KORN singer Jonathan Davis says that he is “still fatigued like crazy” by his battle with COVID-19, the disease caused by the novel coronavirus.

Last August, it was announced that Davis tested positive for COVID-19. As a result of his infection, the band postponed six dates and canceled two on its summer 2021 U.S. tour. A month later, KORN guitarist James “Munky” Shaffer also contracted COVID-19 and was temporarily replaced by J.R. Bareis, who is also in the band LOVE AND DEATH with KORN guitarist Brian “Head” Welch. In October, KORN drummer Ray Luzier became the third member of the band to get infected, forcing him to miss three shows on KORN’s U.S. tour. Filling in for him was FEVER 333’s Aric Improta.

Davis discussed his COVID-19 experience in a new interview with “Lipps Service With Scott Lipps”. He said (as transcribed by BLABBERMOUTH.NET): “I think I got that long COVID stuff. I’m still fatigued like crazy. I’m doing the best I can. But I’m alive. And hopefully in time this will get better.

Asked how he feels about touring during the pandemic, Jonathan said: “I’m gonna live my life and get on with it. I definitely cater my life around not getting sick, though, because if I get sick, there’s no show. COVID or not, that’s been my life my whole career. I’ve got my own bus. I stay away from people on purpose because if I get sick, there’s no one to fill in for me. With the other guys, when they all got sick with COVID, we had people on standby; they flew out instantly, they could fill in and we could do a show. But with me, I’ve gotta be careful. I always have been, but it’s now to the point where I’m like… A year ago, that was, like… I was freaking out. [Laughs] I was, like, ‘I don’t wanna get this.’ And I go out on tour and I get it. And there you go.”

Last November, Davis told Lou Brutus of HardDrive Radio that he tested positive for COVID-19 on August 14, 2021. “I was at a gig in Scranton,” he recalled. “My girl had tested positive three days prior, I believe. So I was hoping [I wouldn’t get infected]. I kept testing. I was, like, negative, negative, negative. I was, like ‘Oh, I just dodged a bullet.’ Then [I tested] positive. And I was scared shitless; I was freaking out. They rushed me right to the hospital and they did all these tests on me. They said, ‘Okay, it doesn’t look like you have the markers for the bad. We’ll let you go.’ And it never went into my lungs. I was totally wiped out. I couldn’t move — just the body aches. I didn’t eat for a month, damn near. But thank God it didn’t get into my lungs; that would have freaked me really out. But I got through it and tested negative on the 25th, I think, and I played a show the next day. And I was beat up, but I just couldn’t find it in my heart… I just wanted to get through it because I saw how happy people were to see live music. And I just didn’t wanna let anyone down. So I’m, like, ‘I’m gonna just sit down and get through this. At least it’s a live show. And I’m just gonna give it all.’ And we just pulled it off. I did the whole tour. Unfortunately, Munky got it and Ray got it. But we got through it. We just had some bad luck. But it is what it is. And we’re here all alive and happy. So it was overall a good thing.”

Davis, who was reportedly fully vaccinated, had been taking a seat on a custom throne near the drum riser at KORN’s later shows due to lingering effects of his bout with COVID-19.

In video footage of KORN’s August 27, 2021 concert in Tinley Park, Illinois — Jonathan’s first gig back after revealing his positive diagnosis — he could be seen walking slowly around the stage, coughing and appearing to take a minute to catch his breath. According to TMZ, Davis also took occasional hits from an oxygen tank set up near this throne.

KORN’s new album, “Requiem”, arrived on February 4, 2022 via Loma Vista Recordings. The disc was produced by Chris Collier and KORN.

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Julien’s Auctions, the world-record-breaking auction house to the stars, will honor one of the most influential music icons and guitar heroes of the progressive rock metal genre with “Property From The Archives Of Alex Lifeson”, a centerpiece of their premiere music auction event, “Music Icons”, taking place Friday, May 20, Saturday, May 21, with the RUSH legend’s auction as the grand finale on Sunday, May 22 live at Hard Rock Cafe in New York and online at juliensauctions.com.

More than 100 lots featuring signature guitars, instruments, wardrobe, gear and memorabilia owned and used by Lifeson, the legendary Rock And Roll Hall Of Fame guitarist and co-founder of RUSH, one of the best-selling progressive rock groups of all time, who have sold more than 40 million records worldwide in the group’s four decade and counting history of record-breaking tours and performances, will be offered to the public for the first time.

In addition to playing electric and acoustic guitars with RUSH, Lifeson is renowned for his multi-instrumental repertoire of playing other string instruments such as mandola, mandolin and bouzouki, as well as keyboards and bass pedal synthesizers throughout his musical work with and outside of the band, putting his own signature of sonic experimentation with riffing, electronic effects and processing and unorthodox chord structures. Throughout the 1980s and 1990s, that experimentation and progression would be heard in the band’s 1982 album, “Signals”, featuring their only U.S. Top 40 hit “New World Man” with the sound of synthesizers along with elements of ska, reggae and funk. They transitioned back to the band’s core of guitar, bass and drums with Lifeson’s acclaimed work on the 1989 album “Presto”, 1993’s “Counterparts” featuring their Grammy-nominated song “Leave That Thing Alone”, 1996 album “Test For Echo” and 2002 album “Vapor Trails”, where Lifeson used over 50 different guitars and was hailed by Guitar Player as “his most rabid and experimental playing ever.”

In 1996, Lifeson released his first solo project “Victor”, named the title track from the W. H. Auden poem “Victor” with both his son Adrian and wife Charlene also contributing to the album. His dynamic body of work includes instrumental contributions and guest appearances such as the guitar solos of “Crying Over You” and “Holy Water” on PLATINUM BLONDE’s 1985 album “Alien Shores”; Lawrence Gowan’s 1990 album “Lost Brotherhood”; guest tracks on Tom Cochrane’s 1995 album “Ragged Ass Road”, “Like A Girl” from I MOTHER EARTH’s “Scenery And Fish” album; “The Little Drummer Boy” on the 1997 album “Merry Axemas: A Guitar Christmas”; “Anesthetize” on PORCUPINE TREE’s 2007 album “Fear Of A Blank Planet” and “Sacred And Mundane” on TILES’s 2008 album “Fly Paper”. In 2006, Lifeson provided the original soundtrack material for the popular “Trailer Park Boys: The Movie”, where he would later guest appear in the franchise’s later films as well as voice the character Big Chunk in the animated series.

He is also a composer and producer whose credits include the theme for the science-fiction TV series “Andromeda”; songs on the 3 DOORS DOWN album “Away From The Sun”; Keram Malicki-Sanchez’s 2014 album “Come To Life” — playing guitar on the songs “Mary Magdalene”, “Moving Dark Circles” and “The Devil Knows Me Well”, and on Keram’s subsequent singles “Artificial Intelligence”, “That Light” and “Rukh” as well as being featured on Marco Minneman’s 2017 release “Borrego”, FU MANCHU’s 2018 “Clone Of The Universe” album and more. Subsequent RUSH recordings and touring include their 30th-anniversary 2004 EP “Feedback” which featured their covers of CREAM, THE WHO and THE YARDBIRDS’ songs, 2007’s “Snakes & Arrows”, 2011 live album “Time Machine 2011: Live In Cleveland” and 2012’s “Clockwork Angels”. RUSH ranks fifth for most consecutive gold or platinum studio albums, after the likes of THE BEATLES, THE ROLLING STONES, KISS and AEROSMITH.

Lifeson’s awards and recognition include induction into the Rock And Roll Hall Of Fame in 2013 with RUSH; ranking third in the Guitar World readers’ poll of 100 greatest guitarists and listing on Rolling Stone’s 100 Greatest Guitarists Of All Time; as well as being made an Officer Of The Order Of Canada on May 9, 1996, along with RUSH bandmates Geddy Lee and Neil Peart, and receiving the Governor General’s Performing Arts Awards in 2012 — the highest artistic honor in Canada. Additionally, Lifeson is a painter, golfer and aircraft pilot.

In 2021, Lifeson released two new instrumental songs, “Kabul Blues” and “Spy House”, and recently made headlines with the news of his self-titled debut LP from new band ENVY OF NONE, featuring bassist Andy Curran, singer-songwriter Maiah Wynne, and producer Alfio Annibalini, to be released on April 18, featuring a song dedicated to late RUSH bandmate and drum legend Neil Peart.

“Julien’s Auctions is proud to present this magnificent collection of coveted artifacts of rock history directly from the legendary guitarist and pioneer, Alex Lifeson of RUSH, the most influential and innovative progressive rock metal band of all time,” said Darren Julien, president/chief executive officer of Julien’s Auctions. “Lifeson’s mind blowing creativity, musical virtuosity and raw power will take center stage here in this epic auction of his legendary guitars, instruments, and rare memorabilia representing his enduring legacy as one of the godfathers of progressive rock metal music.”

Highlights of this auction include Lifeson’s music arsenal of renowned instruments used on some of RUSH’s iconic recording sessions, hits, tours and performances such as a 1976 “Whitey” Gibson ES-355TD electric guitar custom-built for Alex Lifeson at the Gibson factory in Kalamazoo and Lifeson’s main guitar from 1976-2015, his entire time with RUSH.

“I purchased this guitar in 1976, it was custom-built in Kalamazoo just for me. It has been my main guitar and is the iconic Alex Lifeson guitar,” said Lifeson.

“Whitey” is featured on all albums from “A Farewell To Kings” (1977) to “Test For Echo” (1996), and can be seen being played by Lifeson on stage during all tours from “A Farewell To Kings” (1977-1978) to “R40” (2015) as well in most of RUSH’s music videos accompanying “A Farewell To Kings”, “Hemispheres” and “Moving Pictures”, as well as “Show Don’t Tell” from “Presto” (1989). This splendid guitar that was part of RUSH’s most explosive era of creativity and legendary music has a conservative estimate of $200,000 – $300,000.

Another notable Lifeson axe — his 1980 custom-built Hentor Sportscaster electric guitar used on the recording of RUSH’s seminal albums since “Moving Pictures”, in particular “Grace Under Pressure” where it was the main recording guitar will head to the auction stage. This iconic guitar was Lifeson’s favorite for soloing, including the solo from RUSH’s Billboard hit “Limelight”. The Hentor Sportscaster’s heavy but versatile sound embodies RUSH’s bold sonic explorations of the 1980s and Lifeson’s growth as a soloist during this time. The Hentor Sportscaster can be seen in the music videos for “Vital Signs”, “Countdown” and “Enemy Within” and has an estimate of $100,000 – $200,000.

A 1981 Gibson Howard Roberts Fusion electric guitar that served as Alex Lifeson’s main guitar on the 1981 “Moving Pictures” tour as well as on numerous tours through the 2007 “Snakes & Arrows” tour and a 1971 Jose Ramirez classical acoustic guitar used by Alex Lifeson on all classical-style recordings from the 1978 RUSH album “Hemispheres”, including “The Trees” and “La Villa Strangiato”, will rock the auction stage. Each of these extraordinary guitars come with an estimate of $100,000 – $200,000.

Headlining the auction are a 1976 Gibson Dove acoustic guitar used by Lifeson to write “Closer To The Heart” and other songs from the 1977 RUSH album “A Farewell To Kings” and played on numerous tours, including “A Farewell To Kings” (1977-1978), “Hemispheres” (1978-1979), and “Moving Pictures” (1981) as well as a 1970 Gibson Les Paul electric guitar acquired by Lifeson on RUSH’s inaugural tour in 1974, and played extensively by Lifeson on all RUSH albums and tours from “Fly By Night” and “2112” to “Hemispheres” (each guitar estimate $100,000 – $200,000).

Other highlights include:

A 1976 Gibson J-55 acoustic guitar used by Lifeson to compose RUSH’s early 1976 platinum-selling album “2112”, as well as 1977’s “A Farewell To Kings” and served as the main acoustic guitar on “Natural Science” and “Camera Eye” from 1980’s “Permanent Waves” and 1981’s “Moving Pictures” (estimate: $80,000 – $100,000);

A 1990 Fender Stratocaster used by Alex Lifeson on most albums since “Roll The Bones” (1991) both on solos and for doubling Gibson guitar tracks and seen in the music video for “Big Money”, as well as live performances of “One Little Victory” from “Vapor Trails” (2002) (estimate: $60,000 – $80,000);

A 1992 Paul Reed Smith (bolt-on) CE electric guitar — Alex Lifeson’s main guitar from its debut on the 1993 RUSH album “Counterparts” and accompanying tour through RUSH’s tours in the early 2000s (estimate: $50,000 – $70,000). During this time, the 24 frets made this guitar a favorite for Lifeson’s distinctive and virtuosic soloing style. “This was my main ’90s-era Paul Reed Smith guitar. I still use it a lot because of the 24 frets. It was a real workhorse and I loved it,” said Lifeson.

A 2015 limited run Gibson EDS-1275 double-neck electric guitar created especially for RUSH’s 40th-anniversary “R40” tour and played live by Alex Lifeson on songs requiring both a six-string and twelve-string guitar, including “Xanadu” from the 1977 album “A Farewell To Kings” (estimate: $20,000 – $40,000)

Special exhibitions in Los Angeles and New York for the public to view highlighted items prior to the auction will be held at Julien’s Auctions in Beverly Hills April 11-15 and in New York in May.

Julien’s Auctions
257 N. Canon Drive
Beverly Hills, CA 90210

Public exhibition

Exhibition: Monday, April 11 – Friday, April 15, 2022
11:00 a.m. – 6:00 p.m. Pacific Time daily
Free to the public

Live and online auction at Hard Rock Cafe New York

Music Icons

Friday, May 20
Session I: 10:00 a.m. Eastern Time
Session II: 1:00 p.m. Eastern Time

Saturday, May 21
Session III: 10:00 a.m. Eastern Time
Session IV: 1:00 p.m. Eastern Time

Sunday, May 22

Property From The Archives Of Alex Lifeson

Session V: 10:00 a.m. Eastern Time
Session VI: 1:00 p.m. Eastern Time

Registration is required to bid in this online auction and can be done in person at the exhibition, or online before the sale at the JuliensAuctions.com Registration page to bid by phone, proxy or in person, or online at JuliensLive.com to bid live online, or by calling (310) 836-1818. For inquiries, please email info@juliensauctions.com or call 310-836-1818.

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Premier Guitar’s annual feature gives readers the chance to show off their pedalboards. There are so many ways of thinking when it comes to wiring up your effects—that’s the fun of it! In this round we’ve got a tribute to Eddie Van Halen, a pandemic board from Amsterdam, a maximalist stomper with 17 pedals, a curly cord “board,” and much more. Go forth to discover new pedals, and stomp on!Aaron Costello: A Waylon ButtonI live in Portland, Oregon. When I built this board, the goal was to get a clear, natural, amp-like sound, with multiple gain stages. Lots of trial and error (which was fun), and, after laboring over decisions that are of absolutely no consequence to productive society, here’s what I came up with.1. Ernie Ball VP Jr.Basic as it gets. I use it to quiet the rig when I play with acoustic instruments and am also trying to get the hang of pedal-steel bends. Still have some work to do there!2. Boss TU-3The standard. 3. Greer Amps LightspeedThis thing is killer. With a single-coil guitar, I use it to push the Nobels ODR-Mini and get a little more gain without losing clarity. Typically, I use it for a raunchy rhythm sound. With a humbucker guitar, I usually shut the Nobels off and use it by itself.4. Nobels ODR-MiniThis is my favorite pedal and the heart of the board. It’s very much like an amp. With a single-coil guitar, I use it for my clean sound and it’s always on. I really dig the edge-of-breakup thing. 5. J. Rockett Audio ArcherI like this behind the Nobels and use it to get a “singing,” higher-gain lead tone. Again, it retains the clarity at higher gain but still sounds like an amp. 6. MXR Phase 90I literally call this the “Waylon Button.”7. J. Rockett Audio Josh Smith Dual TremI don’t use it a ton but sometimes it’s the perfect thing to add color. Sometimes I’ll use it with the Greer and then fade it in and out with the volume pedal. It lets me mimic an organ pad and is kind of fun.8. EHX Memory Toy MiniThis is my second favorite pedal. I use it for a slapback sound and it’s almost always on.9. Mr. Black Super Swell ReverbMy main amps are a 1975 Princeton Reverb and a 1978 Vibrolux Reverb, so I usually like the amp reverb. I do have a couple of amps in my home studio that don’t have reverb, so I use this with those. It also sounds great on bass! 10. Voodoo Labs Pedal Power 4x4This is under the board and does the job. Thanks for reading!Bert Harris: My Curly “Board”Here’s my pedalboard … I prefer to plug straight in and get all my tone from the amp itself. Nothing cooler than Clapton with a white curly cord plugged directly into a Fender Dual Showman at The Rolling Stones Rock and Roll Circus! I love the thought of showing up with a guitar, amp, pick, and curly cord!Admittedly, I’m kinda lazy and plugging in a bunch of stuff is a beating to me … although I have been using an Xotic EP Booster lately, but it’s battery powered. Hope your day is a wonderful one!Brian Schwager: Short and SweetHello, I play in multiple bands in Des Moines, Iowa. Here’s what I got goin’ on my pedalboard:British Pedal Company Zonk Machine TC Electronic PolyTune 3 MiniCeriatone Centura Greer Amps Lightspeed Danelectro Billionaire Big Spender Spinning SpeakerBoss (XTS Custom Mods) GE-7 EqualizerJHS Pedals Lucky Cat DelayStrymon FlintLehle P-Split (under the raiser, top right)Drew Smith: Three is the Magic NumberI love these reader pedalboards: I hope you feature my board! I’m in a psychedelic punk-blues duo called Phantom Ocean, based out of New England. We’re heavily indebted to alternative music from the ’80s, ’90s, and early 2000s, and because there’s only two of us, my wife on drums and me on guitar, I keep my rig pretty tight. I need a few solid guitar tones and tend not to dip into too much modulation. To that end, my board right now only has three pedals: tuner, dirt, and delay.For a tuner, I’ve got a Snark because it’s economical and does the job right. For dirt, I’ve got a Chicago Stompworks Mr. Vermin, their version of a Pro Co RAT, and it’s the best RAT I’ve ever tried. The first time I plugged into this thing, I finally understood why the RAT is so beloved by so many guitarists whose ears I respect. It really covers such a broad swathe of tones, from overdrive to straight-up fuzz. And then the TC Electronic Flashback is my favorite delay. I’ve never had one fail on me, you can get such a variety of sounds, and the TonePrint feature is always there to craft something really wild.I round the board out with an XVive U2 wireless system, because I hate accidentally dragging cables across my board and freedom of movement onstage is a joy (even if I spend half the set near the mic anyway). I also use one of (Premier Guitar Senior Editor) Ted Drozdowski’s Rocky Mountain signature slides for my slide-guitar work. Ernie Santella: Does-It-All BoardI built this pedalboard for my classic-rock cover band Wasted on the Young, out in Colorado. We cover everything from Bonnie Raitt to Stevie Ray Vaughan to ZZ Top to Maroon 5. So, I had to have a pedalboard that would fit just about anything our band needed to play. I think I achieved that. I have it all right underfoot at all times. I’m old-school and wanted to stay analog for the input side and then just a little digital on the effects loop side to keep the size down and give me the most bang for the space. I used a few mini pedals, but only if they sounded as good as their larger brethren.I run my guitars (Heritage H-150, RS Guitarworks T-Style and S-Style, PRS Custom 24) with a single wireless. The Boss WL-50 is nice and clear-sounding with long battery life. Best part is, it auto-mutes when you unplug it, allowing for faster, noiseless guitar swaps.The board is a Temple Duo 24, which is a great size and not too gnarly to carry. The wireless goes into the Dunlop Cry Baby Junior Wah (a classic-sounding wah with a slightly smaller size), then into the Korg Pitchblack, which is a nice and bright LED tuner, even outdoors. The tuner feeds the Xotic SP Compressor for some clean spank when needed. Next are three pedals for different levels of boost. Depending on the amp setting, the three boosts work differently. The Emerson EM-Drive is great for a quick Marshall-in-a-Box crunch tone. The Bogner Wessex is my over-the-top overdrive that has a nice compression to it. Lastly, the Wampler Tumnus is a Klon killer and is great for adding clean lead boost to anything, just by adding level and not too much gain.I run that into a Hughes & Kettner GrandMeister 36 head. The amp is all analog, but digitally controlled by MIDI. So, technically, you have 128 amp presets. I use a cheap ActitioN 8-button MIDI controller I found on Reverb for amp presets. From spanky clean to OMG gain. It’s like having an 8-channel amp! I can just step through 8 levels of gain in increments.The effects loop of the amp feeds the Way Huge Smalls Blue Hippo set to the Joe Bonamassa-approved chorus setting that gives a killer rotary-speaker tone. Then, into the Line 6 M9 for chorus, tremolo, flange, and spring reverb for the many different tunes we play. Lastly, the clock for keeping us on schedule during a gig. We’ve been known to jam out and forget the set schedule! Hope you like it!Fernando Diaz: Clean, Mean MaximalistGreetings! Here is the current iteration of my pedalboard. It’s powered by a Strymon Zuma, and two Strymon Ojai expansion kits.The chain is as follows:Dunlop 535Q Cry Baby Multi-WahBasic Audio Scarab DeluxeKing Tone Octaland MiniSpaceman Sputnik IIITC Electronic PolyTune 3 MiniPaul Cochrane TimmyIbanez TS9 Tube Screamer (with Alchemy Audio mod)Browne Amplification ProteinBarber Electronics Gain Changer SRHudson Electronics BroadcastLand Devices HP-2Greer Amps Supa CobraKeeley Katana BoostWalrus Audio Julia V1Dreadbox KomorebiJHS Pedals Panther Cub V2Neunaber Immerse Reverberator Mk IIJelle Veirman: Booze ProtectedThis is the gear I use almost daily, playing a wide range of genres in different cover bands, from classic rock to contemporary music. I had to figure out a way to get the most out of my Stratocaster and Les Paul through one compact system and protect my gear against drunk people and their booze.This is my rack configuration:Electro-Harmonix LPB-1 Linear Booster, Ibanez TS9 (overdrive for the Strat), Boss SD-1 (overdrive for the Les Paul), Joyo Clean Glass preamp, DOD FX40B Equalizer, Rockman Sustainor (Strat crunch and leads), Rockman Distortion Generator (Les Paul crunch and leads), Rocktron Patchmate Loop 8, Rocktron MIDI Mate, Electro-Harmonix Expression Pedal, Dunlop Cry Baby Wah, TC Electronic G-Major effects processor, Alesis DEQ 2-channel Equalizer (pre- and post-Rockman EQ), and a Mooer Macro Power Supply. Going into the effects return (power amp) of my Fender Hot Rod Deluxe III.JR Emmett: String MonkeyThis is my humble submission for your Reader Pedalboard feature. This is my personal board, which serves as a demonstrator to my clients of what can be done with a pedalboard to make it convenient and versatile as well as supporting my own practice and performance needs. When I’m not playing guitar, I’m a one-man shop (String Monkey Technical Services) providing guitar repair and custom fabrication services to the North Texas music community.Signal chain:Wireless or cable – > Boss TU-2 – > General Guitar Gadgets Stratoblaster – > Boss BD-2 Blues Driver – > Dunlop 535Q Multi-Wah – > amp inputAmp FX send – > MXR Phase 95 – > Boss CE-5 Chorus – > Boss LS-2 (mixes signals from two Boss DD-3 Digital Delays run in parallel) – > Boss TR-2 Tremolo – > amp FX returnOther Features:Pedaltrain Novo 24 boardTruetone 1 SPOT Pro CS7 Power SupplyBuilt-in mic stand holder (upper right, repurposed flagpole mount)String Monkey patch bay with color-coded loom for easy signal hookupString Monkey repackaged amp-channel switcher (original was too big)String Monkey acrylic wah baseplate with mechanical clamp to Pedaltrain railsTalent DI Box with cabinet simulator and patch cables for direct to PA connectionSoldered interconnect using Mogami bulk cable and Switchcraft phono plugsKeith Paul: Bass BoardHello PG! I just wanted to share my bass pedalboard that I use in my band Dumb Waiter, from Richmond, Virginia. Keep up the great content, I love the Rig Rundowns! Stay well.Signal Chain:TC Electronic PolyTune MiniBoss OC-2 OctaveMeris Enzo with preset switchElectro-Harmonix Ravish SitarNunez Amps Annex Bass ChannelFuzzrocious The DemonDOD GunslingerMXR M85 Bass DistortionBoss CE-2W ChorusBoss DD-3 Digital DelayMXR M300 ReverbMarco Fumagalli: Pandemic PedalboardI am from Italy and living in Amsterdam, Netherlands. This is my pedalboard during the first wave of lockdown in 2020. I used to play in bands, but now I do it for my own pleasure. Playing the guitar and shaping the sound of it is a way for me to escape and relax. I don’t really play a specific type of music, but my root is blues.Pictured: Electro-Harmonix Stereo Memory Man, Fulltone Mini Deja’Vibe, Klon KTR, Fulltone Octafuzz, Dunlop Cry Baby Mini Wah, two Gibson SGs, and a ’97 Fender Voodoo Strat from the greatly missed Mr. Soren Venema of the legendary Palm Guitars shop in Amsterdam.Raghav Govindarajan: Nerding OutI’m a huge fan of the Premier Guitar platform. My boss at the music school I work at and I frequently nerd out over the Rig Rundowns, so thank you for that! Figured I’d toss my pedalboard up. I have decided to update it since this photo, but my new pedals won’t be in until next week most likely.The pedal chain from right to left is:DigiTech DropWampler Ego Compressor V2Dr. Scientist The Elements Distortion (Gold Bar Edition)Wampler Pantheon OverdriveBoss EQ-200 Graphic EqualizerSwindler Effects The Gulf Chorus V2Strymon IridiumSource Audio Collider Delay+ReverbThe output of the Wampler Ego goes into input A of the EQ-200, and output A goes into the Elements. The output of the Pantheon goes into the input B of the EQ-200, and output B goes into the Iridium. This lets me shape my sound pre- and post-gain.Thanks for letting me nerd out about my board for a few minutes! And thank you for all that you do for the guitar community and musicians. Rig Rundowns really are the best part of my week/month and I love discovering new artists and players from it. It’s like the guitar player’s NPR Tiny Desk!Robby Hovie: Going NorthGreetings from Northern Michigan! Here’s my rig for my work in the band Levitator. Thanks!In order: Modtone MT-PT1 Chromatic TunerElectro-Harmonix Ravish SitarBoss FB-2 Feedbacker/BoosterKeeley Fuzz BenderJHS Pedals SuperBolt V1JHS Pedals Honey Comb DeluxeDunlop Cry Baby WahMoog MF-105 MoogerFooger MIDI MuRFMXR Carbon Copy DeluxeBoss RV-5 Digital ReverbSebastian DiPietro: The Full PackageHere is a picture of my pedalboard, along with my amp and guitars, to give a complete view of my rig.Pedalboard: Xotic XW-1 Wah – > DigiTech Whammy V – > Analog Man Bi-CompROSSor Rev5 – > Electro-Harmonix POG2 – > Analog Man King of Tone – > Analog Man Sun Face BC109B – > GFI System Synesthesia – > Empress Effects Echosystem – > Empress Effects Reverb – > Electro-Harmonix 22500 Dual Stereo Looper – > Amp or Strymon IridiumGuitars and Amp:Guild S70Guild S300DBooya! Amplifiers 27-watt combo with a Celestion G12H-75 CreambackCables:Caulfield Cables (light blue guitar/amp cables)Audioblast Cables (patch cables)Steve Gorospe: All StylesI play in the American Music Company Band covering songs from the 1940s to the early 1970s, with most of the focus on 1950s rock ’n’ roll and 1960s R&B and soul. But that also includes blues and some old-school country. I spent my teen years through the 1980s, so ’70s guitar rock and ’80s stadium rock are a huge part of my musical life. I built a pedalboard that works for me to cover all these styles and material.Pedals in series in the order below:Vertex Steel StringWampler TumnusJHS Pedals Sweet Tea V3TC Electronic Sub N Up OctaverJHS Pedals Series 3 PhaserBoss CE-5 Chorus EnsembleBoss DC-2W Dimension C Waza CraftStrymon Lex RotaryMXR Carbon Copy DeluxeJHS Pedals The MilkmanBoss FRV-1 ’63 Fender ReverbMesa/Boogie High-Wire Dual Buffer (input and output)Boss TU-12H High-Range Chromatic Tuner (hooked to the tuner output of the Mesa High-Wire)Thomas Madera: Tribute to EddieI’m a guitarist in Las Vegas, Nevada. My stompbox setup is mostly a tribute to Eddie Van Halen, but this board is great for tons of rock/metal tones, lead or rhythm. It includes: an Echoplex EP101 Preamp, Echoplex EP103 Delay, a reissue MXR Script Phase 90, MXR EVH117 Flanger, MXR EVH 5150 Chorus, Wampler Pinnacle Distortion, Mad Professor 1 Distortion/Reverb, and a TC Electronic Brainwaves Pitch Shifter. Everything is routed into a GigRig Quartermaster QMX 8 switcher and powered by a Truetone 1 SPOT Pro CS12.

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Warner Music Entertainment (WME), the television and film division of Warner Music Group, has partnered with Highway West Entertainment on a forthcoming new feature-length documentary, “Far Behind: The Candlebox Story”. The film will explore the beginnings of what the world would come to know as the grunge scene, following the iconic band CANDLEBOX on their rise to fame.

Guy Oseary, manager of legendary artists such as U2, Madonna and the RED HOT CHILI PEPPERS, will serve as executive producer on the project, along with Jack Piatt, director/producer and founder of Highway West Entertainment, who initiated the collaboration with CANDLEBOX frontman Kevin Martin.

Martin said: “The story of CANDLEBOX is one that’s long overdue for a telling, and I cannot wait to share this documentary with the world — no holds barred, honest, painful, and as real as it gets. Ours is the story of an unknown band of childhood friends-turned-brothers who took the world by storm on their very first voyage, only to lose their way in an unforgiving ocean of bad decisions and disagreements over who would captain the ship. Though I’ve kept the CANDLEBOX name alive in the years since the original lineup split at the turn of the millennium — continuing to release relevant music and perform for legions of fans with the help of some of the most talented musicians around — there was magic between us four original guys. And now that we’re touring together for the 30th anniversary, CANDLEBOX is a story of redemption as well.”

Oseary added: “At 20 years old, I signed CANDLEBOX to Maverick Records. Their debut album sold more than four million copies, which gave me a spectacular start to my journey in the music business. For that I will always be indebted to them.”

Piatt added: “I was in high school when the early ’90s Seattle sound made its way to rural Ohio, and it left a huge impression on my life musically. CANDLEBOX plays a key role in this historic legacy. This is an important story for a lot of people, and I’m honored to have the opportunity to tell it.”

Warner Music Entertainment president Charlie Cohen said: “CANDLEBOX’s impact on the music scene in Seattle and beyond is undeniable. They helped mold the grunge sound into the globally renowned genre that it became, and we are incredibly excited to help tell their story with Guy, Jack, and the fantastic team at Highway West Entertainment.”

CANDLEBOX first formed in 1990 and helped lay the groundwork for the grunge genre, alongside notable bands such as PEARL JAM, SOUNDGARDEN, NIRVANA, and others. “Far Behind: The Candlebox Story” will feature footage and interviews with original band members Kevin Martin, Peter Klett, Scott Mercado and Bardi Martin, in addition to Guy Oseary, famed SOUNDGARDEN/ALICE IN CHAINS manager Susan Silver, and others. The band has sold over seven million albums worldwide, scoring the megahits “Far Behind” and “You”, which have garnered over 100 million streams, decades after their initial release. The band’s new album, “Wolves”, has been in the top 10 on two Billboard charts (Hard Music Albums and Alternative Albums). The band is gearing up for a new tour starting this May.

Oseary and Piatt are joined by CANDLEBOX’s manager and longtime music industry veteran Amy Decker, who will also serve as executive producer with fellow producer Caroline Hoste (founder, Hello Stranger Creative) as well as executive producer Charlie Cohen (WME).

The film went into production in summer 2021 and is gearing up for a fall 2022 release.

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Paul Stanley has named Robert Plant, Steve Marriott and Freddie Mercury as three of the best vocalists of all time.

The KISS frontman, who turned 70 this past January, shared a list of his favorite singers in a social media post on Monday (March 14).

He wrote on Twitter: “The Best Lead Singers Of All Time?? How about 11 off the top of my head…” He then proceeded to share the following names:

01. Robert Plant (LED ZEPPELIN)
02. Steve Marriott (SMALL FACES, HUMBLE PIE)
03. Freddie Mercury (QUEEN)
04. David Ruffin (THE TEMPTATIONS)
05. Rod Stewart
06. Paul Rodgers (BAD COMPANY, FREE)
07. Janis Joplin
08. Steve Perry (JOURNEY)
09. Brad Delp (BOSTON)
10. Brian Johnson (AC/DC)
10. Lou Gramm (FOREIGNER)
11. Ann Wilson (HEART)

Stanley previously expressed his love for Plant in a 2019 interview with Dean Delray’s “Let There Be Talk” podcast. Reflecting on the first time he saw LED ZEPPELIN when he was 17 in 1969 in New York, he said: “Robert Plant was singing like something from another planet. He was hitting notes effortlessly, and there was such bravado in everything they were doing. It just blew me away.”

Three years ago, Stanley told The Sydney Morning Herald that Marriott was “a huge influence” on him and “was the template for a lot of what I wound up doing” during KISS’s concerts. “The idea of being on stage and preaching the gospel of rock’n’roll, which is basically what he [Marriott] was doing … that was something I aspired to,” Stanley said.

KISS launched its farewell trek in January 2019 but was forced to put it on hold in 2020 due to the COVID-19 pandemic.

“End Of The Road” was originally scheduled to conclude on July 17, 2021 in New York City but has since been extended to at least the end of 2022. The trek was announced in September 2018 following a KISS performance of the band’s classic song “Detroit Rock City” on “America’s Got Talent”.

The Best Lead Singers Of All Time?? How about 11 off the top of my head…
1)Robert Plant
2)Steve Marriott
3)Freddie Mercury
4)David Ruffin
5)Rod Stewart
6)Paul Rodgers
7)Janis Joplin
8)Steve Perry
9)Brad Delp
10) Brian Johnson
10)Lou Gramm
11) Ann Wilson pic.twitter.com/2SLlUX2ClA

— Paul Stanley (@PaulStanleyLive) March 15, 2022

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