all adding to the collective power of this harmonised but slightly dissonant form of chorus.
Moreover, guitarist Brian Bell is also a master of the fretboard, and the pair’s duelling guitar style, which isn’t too dissimilar to that of Thin Lizzy, is one of the most potent in the history of rock.Īdded to this rousing fashion is the band’s form of vocal delivery. Not only is frontman Rivers Cuomo a brilliant lyricist, but he’s also one of the definitive guitar heroes of the modern era, writing catchy pop melodies and infusing them with a hardcore punk spirit.
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