Guitar World


- DAMIAN FANELLI Editor-in-Chief

AS I WRITE this Woodshed, Metallica’s Kirk Hammett has just announced his first-ever solo release, a four-song instrument­al EP called Portals. Steve Vai’s Inviolate is out and about, and new instrument­al albums by Joe Satriani, Animals As Leaders and John McLaughlin are covered in this very issue. Now, let us pause to consider the thousands upon thousands of other — lesser-known — guitarists in the universe who ply their instrument­al wares daily on YouTube, Instagram, on stages, in studios, in their Seventies-era-paneling-enrobed basements, bedrooms or living rooms, etc. And let us think about the background music you hear in countless movies and TV series. Instrument­al guitar music is everywhere. Seriously, when I consider the amoebalike concept of “guitar in 2022,” literally the first thing I think of is somewhat complex instrument­al rock. Why, even was the guitarist and main songwriter in an instrument­al trio from 1998 to 2014!

And, ya know, it’s not too difficult to understand why so many guitarists are drawn to the idea of recording instrument­al music. You don’t need to sing like a young Robert Plant — hell, you could even sing like an old Lee Marvin (Did you ever hear Lee Marvin sing “Wand’rin’ Star” in Paint Your Wagon? Yikes!). All you need is a guitar, an idea and some cheap recording equipment. Anyway, this issue is dedicated to that music in its many forms. We stuck with that theme with our transcript­ion of Mateus Asato’s take on Crowded House’s “Don’t Dream It’s Over” and our Tonal Recall dedicated to Jeff Beck’s “Freeway Jam.” By the way, this issue’s Tonal Recall also happens to be the final installmen­t — but fear not! The great Chris Gill will continue to take our back page (well, page 110) to new gear- and artist-centric heights starting with the next issue. Enjoy all of it!

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