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Paul Gilbert’s Shred School Is in Session

Paul Gilbert’s Shred School Is in Session

Hear professor Paul go deep on EVH’s moves and play some of the maestro’s classic riffs.

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Paul Gilbert Knows Every Van Halen Song | Wong Notes Podcast

Paul Gilbert on the Magic of Eddie Van Halen

Cory Wong: I have heard a rumor that you can play basically any Van Halen, like if somebody calls you up and was like, "Paul, we're doing a Van Halen set down at the Forum tonight. We need somebody to play. Here's the set list." You'd just be able to show up, like yeah what time? Like, oh yeah I can't make rehearsal, but no problem, I got it. Is this true? Can you do this? Can you play every Van Halen tune?

Paul Gilbert: As I get older, I forget more and more, but that was my training ground as a kid. Those records would come out and I would just try to learn everything. Now, I should say that the solos I never even attempted, because first of all, I could tell the spirit of it. You go hear Eddie play it, he wouldn't play it the same way. It was more like amazing freak out in B minor, and a couple signature things you want to grab. But overall, it was more just the spirit of it, but the rhythm parts I would try to get. And it was funny, later I would realize, like my fingering got different. But yeah, overall... Well, name one.

Cory: "Ain't Talkin' Bout Love"

[Paul rips through a chorus and solos on it.]

Cory: You tuned it down with a peg, dude.

Paul: Well, I wasn't playing a guitar with a whammy.

Cory: Okay, "Somebody Get Me a Doctor.

Paul: I love that song. I teach that a lot at my online school, so I know that one. Now this is the magic of Eddie because he goes chick-a and then it has this really clean transition to the note. So, it's chick-a note, and there's no blur. Everybody blurs that and it's like. And the same thing in "You Really Got Me." That's the magical part, that. So if you can clean that up, you're golden. And then "Somebody Get Me a Doctor" has got the same thing. Michael Anthony. (singing)... I don't know if I can do the Roth part (singing). That's the solo with the volume part. That's all in there, but It's fading.

On her new record with her trio, Molly Miller executes a live-feeling work of structural harmony that mirrors her busy life.

Photo by Anna Azarov

The accomplished guitarist and teacher’s new record, like her lifestyle, is taut and exciting—no more, and certainly no less, than is needed.

Molly Miller, a self-described “high-energy person,” is fully charged by the crack of dawn. When Ischeduled our interview, she opted for the very first slot available—8:30 a.m.—just before her 10 a.m. tennis match!

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John Mayall in the late ’80s, in a promo shot for his Island Records years. During his carreer, he also recorded for the Decca (with the early Bluesbreakers lineups), Polydor, ABC, DJM, Silvertone, Eagle, and Forty Below labels.

He was dubbed “the father of British blues,” but Mayall’s influence was worldwide, and he nurtured some of the finest guitarists in the genre, including Eric Clapton, Peter Green, Mick Taylor, Harvey Mandel, Coco Montoya, and Walter Trout. Mayall died at his California home on Monday, at age 90.

John Mayall’s career spanned nearly 70 years, but it only took his first four albums to cement his legendary status. With his initial releases with his band the Bluesbreakers—1966’s Blues Breakers with Eric Clapton; ’67’s A Hard Road, with Peter Green on guitar; plus the same year’s Crusade, which showcased Mick Taylor—and his solo debut The Blues Alone, also from 1967, Mayall introduced an international audience of young white fans to the decidedly Black and decidedly American genre called blues. In the subsequent decades, he maintained an active touring and recording schedule until March 26, 2022, when he played his last gig at age 87. It was reported that he died peacefully, on Monday, in his California home, at 90.

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Featuring enhanced amp models, a built-in creative looper, AI-powered tone exploration, and smart jam features.

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Donner andThird Man Hardware’s $99, three-in-one analog distortion, phaser, and delay honors Jack White’s budget gear roots.

Compact. Light. Fun. Dirt cheap. Many cool sounds that make this pedal a viable option for traveling pros.

Phaser level control not much use below 1 o’clock. Repeats are bright for an analog delay. Greater range of low-gain sounds would be nice.


Donner X Third Man Triple Threat


A huge part of the early White Stripes mystique, sound, ethos, and identity was tied to guitars and amps that, at the time, you could luck into for cheap at a garage sale. These days, it’s harder to score a Crestwood Astral II, or Silvertone Twin Twelve with a part-time job in the ice cream shop. Back in the late ’90s, though, they were a source of raw, nasty sounds for less than a new, more generic guitar or amp.

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