Motor City redemption! The Stooges guitarist and Bell Rays vocalist join forces for a ripped-to-shreds rendering of “I Got a Right.”

Remember how excited everybody was when word got out that Joan Jett was going to sing “Smells Like Teen Spirit” with Nirvana at the Rock and Roll Hall of Fame? Unfortunately, by the time she spit out the first chorus, the overall feeling was that the performance was good—but not great. Or maybe, like a lot of stuff that goes viral, the hype superseded the actual event. Conversely, it seems like there should be as much buzz orbiting around Stooges guitarist James Williamson getting Lisa Kekaula from the Bell Rays to sing a scorching soul-punk rendering of “I Got a Right.”

Slightly retitled here as “I Gotta Right,” the song was originally recorded by Iggy and the Stooges in 1972 and released in 1977 as the A-side on a Siamese Records 45 single (with “Gimme Some Skin” on the flipside). In keeping with tradition, Williamson is releasing the updated single in 7" vinyl format on July 29th to preview his upcoming solo LP, Re-Licked. The album will revisit obscure Stooges singles, with Williamson backed by the Stooges’ most recent touring band—Minutemen bassist Mike Watt, Steve Mackay (who played sax on the Stooges’ 1970 album, Fun House), and drummer Toby Dammit. The project also boasts vocal appearances by Screaming Trees’ Mark Lanegan, Dead Kennedys’ Jello Biafra, the Kills’ Alison Mosshart, Ariel Pink, Carolyn Wonderland, and the Orwells’ Mario Cuomo.

From the opening howl of Kekaula’s Motor City-inspired soul power, it’s apparent that all of the aforementioned singers are going to have to step up their game to contend with “I Gotta Right.” This one has everything you need: An avalanche of raw riffs, the Decemberists' Petra Haden on backing vocals, and Williamson playing white-knuckled leads like he absolutely refuses to let the Stooges’ music go gentle into that good night.

Plus, the Fontaines D.C. axeman explains why he’s reticent to fix the microphonic pickup in his ’66 Fender Coronado.

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The emotional wallop of the acoustic guitar sometimes flies under the radar. Even if you mostly play electric, here are some things to consider about unplugging.

I have a love-hate relationship with acoustic guitars. My infatuation with the 6-string really blasted off with the Ventures. That’s the sound I wanted, and the way to get it was powered by electricity. Before I’d even held a guitar, I knew I wanted a Mosrite, which I was sure was made of fiberglass like the surfboards the Beach Boys, Surfaris, and the Challengers rode in their off time. Bristling with space-age switchgear and chrome-plated hardware, those solidbody hotrod guitars were the fighter jets of my musical dreams. I didn’t even know what those old-timey round-hole guitars were called. As the singing cowboys Roy Rogers and Gene Autrey strummed off into the sunset, the pace of technology pushed the look and sound of the electric guitar (and bass) into the limelight and into my heart. Imagine my disappointment when I had to begin my guitar tutelage on a rented Gibson “student” acoustic. At least it sort of looked like the ones the Beatles occasionally played. Even so, I couldn’t wait to trade it in.

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Need an affordable distortion pedal? Look no further.

We live in the golden age of boutique pedals that are loaded with advanced features—many of which were nearly unthinkable a decade or so ago. But there’s something that will always be valuable about a rock-solid dirt box that won’t break your wallet. Here’s a collection of old classics and newly designed stomps that cost less than an average concert ticket.

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