Artists

Few bands have capitalized on social networking as diligently as Nashville's American Bang. From their "Get us to 2000 followers" Twitter campaign to contests and fan participation promotions on Facebook, vocalist/songwriter/guitarist Jaren Johnston, lead guitarist Ben Brown, bassist Kelby Ray, and drummer Neil Mason have worked tirelessly to promote the band and generate interest.

Their efforts have clearly paid off. On the heels of two singles, the infectious "Wild and Young" and now the dirty-blues-inflected "Whiskey Walk," American Bang's self-titled debut was released this week on CD and vinyl to a groundswell of anticipation.

It's easy to think of American Bang as a "new" band, but in fact they've put in close to five years of nonstop touring to reach this point. Signed to Reprise Records, their album was recorded in Nashville at Blackbird Studio and produced by Bob Rock, the force behind numerous Metallica albums and Motley Crue's Dr. Feelgood.

Jaren Johnston and Ben Brown make an interesting guitar duo. Johnston is self-taught and naturally loud and gritty. Brown studied jazz guitar at Middle Tennessee State University and admits he had to "put Charlie Parker in the closet and get out the AC/DC and Aerosmith" when they formed American Bang. The two spoke to Guitar Edge about growing up in a city that's home to the best guitarists, what it was like to record with Bob Rock, and the importance of fuzz in the search for tone.

Read more: Web Xclusive - American Bang

How do you go about encapsulating a modern legend like Steve Morse in the space of a few measley paragraphs? In the space of 30 years, Morse has earned six Grammy nominations, played on no less than 44 albums and established one hell of a resume, including Deep Purple, Kansas, the Dixie Dregs, and the Steve Morse Band—not to mention his own thriving solo career. His impeccable technique, amazing tone, and passionate leads have made him an inspiration to guitarists everywhere, including the equally-fierce John Petrucci and Zakk Wylde. Perhaps the best description of Morse would be a "guitarist's guitarist"—he's managed to make a name for himself by staying true to the instrument, but has never stopped exploring.

Morse's most recent musical adventure has come in the form of a multi-year collaboration with 22-year-old singer/songwriter Sarah Spencer. After a chance meeting in 2008, Morse and Spencer began writing songs together, combining Morse's fusion, country and baroque backgrounds with Spencer's folk and pop sensibilities. The resulting duo and self-titled album, Angelfire, is likely both everything you might expect, and nothing like you imagined. Imagine Tori Amos and Eric Johnson working together, or Allison Krauss and Robert Plant. Spencer's angelic voice floats over melodic, hook-laden pop songs, while Morse remains more understated and atmospheric than usual—although his virtuosic fire never seems to be completely extinguished.

Guitar Edge recently caught up with Morse to talk about the musical evolution of Angelfire, the gear he turned to on the album, and what it takes to be a selfless player—which, as we all know, is an art in itself.

Read more: Web Xclusive - Steve Morse

 

“Change” has been a major theme in the American vernacular this past few years. In this Blast from the past, Guitar Edge sits down with three icons of the electric guitar to discuss the changes and innovation in guitar playing and technology we’ve experienced over the past 50 years, and what the next 50 may yet bring.

Read more: FROM THE VAULT - Guitar Summit 2009 - Guitar Edge's Interview with Les Paul, Joe Satriani and Zakk Wylde

Although the Goo Goo Dolls have been together and playing consistently since their formation in 1986, it was the '90s that most people have come to associate with the band. After struggling to have their voices heard in various pop, punk and rock circles, frontman John Rzeznik penned a hit in 1995 that would change the trio's lives forever. The single, "Name," featured on that year's album, A Boy Named Goo, not only broke the band out of the mold, but opened audiences up to Rzeznik's masterful writing. The cultural resonance of that song opened up a number of doors for the Goo Goo Dolls through the remainder of the decade, including Rzeznik's involvement on the soundtrack for the 1998 film, City of Angels. The song included on that soundtrack—and later featured on the band's sixth album, Dizzy Up the Girl—was "Iris," and it took the band from budding stars to superstardom overnight.

And while mainstream radio might have moved on in the ensuing decade since that No. 1 smash hit, Rzeznik and his bandmates haven't slowed down at all. August 31 marks the release of the Goo Goo Dolls' ninth studio album, entitled Something For the Rest of Us, and as usual, it is full of expertly-constructed hooks, keen lyrics, and beautiful, atmospheric tones. It's a recipe that may be familiar to longtime fans, but one that should also draw in some new ones, as Rzeznik's guitar tone and songwriting chops continue to get better with each release. Guitar Edge recently sat down with Rzeznik to talk about songwriting on the new album, getting the perfect acoustic tone on the road (with the help of a few studio compressors) and learning from mistakes.

Read more: Web Xclusive - Goo Goo Dolls