Johnny Hiland

Johnny Hiland
Mr. Versatility
By Ann Wickstrom | Published: March 8, 2010


Photo: Rusty Russell.
Nashville monster picker Johnny Hiland has been a wonder to guitar nuts ever since a ’96 Nor’easter blew him into the Music City from his home state of Maine. Hiland has more endorsement deals than he can keep track of, and more importantly, the admiration of a number of bona fide guitar icons, and a slew of pickers of varying abilities who count themselves as fans. Most of these go one of two ways after seeing him perform – back to the woodshed with an unprecedented vengeance, or off into a corner muttering about burning their own guitars.

A performance by Hiland is something every true axe devotee deserves to see at least once, but his second CD, Loud and Proud, gives a well-rounded display of what he can do, which is to say everything. It’s got driving rock instrumentals, an acoustic fingerstyle tune, country chops to die for, and chicken pickin’ that’s downright hazardous to your health.

What guitars did you use on the record?
The only electric I used is my new signature model PRS, which is the most unbelievable guitar I’ve ever played. It’s essentially a PRS Tele with a 24-fret maple neck, and you can bend behind the nut on it, which is kind of neat. It has custom humbuckers and you can split them; the bridge pickup sounds exactly like on old, overwound Tele pickup – it’ll just bite your head off. And the neck pick-up is nice and warm and smooth. It has a flame maple top and mahogany back and sides, and a stock PRS vibrato.




I wanted to have something with a Tele sound, but a really cool vibrato. So many people have asked me why I’m not playing a Telecaster anymore, and really, I just needed a guitar that could do it all. You can play any genre of music with this guitar or jump on any stage in any environment and feel totally comfortable. I’m wicked proud of it and I feel really blessed to be with PRS.

The only other guitar I used on the record is the ’68 Martin D-35 I played on the acoustic tune I wrote for my wife, “My Sweet Kimmie Girl,” and a resonator on part of “Chicken Pickin’ Heroes.”

How about amps and effects?
I mainly used two Peavey ValveKing half-stacks with Celestion G12 Centuries. Speaking of that, I’m working with Peavey to design a Johnny Hiland amp. There may even be something visible at Summer NAMM. I’m totally stoked about it! But the ValveKing is really like a Twin and a heavy metal monster with reverb and a bass dampening section all rolled into one, with a knob in the back where you can split between class A and class A/B. It gave me the best of all worlds in matching my PRS and for playing multiple genres of music.

For effects, I’m still using the Visual Sound pedals: the Route 66, the Jeckyl and Hyde, and the H20. And I’ve recently added a couple of pedals – the Hendrix Wah from Dunlop, and the gig-FX. I’m also using the Digitech Whammy II. It’s so fun and cool… it just makes me giggle! You can get different harmony tones and octaves.

You close out this record by bringing in some very special guests on “Chicken Pickin’ Heroes.” How did that come together?
I really wanted to pay tribute to some of my heroes. So I wrote that song with the intention of Ricky Skaggs, Steve Wariner, and Vince Gill playing on it with me. But then I thought, “Okay, now what am I going to do?” I needed to find out if they’d actually do it (laughs)! I played on Ricky Skaggs’ Brand New Strings album, so I thought I’d give it a shot by starting with him. I was bowled over when he said yes. Then I was able to get in touch with Steve, and he said, “Count me in!” Then I called Vince, and he just said, “Sure!” I lost my breath for about 30 seconds. Ricky asked if he could play either acoustic guitar or mandolin for his solo. I told him he could stand on his head and spit the “Star Spangled Banner” if he wanted to, as long as he was on the record! So he played acoustic. Anyway, to have that kind of time with those guys was just unbelievable. I had been hoping for it forever. That’s why the last line of the song is, “Yeah folks, dreams do come true.”

- Vintage Guitar Magazine

Matt Blackett: In the Studio with Johnny Hiland


I was psyched to get an email from legendary talent scout, producer, and shred historian Mike Varney informing me that Johnny Hiland is making a record for Shrapnel. Not only that, but he’s cutting tracks in the Bay Area and I was cordially invited to swing by Prairie Sun studios, chat with Mike and Johnny, and listen to some tracks. So that’s what I did yesterday, one of those days that reminds me that I have a cool job. I drove up to Prairie Sun, pulled into the driveway that is bordered by a big lawn full of chickens scampering about, and walked into the studio to hear some chicken pickin’.
Varney said that they were mixing one of the album’s heavier tunes, but that the record contained a wide variety of countrified playing. I settled in and they rolled the track, which started with a spooky, Sonny Landreth-style quivering slide chord. Just as I was getting used to that, a monstrous low-string gliss heralded the arrival of the full band, with Hiland, bassist Stu Hamm, and drummer Jeremy Colson absolutely crushing the dropped-D main riff. Over the course of the next few minutes I was treated to Hiland’s slippery slide work, spot-on bends, clangy open strings, and insane chops. The tune itself was full of memorable and hummable hooks and the two solos—one with slide one without—were super tasty, even with the mind-blowing technique. At one point Varney, the guy who discovered Yngwie Freaking Malmsteen, said, “Can this guy play, or what?”
A real treat was when they called up another mix, muted the lead guitar, and had Johnny play over the tracks. I don’t want to shock anyone, but it was really, really good. They not only allowed but encouraged me to shoot video of it all, so stay tuned for that. After, Hiland was cool enough to demonstrate some of his picking, double-stops, and what might have been the most impressive playing of the day: his multi-string bends. Once again, I got it on video but I don’t know if I have the wherewithal to transcribe these licks and get them into the print mag so no promises there. When I post the video I’ll invite any fearless guitar teacher to take a stab at them.
Varney says the record should hit in August, with a tour to follow. My prediction is this album will turn your head around. This blog is just a tease. Look for video and a full interview as we get closer to release time. In the meantime, I’ll leave you with the question I asked Johnny Hiland: “Damn. Why don’t you try playing something good?”

- Guitar Player Magazine

http://www.guitarplayer.com/article/johnny-hiland-all-fired-up/5864
- Guitar Player Magazine November 2011