The Documentary of NOLA: Life, Death, & Heavy Blues from the Bayou

Phil Anselmo of Pantera and Down as featured on the Noisy

New Orleans native Phil Anselmo exports his style to Dallas band Pantera, thereby changing the landscape for metal in the 90s. Meanwhile, a visit from the Melvins to the New Orleans area would change the landscape for metal as we know it, with Kirk Windstein of the band Shell Shock was discovering that slower was, for him, heavier.

Down Are Poised To Release Their New EP - Down IV - Part 2, On May 13th

"Down is the New Orleans sludge-metal supergroup led by Pantera’s Phil Anselmo and Corrosion Of Conformity’s Pepper Kennan, and later this spring, they’ll release their new EP Down IV – Part Two. The first track we’ve heard from it is a titanic, bludgeoning deep-head-nod groove called “We Knew Him Well,” and it’s gloriously messy but locked-in in the way that only New Orleans metal bands can pull off. Listen to it below."

Phil Anselmo Speaks On His New Album, With The Classic Metal Show

As a die hard Down and Pantera fan, just about any project with Phil Anselmo involved I will check out. Never resting on his laurels and forever on the hunt to create new material is what makes the dude so damn good at his job. The releases they put out with Housecore Records are always on point and heavy as can be. Stoked for sure on the new solo project and really wish the tour was coming through our area. 

Dive into Housecore Records




"The master of all things heavy, Philip H. Anselmo, has returned with the very first solo album of his illustrious career. Years of fronting the legendary PANTERA and hard rock titans DOWN have propelled the vocalist to stardom and with 'Walk Through Exits Only,' Anselmo and his backing band, THE ILLEGALS, have created a truly heavy, angry monster that merges the visceral aggression and power of PANTERA with the devastating thrash and Southern sludge that Anselmo and the NOLA scene pioneered. 'Walk Through Exits Only' is an essential metal album from one of the genre's most iconic names!"

Antiseen's Influence Looms Large As Phil Anselmo Releases Solo Album

 Check out the post on Rolling Stone

"After acting as frontman for Pantera, Down and Superjoint Ritual and contributing to a multitude of peers' projects, metal legend Philip H. Anselmo has decided to fly solo. He is scheduled to release his first solo album, Walk Through Exits Only, on July 16th on his own Housecore Records label with his band the Illegals (comprised of guitarist Marzi Montazeri and drummer Jose Manuel Gonzalez). Here, get an exclusive first listen to their track "Usurper Bastard's Rant." Relentless guitars paired with bold percussion and Anselmo's signature screams make for quite an introduction.

Anselmo explains that the song was inspired by how watered-down music has become and the number of "sound-alikes" that exist in the industry. "Traditions were meant to be celebrated and/or destroyed. The celebration is worn out in my view," Anselmo tells Rolling Stone. "It's time for more destruction, and this is exactly the point of 'Usurper Bastard's Rant.'"

Anselmo and the Illegals are planning a North American tour for this summer."

Phil Anselmo wearing an Antiseen shirt in the Rolling Stone article

I Tell Ya Folks, It's Harder Than It Looks...

Who Digs Antiseen, Phil Anselmo Of Course

The almighty Down rocked the Tremont Music Hall in Charlotte several months back and it was one of those shows that is forever burned in your mind. Every track, every note and every one of us was moving in that room to the swampy groove that only Down can provide. Was damn stoked to hear Phil giving Jeff Clayton of Antiseen shout out after shout out. Clayton is a stalwart in the punk rock community and for great reason. His dedication to the craft is without compromise. We are honored to work with all the bands on Rusty Knuckles Music and humbly thank Jeff, Joe, John and Phil for allowing us to work with them. Appreciate ya fellas!

Check out some of the releases from Antiseen with us 

Check out the full photo set and more from Digital Diversion

Phil Anselmo of Down is a huge Antiseen fan

Down recently played the Regency Ball Room in San Francisco in our old neighborhood

Kurt and Pepper laying down those muddy grooves akin to a water moccasin slithering across the bayou

Down and Antiseen should be on tour!

What could be better than a packed house for a metal show, nothing!

Pepper Keenan shreds and shreds and shreds

Phil Anselmo Digs Antiseen And So Should Their Entire Fanbase

Proof is in the puddin' and when we find photos such as this, we know that great things are coming up in the future. Would dig seeing Housecore Records and Rusty Knuckles Music team up for a project. Maybe a split 7" series that could start things off right.

Check into all things Down

Get in touch with Antiseen

The fellas in Down enjoying a meal in the UK and Phil is rockin' his favorite Antiseen shirt

Down, Live At Tremont Music Hall, Charlotte NC - October 2nd 2012

Down, Warbeast and Mount Carmel at Tremont Music Hall - Charlotte, NC on October 2, 2012

Few bands are capable of the live act and crowd response that Down deliver. Phil Anselmo will always be considered one of the greatest front men in all of metal and without fail, proves once again what a great show they put on. The packed house at Tremont Music Hall, gave our all and the chorus to every single song was sung loud and proud. Thank ya fellas, we Lifers are ready for the next show as soon as yall can make it back. Also stoked to see how many shout outs Jeff Clayton and Antiseen got from Phil. Good to know that we are in the presence of some amazing talent.

All images courtesy of the Tremont Music Hall Tumblr page

Phil Anselmo of Down, getting a huge response from the packed house

Pepper Keena and Kirk Windstein laying down the riffage

Pepper Keenan of Down rippin' into another lead

Phil Anselmo laying into another great track with Down

Kirk Windstein is a monster shredder and Down proves once again how great of a live act they are

Still Thinking About Getting A Tattoo Of Your Favorite Band?

Still Thinking About Getting A Tattoo Of Your Favorite Band? Every now and then you see some tattoos that send you shaking your head and wonder who is more at fault. Is it the customer wanting to be the über fan or the tattoo artist that maybe isn't quite up to snuff. Needless to say, choose your imagery wisely along with the individual that is inking you up permanently.

Loudwire's display of horrible tattoos

Really? Earth Crisis on the face? Did that Firestorm of Ink Purify? 

Green Day never looked so rough. Poor ol' Billie Joe and his BJ pose, damn that's rough

And Tattoo Justice For All

Slayer fan that was tatted up by a six year old apprentice prodigy

Dimebag Darrell is equally shocked by his depction in a style reminiscent of the Squidbillies

Gotta love the drop shadow those letters have, Kid Rock looks like he is hiding a huge dome in the pimp hat

Down, 'The Purple EP': Exclusive First Listen, Repost From Billboard.com

Down need no introduction. Hell, they rarely even need opening acts, when they decide to take the show on the road. With "The Purple EP" about ready to be unleashed upon the masses, Down is taking their creative output in a new direction. Instead of focusing on definitive albums, they plan on releasing blocks of music, an EP at a time. We cannot thank them enough as we only have three albums worth of material for a band that has been playing sporadically for over 17 years. Cannot wait for the new material!

Check out all things Down

Link to original article on Billboard.com

Down - the all star metal band featuring members of Pantera, Corrosion of Conformity, Crowbar and EyeHateGod

The only downside of Down, the members of the all-star metal band led by Phil Anselmo, have long complained, is arranging time for the group amidst their other commitments. But they think they've found a way to solve that. "Down IV Part I - The Purple EP," a sludgey, six-song set that drops on Sept. 18, is the first of four planned EPs the quintet hopes to release in relatively short order -- at least shorter than the five years since "Down III: Over the Under" came out. (Listen to an exclusive stream of the EP below.)

Listen: "Down IV Part I - The Purple EP"

"It's about getting people more music quicker," frontman Phil Anselmo ( Pantera, Superjoint Ritual, Arson Anthem, etc.) tells Billboard. "It's obviously easier to knock out six songs rather than 12 songs. Me personally, I hate doing full-length records 'cause it drains the f*** out of you. And (an EP) leaves ways less chance for songs that you'd consider filler songs to get through. I think it's the healthiest way for Down to continue to get music out on a reasonable schedule."

Guitarist Pepper Keenan (ex- Corrosion of Conformity) says he DOES still like to make what he calls "the giant records" (i.e. albums), but he likes both the efficiency of the EPs as well as the opportunity to change styles form one to the other. "It allows us to shift gears between EPs," Keenan explains. "With Down we have a couple of styles of songs, and it's sometimes heard to fit a particular song with an album, so we have to put it aside for who knows how long. Now we can we can create EPs that can shift progression and diameters as they progress. That's our idea -- in theory, at least."

Actually, Keenan says Down has "mapped out" where it hopes to take the other three. "We're not just shooting blindly," he says. While "The Purple EP" -- which marks the debut of Crowbar bassist Pat Bruders in place of Pantera alumnus Rex Brown -- is raw and immediate in a manner Anselmo and Keenan compare to Down's 1995 debut "NOLA" ("hamfisted is a term they both use) Keenan predicts "Down IV Part 2" will be more fleshed out like "Down III." The third, he says, will likely be "trippy, acousticy, mellow, cleaner, not bombastic, the kind of songs we've been talking about for years but can never place anywhere." And the fourth? "I'm assuming that one is just gonna be doom as f*** -- giant, bombastic, slow, bury-me-in-smoke type of things. Apocalyptic. We'll have fun with it."

Anselmo, however, prefers not to promise when the other EPs will surface. "We are the worst; we are liars of the first degree when it comes to telling the public or anybody else some set date or time for the next release!" he says with a laugh. "It always seems like five friggin' years go by, no matter what we say. But, once again, the reason we're doing the EPs is to get the product out quicker to our audience. That just means concentrating on a handful of songs instead of an entire record, and it works."

And, Anselmo adds, the other EPs might not continue the color scheme in their titles. "People are calling it 'The Purple EP,' but I had nothing to do with that," he says. "Left that totally up to..,the press, to the fans. I left it up to everybody else. Call it what the f*** you want, and we'll move on from there. I honestly don't care. I don't know what the next one's going to be called, if anything. The music speaks for itself."

Down kicks off an 11-date North American tour on Sept. 18 in Fort Worth, Texas. Anselmo says the group plans to play European festivals during the summer of 2013 and may book other tours during the interim.

Why Local Bands Don't Get Signed, From MetalHolic.com

How often do you go into a venue to see some act play and stand in amazement thinking on how great a particular band is. They could be on fire that particular show and melt faces and then poof, nothing. This happens more than you think as many fans tend to forget what they did five minutes ago, let alone go online or chase down a band to help support them. 

One huge notion to remember is that if you just had a thirty minute set, there are 23:30:00 hours left for that 24 hour time period. Now is the time to go and really build your fan base. I don't think we will ever see the likes of a band such as the Beatles again. The world wide hysteria, the young kids screaming with excitement by the millions. Well, maybe a few boy bands can do this, but in our specific genres of dirty rock n' roll, real country and punk, it is just not the norm.

If you really want to make a difference and be heard it takes a lot more than just writing great songs. You have to cultivate who you are as an individual relating to your music and sell yourself. Yep, we said it, sell yourself. Fans don't want pussies, they want the dream. They want to live vicariously through the words, the music and most of all the artist. Is there any other reason why individuals are put on pedestals? Take a look at all the Waylon, Pantera, Metallica, Hank Williams, etc. tattoos. Fans want to emulate their hero's. So buckle down, man up and make your career happen. History is written by the winners.

Think on the topics below and see what you can do to further your career. The world is waiting...

Link to original post on MetalHolic.com

11 Reasons Why Local Bands Don't Get Signed

"Dealing with the local music scene these days is very challenging for management, booking, promotion companies and record labels. To be able to get any artist to the next level requires being able to take the package and sell it to the public or other entertainment professionals or companies. Unfortunately, too often the product is rarely worth buying or even helping to promote further. Bands and artists tend to have this notion that, “Without the music you have nothing,” when dealing with industry professionals. While this is true to an extent, it’s not the whole story. In the industry, we can hire songwriters that have a proven track record, hire musicians to record it and make our own successful bands that we own completely and can control. We don’t need local artists with attitudes, little work ethic or strive not be productive in furthering their own careers. We all do what we love for a reason. It’s not always about being successful but for the satisfaction for seeing someone achieve their dreams so we keep diving into the murky waters of local musicians to find those that are worth partnering with.

The package, as we refer to the artist’s business plan or presentation, has to be ready to go and that is the artist’s responsibility to get there. It doesn’t fall on anyone’s shoulders to make this happen except for you. There is no excuse, what with all the free info out on the internet in books and magazines, that an artist can’t figure out the basics of the business, create a presentation and become attractive to the people who can help them get to the next level. Until that happens, it’s hard to get a manager, booking agent or anyone else to be excited about making 0% of 0% because the artist has created absolutely no demand for themselves. The money isn’t available in the industry for developmental deals as it was say 15-years ago. Thus the artist’s chances of getting signed on with professional representations are slimmer if they don’t present an attractive market value. Here are a few of the reasons that artists intentionally shoot themselves in the proverbial foot. This is by no means a comprehensive list, just some very obvious points.

• Not Booking Enough Shows: Most bands/artists want others to do this for them but in truth and reality, the artist should be booking their own shows until they are gigging at least 80-dates a year regionally and making money doing it. Why would anyone in the industry want to waste time booking a band that isn’t willing to do it themselves, does not understand the basics of promotion and end up making a small percentage of absolutely nothing for their work? There are no short cuts here. Pick up the phone and dial for dollars.

• Poor Promotion: Most artists spend very little time and effort promoting and usually post a gig once or twice on some form of social media expecting people to see it and show up on such short notice. This is absolutely pathetic. Especially in a band with several members, usually only one person promotes it. In no way shape or form is this acceptable, nor will anyone in the industry look kindly on an artist that does this. You don’t deserve to get paid at all if this is how you sell your band. Believe it or not, we all look at this and notice how well people promote themselves. Also, social media sites are not the only form or promotion needed. You still need flyers, advertisements and many other forms of creative promotion. It is not everyone else’s job to do all your promotion. When you are looking for opportunities with your gigs and no one shows up for your shows, you lose on many levels and miss out on opportunities.

• Misuse Of Social Media: If all you do is complain about the venues, management or any other form of the music business, you are signing your death warrant. Again, people in the industry and your peers see this and who would want to book you back at a venue or assist your band if this is your level of professionalism. You are a business, act like it. Grow up and quit using your bands page to complain. If you want to do that, do it in private where we can’t see it. This is common sense that seems to have escaped many artists.

• Wasting Time Goofing Off On Facebook: If you have time to post a million personal things on Facebook but don’t promote your show then you aren’t serious about this business. Stop spending time goofing off and start making things happen for your music. Facebook is a great networking tool when used right. The excuse, “I am so busy,” is quite weak when we can see your profile. This goes for both sides of the business, not just artists.

• Not Getting Back To People: When you approach someone and ask for their advice, services or whatever else and say, “I’ll get back to you,” then do it.  The usual excuse again is, “Sorry, I was so sick” or “I have been so busy” but again we can see your social media so if you are well enough or have time to do that, you are well enough to practice a common courtesy and get back in touch with people, regardless of the outcome you decide on. This applies to getting back to people on booking a show, a meeting, or any other situation involving your band, music or related promotions. It is also basic good business manners.

• Not Doing Your Research: Approaching people about services they don’t even offer. This happens all of the time. You see a business name and just assume at what they do but don’t even research the company. You are wasting everyone’s time and showing how lazy and unprofessional you are.

• Not Accepting Gigs Because You Don’t Have The Money: “Sorry we don’t have the money to drive that far,” is a ridiculous excuse for a local or regional booking. You don’t have the money to drive to open a new market but you do have money to buy beer, party with your friends, buy drugs, go camping or visit someone three states away. Again, your Facebook page gives this all away. If you do not want to play a show for specific reasons, then politely decline, thus hopefully leaving the door open for future shows. If you aren’t able to be dedicated to your vision and dream by planning in advance and having a band fund for specific use: gear, travel, other expenses then don’t even bother approaching anyone. You can’t build a solid fan base if you aren’t playing out.

• Not Having An Appropriate Press Kit: Everyone has been doing this long enough to know you need one. No matter if you are a band, solo artist or musician looking for extra work. Everyone should have an electronic press kit (EPK) and/or hard copy press kit. Sending someone to Facebook, Myspace, Reverbnation, YouTube or other social music site, while a plus, is not a replacement for a professional media kit. If you don’t have one, you do not show serious business regard for your own career so why should anyone in the industry.

• Sending One Line Emails Saying You Need Representation: Again if you don’t have a press kit and you can’t take the time to compose a proper business letter and introduction about yourself or your band, don’t even bother. All you are doing is showing how lazy you really are. Be professional, always.

• Only Being Able To Play Weekends: We are all looking for bands than can tour, not just play every now and then. It’s hard to break a new market and build a fan base when you can only play one quarter of the year. Not only that, but you are competing with so many other bands for these bookings when weeknights are so much easier to get. This is why people with families often get passed by. It’s too hard to coordinate everything. We all make choices in life and once you decide to get married and have kids more often than not you aren’t able to be on the road enough. This does not apply to everyone, as many do have support systems in place to allow for travel. If you are serious about your career, have this support system in place. No one makes any money if you can’t play so they won’t sign you. It may not be fair but everyone involved has to pay their bills so why would anyone sign a band that can’t make them money? It’s not about the music when it comes to getting signed, it’s about people earning a living.

• Expecting To Work Without A Contract: First of all, one of the main rules of the music business is…always get a contract, so why you would you even consider asking someone to work with you without one? Why would a smart business owner work relentlessly to help you further your career just so you can walk away with the success they brought you? If another agency comes along and offers you a deal and you choose to go with them, without a contract featuring a ‘buy-out clause’ your former manager or agent is screwed and may be liable for future booking, promotions or business deals being worked for your project. The standard industry rap goes that the “industry and music business” people are the ones that screw over the artists but I know from experience that artists are fabulous about breaching contracts because they do not want to pay someone. Our courts are full of artists being sued by companies for breach of contract so it goes both ways. No one should EVER work without a contract, period. No one should risk his or her business on a promise or handshake agreement. You will get the short end of the stick every time.

After years of doing this and dealing with all types and genres of artists, the most common reason for artists not getting signed is that they are not focused on their end goal. They spend money on things they don’t need such as alcohol, drugs or video games instead of putting it into their careers and business package where it needs to go. To be successful means spending money on your career, missing friends because you are busting your butt working hard, and taking your act on the road into new markets. Don’t expect your team to do it for you, to be focused on you and your career when you can’t even do it for yourselves. This makes no sense what so ever. Again, no one in the industry will get involved with an artist that can’t and won’t work as hard as everyone else.

These are also many of the reasons most artists will be let go by a professional company. More often than not, these reasons make it very, very difficult to promote you and sell your package and product or in general, make anything happen for you. This is a business and the artist needs to treat it like one. Be professional at all times, work hard always and get focused. Quit blaming everyone else for what you are not doing for yourself.

Without having a great package to work with and sell, people just aren’t interested in not being able to make any money. It is the artist’s responsibility to build their business to an appropriate level before expecting or seeking help. Remember this is business and everyone needs to make money, not just the artist.

Good Luck!"

All Hail The Mighty Pantera

Lets get the facts straight and clear, we are diehard lifers for Pantera and have been since Cowboys From Hell. When it comes to all the side project bands and now full time bands such as Down, we dig them almost even more. Down is such the seething beast with venomous licks and more ambient vibe than any NOLA late night hot spot. After hearing word about a missing track from the genre smashing album, Vulgar Display of Power, we are picking up the new deluxe edition of this classic.

RIP Dime!

Metal Evolution - VH1 Documentary Series

Finally, a great show about Heavy Metal called Metal Evolution and the storied history about where it really came from. VH1, you are alright in our books now and we cannot wait for the Thrash Metal show on December 31st. Our only gripe is that with the series listing, nothing is covered when it comes to Death or Black Metal? C'mon folks, this is a huge area to mine or maybe the suits over at Viacom were a bit nervous about talking to church burners and legions of the damned.

Nov 11: Pre Metal

Nov 19: Early Metal US

Dec 3: Early Metal UK

Dec 10: New Wave Of British Heavy Metal

Dec 17: Glam

Dec 31: Thrash

Jan 7: Grunge

Jan 14: Nu Metal

Jan 21: Shock Rock

Jan 28: Power Metal

Feb 4: Progressive Metal

About Metal Evolution:

Metal Evolution presents 11 episodes based on the much-debated Metal History "family tree" originally shown in Headbanger's Journey. This 24 sub-genre genealogical chart reveals the vast complex progeny of heavy metal--from Early Metal and Shock Rock to Thrash, from Progressive Metal to Grunge and Nu Metal. Using the chart as his road map, our host, metalhead turned anthropologist Sam Dunn, will crisscross the globe in search of the very essence of Metal, from bars and back alleys to the biggest open air festivals.

Get More: Metal Evolution

Some thrash classics...

Rolling Stone’s Greatest Guitarists List

What do yall think of the Greatest Guitarist list created by the folks at Rolling Stone? Here is commentary by Daniel Kreps over at Yahoo Music's Amplifier Blog speaking on it below. Personally we would dig seeing Dimebag from Pantera much higher up on the list instead of at #92. We know that if his life wasn't cut short by a mentally disturbed individual he would have shredded his way higher up that list. For you Dimebag, thanks for the memories.

Rolling Stone’s Greatest Guitarists List: Who’s Too High and Too Low

By Daniel Kreps

By Daniel Kreps | Amplifier – 4 hours ago

Paul Natkin/WireImage.com

There's nothing like a good list to spark a little debate among music fans. Today, Rolling Stone unveiled their newest 100 Greatest Guitarists of All Time list, and while there should be no complaints about who's Number One, the ranking of the other 99 can be disputed. Rolling Stone's list — which was compiled by votes from RS editors as well as bona fide ax-men like Tom Morello, Metallica's Kirk Hammett, Aerosmith's Joe Perry, and many more — measured guitarists by prowess, influence, and innovation.

Rolling Stone did a similar list in 2003, and on both, Jimi Hendrix is Number One, as it should be. In the past eight years, no one has emerged even worthy enough to stand in Hendrix's shadow, so his ranking shouldn't change, ever. He's the G.O.A.T., like Michael Jordan, Nirvana's 'Nevermind', and Dwight Gooden's 1985 season. However, The Amp has some issues with the rest of the rankings, as some guitarists didn't get the recognition they deserved, and others were placed ahead of other rockers who were perhaps more deserving. Here's the mag's Top 10:


1. Jimi Hendrix
2. Eric Clapton
3. Jimmy Page
4. Keith Richards
5. Jeff Beck
6. B.B. King
7. Chuck Berry
8. Eddie Van Halen
9. Duane Allman
10. Pete Townshend

The other 90 are here. Below, let's dive deeper into the list and let the debates begin.
(Note: When we say "Too low," it means the guitarist should be closer to Hendrix.)

Too Low
• Frank Zappa. Jimi is the best, but Zappa is our favorite. He might not have the commercial appeal of the Top 10 guitarists on the Rolling Stone list because of his sardonic, humorous lyrics and complex arrangements, but no one could pump out beautiful, transcendental solos like Zappa, who consistently turned his six-string into a one-man symphony.
Exhibit A, "Inca Roads":


Exhibit B, "Watermelon in Easter Hay":


Number 22 is way, way too low for Zappa, but it's an improvement over the despicable Number 45 placement he received on the 2003 list.

• Prince. The most underrated guitarist of all time. Prince is amazing at pretty much everything he does, so people often forget that he can absolutely wail when someone puts a (weirdly shaped) guitar in his hands. After being completely overlooked on the 2003 Rolling Stone list, Prince lands at Number 33 this time around, but even that is too low for one of the best alive right now. "The Kid is in rare form tonight."

• Bruce Springsteen. The Boss? At Number 96? Sure, Steven Van Zandt and Nils Lofgren carry a lot of the E Street weight, but if it wasn't for Bruce, all those classic riffs never would have been heard.
Too High

• Eddie Van Halen. Despite not releasing an album since 1998, EVH jumped from Number 70 on the 2003 list to Number Eight on this new 100 Greatest Guitarists of All Time. Why the leap? Did Van Halen's talents suddenly multiply exponentially enough to propel him past 61 guitarists? Nah. It's probably no coincidence that Van Halen's rise comes when his namesake band is on the verge of releasing a new album, and that a certain magazine might be trying to get into his good graces by giving him better real estate on the list. (EVH adorns one of the four different RS covers to make the 100 Guitarists list, along with Hendrix, Jimmy Page, and Eric Clapton. Speaking of Clapton…)

• Eric Clapton. There's no denying Clapton is an amazing guitarist. "Clapton is God" used to be graffiti in the streets of London before Banksy came around. Technically, he's a marvel. However, his overall influence on future generations is lacking. We've never met anyone who picked up a guitar because they loved "I Shot the Sheriff." He's like the Tim Duncan of guitarists: Smart, consistent, always gets the job done, wins MVPs and championships, and is among the greatest ever. But kids don't want the Duncan jerseys, they want the Kevin Durant and Blake Griffin jerseys, just like young rockers aspire to be Keith Richards, not Eric Clapton. The Cream/Blind Faith guitarist should definitely be in the Top 10, but not ahead of Jimmy Page (Number Three) and Richards (Four).

• James Burton. Number 19 on the Rolling Stone list, the innovator of the "chicken pickin'" style, a co-writer of "Susie Q"… but who? No doubt Burton had a major impact for future generations, but to put him ahead of legendary guitarists -- like Jerry Garcia (Number 46, down from Number 13 in 2003), George Harrison (Number 21), and Kurt Cobain (Number 73) — is extremely generous.

Just Right:
• Neil Young. After placing Number 83 on the 2003 list, Young climbs to Number 17 on the new list. "If I was ever going to teach a master class to young guitarists, the first thing I would play them is the first minute of Neil Young's original 'Down by the River' solo. It's one note, but it's so melodic, and it just snarls with attitude and anger," Phish's Trey Anastasio says of Young in Rolling Stone. He's right; no one could put more feeling into one single note than Neil.

• David Gilmour. Another of The Amp's favorites, the Pink Floyd guitarist finally gets his due at Number 14 after a cruel Number 82 ranking in 2003. "Comfortably Numb" alone is worth a spot in the Top 50.

The actual voters:
Trey Anastasio, Dan Auerbach (The Black Keys), Brian Bell (Weezer), Ritchie Blackmore (Deep Purple), Carl Broemel (My Morning Jacket), James Burton, Jerry Cantrell (Alice in Chains), Gary Clark Jr., Billy Corgan, Steve Cropper, Dave Davies (The Kinks), Anthony DeCurtis (Contributing editor, Rolling Stone), Tom DeLonge (Blink-182), Rick Derringer, Luther Dickinson (North Mississippi Allstars), Elliot Easton (The Cars), Melissa Etheridge, Don Felder (The Eagles), David Fricke (Senior writer, Rolling Stone), Peter Guralnick (Author), Kirk Hammett (Metallica), Albert Hammond Jr. (The Strokes), Warren Haynes (The Allman Brothers Band), Brian Hiatt (Senior writer, Rolling Stone), David Hidalgo (Los Lobos), Jim James (My Morning Jacket), Lenny Kravitz, Robby Krieger (The Doors), Jon Landau (Manager), Alex Lifeson (Rush), Nils Lofgren (The E Street Band), Mick Mars (Mötley Crüe), Doug Martsch (Built to Spill), J Mascis (Dinosaur Jr.), Brian May, Mike McCready (Pearl Jam), Roger McGuinn (The Byrds), Scotty Moore, Thurston Moore (Sonic Youth), Tom Morello, Dave Mustaine (Megadeth), Brendan O’Brien (Producer), Joe Perry, Vernon Reid (Living Colour), Robbie Robertson, Rich Robinson (The Black Crowes), Carlos Santana, Kenny Wayne Shepherd, Marnie Stern, Stephen Stills, Andy Summers, Mick Taylor, Susan Tedeschi, Vieux Farka Touré, Derek Trucks, Eddie Van Halen, Joe Walsh, Nancy Wilson (Heart)

CONTRIBUTORS: David Browne, Patrick Doyle, David Fricke, Will Hermes, Brian Hiatt, Alan Light, Rob Tannenbaum, Douglas Wolk

Read more: http://www.rollingstone.com/music/lists/100-greatest-guitarists-20111123#ixzz1eZRWhBCj

Hank Williams 3 - Reviews On NPR

For fans of public radio, go over to NPR and listen to a solid review of Hank 3's lastest batch of albums. They are on point and shed more light on the variety of sounds between the four albums released. We have always dug his sound due to his refusal to be pigeon holed just to play one type of music. Whether it be the hellbilly punk infused metal that was brought out through Assjack, the Discharge worshipping sounds of Superjoint Ritual or his real country tunes in which he wails like his grandfather Hank Williams. Hank 3 continues to live through music on his own terms.

Review of the four new albums on NPR

Hank Williams III, also known as Hank 3, is the son of Hank Williams Jr., as well as the grandson of Hank Williams, considered to be one of the greatest country music performers of all time. Hank 3 got his start in music playing punk and metal, then went on to form bands with members of Pantera and The Jesus Lizard. Hank 3 made country albums, too, but had little use for mainstream Nashville's restrictive culture.

He's always cast off the expectations connected with his iconic bloodline, challenging the music industry, the press and even his fans. In concert, Williams will often go from a set of straight-up country to "hell-billy" to punk rock and metal, with only the most broad-minded audience members sticking it out for the whole show. And he's just released three albums — spread out over four CDs — on which he pushes boundaries farther than he ever has before.

"Trooper's Holler," from Ghost to a Ghost, is a perfect example of Williams' originality, as his dog Trooper's vocals are featured here. Ghost to a Ghost is, for the most part, unambiguously country, with some requisite dirty words and a small shot of klezmer. The second CD, Gutter Town, plays more like the soundtrack to a horror film: a demented Cajun campfire on the outskirts of a creepy, deserted village.

Hank 3 has used ambient sounds and bleeps and blips on recordings in the past. But it's the third CD, Cattle Callin', on which he truly innovates. In his never-ending, genre-bending quest, Williams creates what he calls "cattle-core," setting the rapid-fire calls of cattle auctioneers to super-speed-metal double kick drum, guitar shreddery and diabolical vocal squall.

As if that isn't enough, there's a fourth disc, titled Hank 3's Attention Deficit Domination. This is Williams' foray into doom rock. It's a bottom-heavy slow dirge that shows off what got Williams into music in the first place: his considerable bass and drum playing.

With his instrumental skill, his vocal ability and his pedigree, Hank 3 could have easily coasted into a mainstream country-music career, but no. Legend has it that Minnie Pearl, who was close to the Williams family, told Hank 3, "Lord, honey, you're a ghost," because he so closely resembles his grandfather. But as much as country music runs through Hank 3's veins, so does rebellion. Remember that his grandpa was thrown out of the Grand Ole Opry. Most of the music on Williams' four CDs bears little resemblance to Hank Sr., but his reckless spirit is in there.