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A p r i l 4 ,r 9 1 5R , o l l i n gF o r kM , isrirrippi A p r i l3 0 , 1 9 8 tW , e s i m o n tl,l i i n o i s cKll{LEY Ii,IERGANFIELDg-r€wuf ll Itl o n S t o v : r l l ' sP l a n r r r i o n i n C l a r k s ( l a l c , llississipl-.i, vct hc \\1rLrlclrisc fl fion his cot t o r l P i c k i n g r o o t s .N i c k r l a r n e d\ l L r d d \ ' \ \ ' r t e r s r s r l i t r l c b o r ' ,l e c r n e L oh i s f i r s t l e c o l c i i n g
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r.r"j". hil. r\e grirrriperating flom a bus-vschcclule ot'touring ancl m aking rccolds. ,A.shis graveslone si,vs, "The Xllaster has won,.." RestvaleCemetery,nToo S. Laramie Ave.,Alsip,llfinois60803i b12)45-4011 r 9 5 8R e dF e nd e rT e l e c at se r ,t h e C o l l e c t i o n ofth€ Ertateof M.KinleyMorganfield
RtrEERTJOHNSEN AORN: May8,l9n, Hazlehurst, Missi5tippi DUOrAuSust r5,1938, Gr€€nwood, Miseitsippi Il E rmY HAVEANOINTEDRobert JI Johnsonthe Kins ofthe Delta Blues.bu! the Devil got his due ;ne hot summerni;ht in a Mississippijuke joint, when ajealous hu.bandpur poisonin the irineranrg!irar ist'swhiskey.Sothe story goes,although hardly anythingis clearwhen it comesto the Johnsonlegend.Eventhe bluesman's final restingplaceis in dispute.His mother supposedlyattendedhis funeral at an old Zion churchnearMorganCiry,Mis.issippi. An obeliskin the churchyardofthe current Mount Zion Church commemoratesJohnson. althoughhis graveremainsunmarked.A secondmarker for Johnsonis in the graveyard of?ayne ChapelMissionaryBaptist Church,justoulsideIcraBena.Mis"is5ippi, where many sayJohnson'ssisterhad his body movedin the daysafter his burial. ln 2001,a third marker was placedat Little Zion BaptistChurch in creenwood,110miles southofMemphis, after a woman claimedher husbandhad duga gravethere for the blues guitarist'sbody.PerhapsJohnsonknew hc wasn't fatedto rest in peacewhen he sang: "You may bury mybody down by the highway side/Somy old evil spirit can catch a Greyhoundbus and ride." lO(AIlOltt. MountZionChurch,Mofgan City, Missistippii Payne Chapel Misrionary Baptkt Chur.h,Quiio,Mliriiiippi;LittleZionBaptist Chur.h,Cfeenwood, Mlitiisippi CUltARrGibson L-r,locationunknown
SHAWN L/ANE BORiI:March21,1953, Memphis,T€nnessee DIED:Septemb€f25, zoo3, Men phit, Tennessee
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L cibbonstelloffhis 6arstoolwhen he heardShawn Lane'swarp-speed,highprecisionguitarwork. But lane was far from a flash guitarist.His diverserange ofstyleswasthe product of his fascinationwith everything from classicalcomposersandpaintersto elecBORXr Februa 28, r94.2, Cheltenham, Cloucesterihire, England tronic and pop artists.Lane ry OIED: July3,r959,Hanfi€ld, 5usrex, EnSland showedpromiseasa guitarrlr HE OOOMAll OUT in r]leRollingSronesrockanci ist well beforehe reached I rollcircus,LewisBriar Hopkins-Jones mera famously his teens.At the ageof 15, mystedousendnot longafterbeingdismissed from the he was hired by country band(for excessive substance abuse,ironicallyenough). rockersBlackOakArkansas. Jones'drowningwaslabeled"deathby misadventure," but But Lane'smostenduring the circumstances remainmurky morethanthreedecades legaciesare the eightlargely later.Onecommonlyheldtheoryhashimbeingheldunder improvisedalbumshe cut water-by the handsof resentfulconstructionworkersfrom 1995forward,records during an impromptu palty at his Cotchfield Farm estate. that highlight his world musicfusionfluencyin everlthingftom bluesto Indian ragas. The Stonesplayed HydeParkafewdaysaller his death, RecurringhealthproblemssidelinedLanein the lastyearsofhis life. He died from releasingthousands ofbutterfliesasa memorialgesture. complicationsassociated with lung disease IOCATIO TPrioryRoadCemetery, poplarAve., Prestbury, clou.estershire, LOCAIIot{! MemorialPark FuneralHome andCem€tery,5668 Memphis, Tennerree England (9o1)767-893o 18r19; CUITAR: Vox"Teardrop," HardRo
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TIMI HENDRlX CETS A BICGER_TFIAN-LIFE MEMORIAL.
I N LATE 2882. more I thrn 30 lears after his I dcath.Jin1iHcrdrix I lrrllv receivedr nremoriai fit for an aftist o f b i s s t : r t u l e .L o c a t e d i n Crccn\r'(X)d Nlcn1orial Park in Renton,WashirLton, the monument features a domed platfornr of glanite a n d r n a r h l e ,t h r e e $ a n j t e w a l k \ \ ' a )s t h a t r a d i a t c f r o m the plalform, end a bronze and granite sundial.The c e n t e r - p i e c ei s a f u l l - s c a l e s t a r u co f H e n d r i x c a s t i r bronze.'fhe stalue si!s atop a p e d e s t a lt h a t b e a r s d r e h e a d s t o n ef r o m h i s p l e v i o u s gralesitc, r-hich ras also l l . ) c a t e di n t h e p a r k . The nenorial was beEiunin the lnte Nineties b,vJimi's late father, James Al Hend x,to accomnlodate the thousands ofvisitors l ho pav tribute to the glitar legend every ,vear.The project i,!as near completion u-hen Al dicd in April 2o02. Jimi Hendrix's remains, asrvellas those of his father, stepmother and grandmother, \Yerennvcd to the new sitc on Novembef 2 6 , 2 0 0 2 ,o n t h e e l e o { rvhar rvoulcl have been the grirarisf s 60rh bift hda,v. : - : i al i ! . : i C r e e n w o o d MemorialPark,l5o Monroe Ave. NE,Renton,Washington98o56; t425/255-r511 r . : ' : r . r f a 8 m e n t so f i 9 6 z FenderStrato(att€r(rmashed a t S a v i l l e T h e a t rLeo, n d o n , E n g l : n d ) a n 'd6 ?s t r a t( b u r n e d and smashedat Monterey I n t e r n a t i o n aPlo pF e t t i v a lr,u n e 1 8 ,r 9 5 7 ) E , x p e r i e n cMeu r i ( Proje.t,seattle,washington;'67 Tobacco5unburrt FenderStrat, H a r dR o € kC a f e N , i a g a r aF a l l r , N e w Y o r kg; u i t a ru s e dt o r e c o r d "All Alongthe watchtower," H a r dR o c k c a f eL, aJ o l l a , california
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r: .Frr;. i-zzLlrr1rTHEMESTHIGHLY' I i . r . , r r ' " r r u , l q r r . r . . . , 1 L ( . 1e \ \ r , N{oDtgomcn' took the instnrmcnt beyond C h a r l i e C h l i s r i a n ' sI o l n i n s p i l c d i n r p r o v i s n r i o l r se r d i r l r o d r c f u t u r e . \ \ i r h h i s t r a d c m a r - ko c t l ' e s , l u s h t o n e : r n du n c r n n i l v f l u i u sjnglc notc liDes. the sell tlught N,IoDtgomer! l o t m e d a n s l l c r i c o n l o r j . r z zg r r i t a r .o n e t h x t p l r r e f s s t j l l e l n u l a t ct o . l e i . I J e w a s " d i s c o \ ' c r c d "b \ ' j . r z t s . r x o p h o n i s(t l : r n n o n b a l l A d d e r l e l i r 1 9 s q ,: r n db e c a n c a j a z z - p o p s u c c e s si r i h c m i l l S i x t i e s .C | i r i c s d i s o n n e d him fo| his pop fla\.oreci srl lings. but that didn't lnrtter to a gcncratidr of!!uitrrists, inclLrdirg Lleofge Itenson, Pat Nletheny, John S c o t i c L da n d K e l i n E u b . r n k s ., r l l o f u 4 r o m t o o k \ ' l o n l g o l n e r l f t ) h e a f t .H e ( l i e d o f a h c a r t a t t a c l ia r t h e r g e o f 4 5 . N e w C r o w nC e m e t e f yz,r o rC h u r c h m a n Ave..lndianapofis,lndiana4620] llil) 784.44s4
A FTER DUAr|E ALLMAI{ u r.lill<.1 ir. r Fnr,,r'"ritc-.:ccidenr in l) s hometown ofMacon, ceorgia, his bod) lat' in cold storagc until iamily lrembcrs could agreeon L u r , r a r r r r . e r e r r . . T h c o , , . r s i . , n' n r h ' . d i s p o s i t i o n c a m c j L r s to v e r a y e a r l a t e r , w h e n A l l m a n B r o t h e r s b a n d m a t e B e r r , vO a k l e ) llissed a cu|ve on his lrotofcvc]e, jus! blocks flom rvhere Duane rl as killed. Th. g u i t r r i s t a n d b a s s i s tu e r e b u r i e d s i d e b y s i d e i n X , I a c o n ' so l d R o s c H i l l C e m e t e r y , s i t h r r r a t c h i n gt o m b s t o n e s -T h c i r € f a v e s a r e n e a r that ofthe woman celebratedin the Allman q r ^ r h e r . _ l n I l , r r o - \ o l t l i , , r n e r nR , p d . ' ' RoseHillr Cem€tery,RiversideOrive, Ma€on,Ceorgia3r2o1;(478)7S1-9rr9 r: FlametoL p € sP a u l o w n e db y h i 5d a u g h t e r C a l a d r i e l lAel l m a no, n d i t p l a ya t R o c ka n dR o l lH a l l ofFame;Cibsonscusedasprimaryslideguitarin h i sl a s t y e a r o f l i f eo, w n e db y c m h a m N a s h D ; obro u r e do n " L i t t l e M a r t h a ,o" w n e db y f o r m e r A l l m a n Irother DickeyBett, . : "TheTractor,"Oaklem y ' ra i ni n s t r u m e n t , o w n e db y B e n y o a k l e y J ra. ,l t o a b a s r i s t
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Itlt'ANNA BEIRE]I/|AT FROMJOHN LENNON TO CLIFF BURTON TOJOHNNY RAMONEKISSTHESEASHESGOODB\'E.
SHES To ASHES, dust to dust-approximately four to eight pounds of the stuff for those who are cremated. considering that cremation has become a popular alternative to burial in North America, where roughly on€ out ofthree bodies were dusted in 2OO7, the mortsl remains of more musicians are going the way of the kiln.
All ofwhich hich explains exolains why whv various various notables notables are are conspicuously consDicuouslv absent absent from from the the tombstone tombstone tableaux onthese pages.Sure,markers are sometimesplacedinlocales that bore significancefor the deceased,asthey were for dust brothers t$tar(Eolanand Metallica'sCliff8unon. But the remnants ofmany artists are simply kept in an urn near their loved ones or spread over tracts ofland or bodiesofwater meaningfullylinked to the deceased. The corporealvestigesofJohnlannonand Who bassist.lohn Entwirtleare saidtobe with theirfamilies, asare those ofloh.ny R mor6,Deatl guitarist (hq.k s.huldinoi,Clashsinger/ guitarist loeStrumm€r and soul guitarist CurtirMayfi€ld. WoodycuthriG's asheswerecastinto the Atlantic Ocean,while treddiell€rrury's were borne away in Switzerland's Lake ceneva. c€orgc Hariton'sasheswerecarried offbythe cangesRiver, in India, whose waters Hindus believe ferry the deadto the afterlife. Likewise,Jerrycar
trLIFFBUNTIN BoRltl:Februaryro,rg62,CastroValley,California DtEO;September27,1985,Ljungby,Sweden
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n O I W l t n s t a l t o l n s ,D a s 5 l s L t llu uutton was a civilizing influince on his bandmates i n M e t : r l i c r , r e r c h i n gt h e m n u s i c t h e o r y and coaxing them to move from L.A. to the B a y a r e a .M e t a l l i c a w e r e t o u r i n g i n S w e d e n when their driver lost control ofthe bus
on an icy road.The vehicleplowedinto a ditch and rolledover onto its side.Asleepin his bunk atthe time of the accident,Burton was flung out a \,,/in dow and crushedto deathwhen the bus landedon top ofhim. Backhome,his body wascremated, with familyandfriends scattering his ashes irto San Francisco Bay. Burton's grade school,Marshall Elementary school in castro Valley, california, put up a memorial to him. tOCATION:Marshall ElemenlarySchool,2o1rr Malshallway, castfovalley, california94545;(51o) 537-2331 EASS:Guildeledric ba$, auctionedat Hard Rocl( cafe, NewYork city, on Novembef9,2oo4
I4 CUITAR LEGENDS
FRANKZAPPA BOa : December tr, r94o,Baltimore, Maryland DIEDige(€mb€r4,1993, LosAngeles,California
Er RA K ZAFFA WAS SE EOOO atbeins I asmafi, c''nlcal sourpussthat peopleotten overlookedhis musicaldepth.Yes,he was the authorof suchclassicsas"Crew Slut'' and "Illinois EnemaBandit," but beneathsuchjuvenile titles lurk someawesomelysophisticated music everytiing fiom doo-wop and sudguitar to acidrock andfreejazz. Zappawas alsoavirtuosoguitarisqwhosetechnicalmasteryand improtOR : Jan23,r9ro,Liberchies, Bel8ium vjsationalflights were documentedon shuf Up 'N DllD!May15,19t3,Fontain€bleau, Fran(e Pkf Yercuitdr and its spaw{ He formed what I T THE AEE EF lE, GWsyguita st Django would becornethe Mothers of lnvention in 1964 AReinhardt lost the useof two finEersox andkeptr ariousincamations oIthe groupgoing whenhe wasdiagnosed his frettinghandwhen they were buined in unciltheearlyNineries. a fire that brokeout in his caravan.Iorcedto with prostatecancer.In tlpically unsentimental = dealwith his limitations,Reinhardtdeveloped fashion,he wasburied in an unmarkedgrave a dazzling,pedectlyarticulatedsoloingstyle LO(AIlOirWertwoodMemoria I Prrkr218Glendon that propelledhim to the fore ofjazz innovaAve.,LosAngeles, california9oo24(3ro)474-1579 tors and elevatedthe cU,TARr A Stratburn€dandabandon€d byHendrix glitar liom its rhlthat the'58MiamiPopF€rtivaland restored byZappa, ;; mic supportingrole to nowownedbvhh son.Dweezil that ofa leadinstrument.Pariswasfirst to feelReinhardt's irnpact,when the guitaristformedthe Quintetofthe Hot Club ofFrancewith = violinist stephane Grappelli,in 1934. 6 After an unsuccessful
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attempt to play the newly emerging bebop Reinhardt ieturned to s*;ng. H"edied at age 43 following a stroke. lO(Arlor|. Cimeti€fs de Samois-surS€ine, Fontainebleau, France GulTARr1939CretrchSyn(hromatic4oo, usedto r € c o r dg u i t a r d u e t r w i t hH a r r y V o l p e i n 1 9 4 5 , l a s t rhown atMuseum of MuricaI lnrtrum€ntr' A Tir.rfe to Djanqo
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THE SKY ISERYINE NOWHERE WASTHE LOSS OF STE\'IE RAY VAUGHAN MORE KEENLY FELT TFIAN IN AUSTIN AND DATLAS. BY BILL MILKOWSKI on SRVintimates,suchasclub owner Ciifford Antone,a closefriend to bothVaughan brothers."I met Steviewhen I was 22 and he was 17,"he sobs."I mean,hewas myfriend, just this little guy who playedglitar. The rest Troy, wisconsin.five fatalities,including includinp a musician.Keen-eyed :taffersat the Austin is the world's trip, you know?" Americdn-gatesmon catchthe itemandbegin Four dayslater,on Friday,Auglst 31,Stevie's to put two and two togetherasthe AP updates family and fiiends gather at Laurel Land the story everyhalfhour. The mysterious MemorialParkin Dallasto saytheir goodbyes. Amongthosein attendance areDouble "musician"soonbecomes"a memberofEnc Trouble'sChrisLa''tonandTommyShannon, Clapton'sentourage,"then "a guitarist."By 9:30,rumors havespreadthat StevieRay BonnieRaitt,JacksonBrowne,StevieWonder, vaughan,Austin'sfavoriteson,was aboard JeffHealeyand hisband,charlie Sexton,Dr. the doomedcraft. John,BuddyGuyandZZ Top'sBillycibbons, At 1l:30,Clapton'sman€er confirms Dusty Hill and lrank Beard. the worsl Vaughanwas indeedamongthe outside,more than 3,000ofthe faithful passengersin the five-seathelicopter,which slammedinto a fog-shroudedhillside near southeasternwisconsin s Alpine Valley ski resort. StevieRayhad boarded the aircmft after pedorming in an enormousbluesshow at the resort andtaling part in an all-star finale jam featuringc lapton,Robencray, Jimmie Vaughanand Chicagoblues legendBuddy Guy,all ofwhom ripped it up beforeanecstaticcrowdof25,000, By noon,the capitalcity ofTexas is in shock.Vaughan'sdeathis the mostdevastatingblowto the Lone StarState'smusiccommunitysince Lubbock'sBuddyHolly died in an Iowaplanecrash3l yearsearlier. Throughoutthe afternoon,merchants postsignsandbannersoutsidetheir sfo.es,proclaiming'nveLoveYou
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converge,braving 100-degreetemperatures. As the serviceendsand family and friends depart,the mournersenter the chapel.one by one,they passthe casket,leavingbehind flowers,religiousartifactsand guitar picks. Last to comeforward is DougCastot a youngwheelchair-boundfan from Pittsburgh who'd flown to Austin two daysago,onlyto discoverthe funeral was in Dallas,200 miles away.He wheelshimselfup to the casketand payshis respectsto StevieRayVaughan. LOCATIOfi: LaurelLandCemet€ry,5oooSRL (2|4)37t-rjl6 Thornton Fwy.,Dallas, Texas75232i cUlTARr SRV'5 a'59Stratwith a "Numb€rOne," '62neck.In a vaultinAustln.Teras
Stevie" and "So LongStevie." Plumbing stores, Tex-Mex restaurants, musical
instrument stores,domrt shops all fly the flag ofgriefinthis centralTexastown, where Little StevieVaughan, the skinnykid from oak cliff, becameStevieRayVaughan,hometownhero andAustin'smusicalambassadorto the world. As night falls,fansbeginconvergingon Zilker Park,where,10yearsearlier,mournersgathered for a candlelightvigil the night John Lennon wasmurdered.Now they sit sideby side in the darkness-tattooedChicanobikers,lawyersin BrooksBrothers suits and crystal wielding New Agers and weep openly asdiscjockey Jody DenbergofAustin's KLBJ radio pumps a steady streamofSRV through a makeshiftPA. Even asthe mourners gather at Zilker Park, othersinstinctivelyheadto the clubAntone's,a focal point ofthe Austin blues scenethroughout the mid Seventiesand a favorite hangoutofthe Vaughanbrothers over the years. Local Tv stationsbeginconvergingon the ciub,their camerasand microphonesfocused IOGUITAR LECTN DS
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g.$ g{lP;Y'rHilhllr. *i$:I f nr: r : . , i r . r r: u l y r 5 ,r 9 5 2 L , e e s b u r gF,l o r i d a , : . l i ; : :A p r i l 1 3r,9 9 r ,N e w O r l e a n sL,o u k i a n a UNK REGK FRoJoTYFE" Jnh n ny El . r r n u n o e r ss r u I I t L e p t o l t n o m t n e N e w Y o r k D o l l s o r h i s H e a r t b r e a k e r s ,a n d d e s p i t e f l a s h e so f b l i l l i a n c e , h e w a s o n t h € skids more often than nor. Bv the Ninetie", the hcdonistic guitarist sought inspimtion b e y o n d N c \ r ' Y o r k ' s L o t v e f E a s t S i d e ,t r a v e l i n g d o w n t o N e w O I l e a n s ,w h e r e t h e r e a d y availability ofdrugs ensuredhis dou,nl,ar.d .liJ,,ontirrueu d r a b a r e J t. l r u r r J , r . d i e L a t t e r e n e t h a d o n e / a l c o h o l b i n g e i 1 1a s c e d y hotel room offthe Frcnch Quarter. John A n t h o n y c e n z a l e \ r ' a sb u r i e d i n N { o u n t S t . X l l a r y ' sC e m e t e r y o u t s i d e N e u . Y o r k C i r y , a s i . f e l l o " D u l r r d H e r r r b r e a l e r1 : n J r l - r o r i c d r u g a b u s e r )J e r r y N o l a n . . ti:r.r:!,i,, sedion crave R78,82,5aint Mary,e 9, Cemeteryr72ooBoothMemorialAve.,Fluthing, New Yorkflj5t; (7r8)3s3,rs60 i i . ; i i , , ! i ,L € sP a u l J f .R, o c ka n dR o l lH a l l o ff a m e
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MUCH LOVED AND MISSED BY HIS FANS AND ALL TI.IOSE \^/HOSE LIVES HE TOUCHED.
ARK FE1O FIRST gained rotoriety frontl/I lta irgthe late-SixriesEnglish hipp,vfolk duo Tlrannosaurus Rex. After shorlening the band's monikertoT. Rex, adoptinganew name and crankinghis Eiuitarup to ll, Bol topped t h e U . ( . . l r ] l 1 ss i r h . u c h . r a r N e ) ( J . g l r n c r rock anthems as "Baql a cong (cet It On)" and "Metnl curu." Like nanyofhispe€rs, Bolan faced lcar times in the mid Seventies,when glam rock lost favor with the record-buyingpublic. Bur heJooked poised fol acomeback in 1977$,hen his album Ddndy in ffie Underuorldwas u'armly receivedby Britain's punk rock elite. tsol and his girlfiiend were in theirAustin Mini whcn she plowed the vchicle into a tree, killing lTim instantly.A plaque in nernory ofBolan maybe found atColders creen Crematodumin London, where thc latc pcrformer's ashesare stored nearthose ofKeith Moor and T.S. Elior. l l r l i , . ! , ' r l i rG o l d e r G r r e e nc r e m a t o r i u mH, o o pL a n e , London,EnglandNwri TNq o1t44 o8r-4552t74 ; l i rj r ' : r . i ": M e t a lG u r u , "a c u r t o m , m a d a el u m i n u m g u i t a r e n g f a v ewdi t h h i sn a m e( w h i ( hi s m i r s p e l l e d ) , Hard Rockcafe, Sydney,Australia
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THT PLANE TRUTH THE ACCIDENT TFIAT KILLED RANDY RHOADS. BYJEFFKTTTS
THE }|ORI{I E of March 19,1982, whilc on tour with Ozzy Osbournc, guitarist Ralldy Rhoads accepted al,Iinvitation to take a quick spir in a sma1l,single-engine plane. The band rvas on a stop in Leesburg, Florida, its tour bus parked in Flyingtsaron Estatcs, \i't(]rc Andreu, Aycock, the $oup's driver, owled a house. That moming, Aycock, a licensed pilot, had commandeeled a plane a 1955 Beechcraft Borarza F35 fiom its hangar without the pern1issionofits owner, Jerry CaLhoun.With Rhoads a n d R a c h e lY o u n g b l o o d ,t h e b a n d ' s s8-yenr-old scalllstress and cook, along fol the lide, Aycock took to thc air between nine and lo,l.u. The group's tour bus a creyhoundr.ipe rehicle ivith a golden-bIoi(,n top ard $'lite botton *'as parked appfoximately 60 feet hom a white ceoryian-style n1ansionadjacent !o the airstrip. Osbourne, manager Sharcn Arden (later tobeconc Osbournc's $,ifc) and bassistRudy Sarzo were asleepon lhe bus. Keyboardist Don Aircywas oo the bus blrt awake andu,itnessed what happcncd ncxt. The pil0t madethree 1ow passesat tree-top level in an attempt to "buzz" the tourbus. On the fourth pass,while th€ aircrnft r':rs fl)'ing approximately l0 feet above the groul1d at speedsofl40 to 180 m.p.h., the plane's left rvingcollided u ith the leal ofthe bus. The bulk ofthe aircraft crosscd ovcrthebus and scr.crcd a large pine tree before crashinginto the garageon the mansion'swest end. The piane cxploded and bulned on impact rvith the house, u,hich u as also S' tted by thc ensuingfirc. T\,"o r.ehiclcs palked inside thegarage, an Oldsmobile and a ror-d cranada, were destrolcd. Ore \.ictirn from the aircrnft was found outside the windorv ofthe g a r a g e ,j u s t b e l o w w h e r e t h e p l a n e struck thc l,',all. Thc othcr victims were found inside the garage, onc beside and one atop the burned o u t a u t o m o b i l e s .T h e b o d i e sw e r e buIl1ed beyond recognition. Rhoads had t0 be identified by hisjcwell"v and Aycock through dentalrecords. Fiberglass from the explosive impact $as scattered over more than an acre, with no palt ofthe plale larger than a t e l e p h o n e ,e x c e p l t h e o n e c r u m p l e d wingthat struck the bus. Although ro one on the tour bus rvas injured, the bus {-as cxicnsir.elv darragcd on
I8 CU ITAR LEC ENDS
both sides. Toxicology tests det€r'mined that Aycock had cocaine ir his s"vstcnl. Why did the blilliant yourg guitarist agree to go for a plane ride, given his admitted fear of flying? Did the pilot repeatedly buzz lhe tour bus in an attempt to frighten his er-wife, who was standiryoutside thebus'i Was ita cocaire fueled kamikeze run? orjust lock and roll high
jinks? The nnsu'ers ma,vneverbe tully knou'n. i.jxr-taG,'{:Mountain ViewCemet€ry,S7oE. HighlandAve.,san Bernardino,california92404; b09) 88r-r943 r,: Yt'. Cuttom-madeJa.kro Fnl y i n g V w i t hg o l d pi(kguardand red velvet-linedcase,Hard Rockcafe, Philadelphia
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ALBERTKII{E lOR r April25,1923, Indianola, Missisrippl Dlttr Oecember rr, 1992, Memphis,Tennessee ORE nEEK BUITARISTS have ll IlI coooed fiom Albert than fiom anv other bluesman.Standingsix-foot-five, z5O pounds,the former bulldozer driver played his cibson Flying V \{ith frightening ferocity. King's lead plalngwas characterized by stinging, deeptone and an unorthodox approach:the left-handed guitarist played with his guitar held upside-do*,n, treble string! up, causinghim to bend his strings down, amongother idios)'ncratic techniques.Born AlberrNelson.he rookthe surnameI{ing on the heelsofB.B.King's1953 hit "ThreeO'ClockBlues."He hit his stride when he signedwith StaxRecordsin 1966 and beganworking with Booker T and the MG's, recording classicslike "Bom Under a Bad Sign." King suffered a fatal heart attack inMemphis,Tennessee. His epitaph,the tide ofone ofhis finestalbums,saysit all: "I'll play the blues for you." lOCAllOi|tparadire cardens. 2t2l{. 5ih St.. WestM€mphis,Arkan5arnto1, (alol j3S-zSS2 CUllARr1958cibsonV,ownedbyDannyPerklns ofth€ GuitarHallof Fam€
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septemberj,1934, cllmer,Texas DIEDr December28, r976,Dallar, fexas K E *raddledthe ven differ!REDDIE I ent \ orldsofTexasandChicasoblues. A toweringfigure (he stoodabarrej-chested 6-foot-7),King possessed a melodicbut manly playingstylecharacterizedby meatytone and fast, aggressivepicking. He was a huge influenceon countless bluesand rockguirar, ists,most notablyE c Clapton,who rnadehis
markby nailing King"shitinstrumental "Hide Away." Movingto Chicagoat 16,Kingjoined Otis Rush,Buddy Guy and Magic Samatthe forefront ofa new genemtionof more urban, hard-edgedguitarists.After scoringseveral R&B hits, Kingmoved to Dallas,where h€ died of heartfailure at the height ofhis populadty. He wasjust 42. LOCATIOI! SDalkman-Hillcrest Memorial Park. (2r4) Hury., Dallas, Texar7S225i 7405W.Northwest 353-54or
q, r949,Miami,oklahoma SORikSept€mber DIEDloctober2o, r9Z, Gillsburg, Mississippi HEN BU|TAnIST Ed King left Llnlrd llt t! Skynlrd in 1975,the bandlookedeverywhere for a replacement.But the guy they wantedwas right under their noses:Steve Gaines. the kid brodrerofbackupsingerCassie caines._Cassie askedusif her brothercould jam, andwe almostlaughedat her," recallsguitarist GaryRossington.As it happene4 Gaineswas an incendiaryguitarist,and his playingput life back into the band,resulting in7977'sSteet Survfuors, Sk]'nlrd's creativepimacle. Just daysafter its release,their charteredplaneran out of gasand crashedinto a Mississippiswamp.Steveend Cassier.rereLilled,alongwidl fie goup s singer and chief songwriter,RonnieVan Zant. IOGATIO, (markerlonly;remainrat undisclor€d lo.ations) lacksonville MemoryCarden5, fll Blanding Blvd,,Orange Park,Florida 3ro73;(9o4) 212-2435 GUltAnrSunburst Fender Strat,Rockand RollHallofFame
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JEHI{NY RAIIENE 3OR : Odob€r8,1948, Longlsland,NewYork DIEDI California September t5,2oo4,LorAngeles, qUlTARlsT, the man I S THE FAIIONES' A bornJohnCumming\created thetemplate for punk rock guitar.The brutal precisionofhis muted,downpickedbarrechordsand ringing power chords energizedRamonesclassics like "Blitzkrieg Bop," "RockawayBeach"and "SheenaTsa Punk Rocker," inspiring several generationsof latter day punk bands. Drug ftee and politically conservative,Johnny was the dri)) sergeantwho kept the Ramoneson rhe road and in Lhestudio for rwo explosive decades.And it was John who pulled the plug on the Ramonesin 1996,putting into actionhis long-cherishedschemeofretiringwhile he was still young enoughto enjoy his well-deserved rest.He spenta fewyearsofleisure at homern the Hollwvood hills with his wife Linda and a circleofrock starfiiendsbeforeprostatecancer claimedhis life at the ageof55. The memorial statue at his gravesite captures the image that Johrry Ramoneemblazonedon rock history for alltime:leathermotorcyclejacketpuddingbowl haircut Mosrite guitar cockedarldloaded. IOCATIOt Hollywood Fofever Cemeiery,6000 Santa Monica8lvd.,Hollywood, california 9oo38
T.BOTIIEWALKER 8On : May28,r9ro,Linden, T€xas OIED: Marchr6,r975,LosAnBelei, Callfornia USIC'SHRAT TRUEleadguitarist, ll Itl T-Bon€walker wasboth an elect c guitar pioneerand a stylesetterforblues and rock guitarists.As a player,Walker wasa masterofthe smooth,urbaneelectricguitar styleexemplifiedon his trademarktune,"Call ff Sbrmy Monday."As a performer,he setthe standardfor flamboyance, holdinghis fat-bodied Gibsonalmostperpendicularto his bodt plalngbehind his back and doingsplits.Born Aaron Thibeauxwalker, he was a studentof acousticbluesguitaristBlind LemonJefferson but switchedto electricguitarby the Thirtt€s, tearingup clubsin his adoptedhometownof LosAngeles.Alate-Sixtiescomebackled to hi5 lo70 CrammyAward.but afier yearsol drinking and healthproblems,Walker died following a strokein 1974. rO(ATIOI:Inglewood ParkCem€tery,72o E. Floren.e Av€.,Inglewood, CA9o3ori(l1o)412-650() culTAR: RollHall cibronEs-series electri(,Rockand
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STEVESLARK EOR r April23,rg5o,Sheffield, England DIEDr January 8,r99r,London, England tlr HE raESTBLAIIOREUSmemberoiDeI I Leppard.oneofthe lareE ighries'most successfulrock bands,SteveClark appearedto be living the dream,with his long blonde hair, snalehipsandguitarhanging'roundhis knees. Away from the stage,howeverthe was one ofthe most troubled soulsin music.Drugs and alcohol were the qTnptom, not the cause.The real issue wasoneofself-esteem, ofwhich he appearedto havenone.And yet, it was Clark who first forced Leppard out ofthe garageand onto a stage.The one the fans called Steamin'SteveClark cam. up with the killer riffs to early Leppard crowd pleasemlike "Another Hit and Run," 'Rockl Rockl Till You Drop" and "Photograph."He died in his sleepfiom a fatal comboof alcohol andprescriptionpainkillers.As Leppardsinger Joe Elliot later obselved,"He was our Steve.but there was fuck all we could do to help him, short of tying his handsbehind his back.He was a lost cause,no matter what anyonetried to do,"
BtrB MARLEY
AOR r Februa ry5,t945,St.Ann,Jamaica olIDr Mayrr,r98r,Miami,Florida I CEEROII{ETO TIMETHYWhires Calch 'lla Fire:Th?LiJ"of BobMorleyrOwl Bool,ir, RobertNestaMarleypredictedthat he would die at 36 tellingfriendshis "OneLove"missionwouldcommenceat33 andthat three yearslaterhe would be gone,"jus'like Christ." Havingdodgedmorerh.rnonebullerin histime,
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he probably envisioneda quick, violent exi! not a slowsuuenderto cancer.Marleysremains rest in one of the most out-of-the-way sitesof anydearlydepartedmusician.His mausoleum, a small tropical hut, standsin the hilts of Nine Mile, Jamaica,two hoursfrom Kingston. LO(ATlOf,r NineMile,St.Ann,.lamaica CUItAR!LesPaulSpecial, BobMarleyMus€um, King5ton, lamai(a
LO(AIlOl{rWisewood C€metery, Hillsborough, England GUITAnST WithClark"familyin Shefiield, EnSland
LEtr FENDEN BORt*Augustro,r9o9,Anaheim, California Dl:D!March2r,i99r,Fullerton, Callfolnia EIEFORE ELARE EE LEO FEI{DER 9came along.rhe solidbodyelectricgui tar was little more than a gimmick. With his designfor the Telecaster,the world's first successfulmass-producedsolidbody electric,fender not only gavelegitimacy to the elec(ricguirar:he gaveir stylelhaL broke with tradition, thus establishingan aestheticcriterion embracedby most guitar makerssince.In 1965,after designingmost ofFender'snow-classic models,LeosolL the companyto CBS,citing ill health. He was back in action by 1971,however, and designedampsfor Music Man and guitars for c&L. Iender left behind a prodigious legacywhen he succumbedto complicatlons associatedwith Parkinson'sdisease. LOCATIOI{! Fairhaven MemorialPark.rro2 Fairhaven (I4) Av€.,SantaAna,califohia927o5i 6tt-1442 CUIIAft FenderandceorgeFullerton'rfi rit solidbody eledri., the Fend€r"Snak€h€ad"Esquire,wa, rold to a private.ollector for $37s,oooin r99+
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DIMEBAEDANNELL lol ! August20,1956,Arlington, T€xat DllDrDeember8,2oo4,Colurnbus, Ohio Ir HE lllNETlES WERE A DARK era for I metalpuri.ts,bur Partera,fearuringthe fierceleadguitarplayingof "Dimebag"Darrell Abbott, helped fans keep the faith. Dimebag's flamboyant pinch harmonics, whammy bar screamsandgrowls,andprecisionriffing on songslike-Cemerery cares ald Couboys from Hell" fromPantera's1990major label debutearnedhim insrantguitarherosraru: and he defiantly churned out inventive solos on songslike "Walk" and "Floods" when most bandswere abandoningsolos.After Pantera disbandedin2003,Dimebagand his brother, who he was Vinnie Paul,formedDamageplan, playingwithwhen a crazedex-Maiine stormed onstageand murdered him. Dimebag was buried inhis hometownofArlington, Texas, rn a KrssKasketalonswrtn Eddrevan Halens originat black and yellow striped guitar. Gardens Cemeter), LO(AllOi&MooreMemorial r2r9N Davi.Dr.,Adington, Texas 76012
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lonfl! March2,849, Ballyrha nnon,lreland England DltOtJuner4,r995,London, o I Ll OT lrAllY EUITARISTS couid bave l!bested Eric ClaDtonon the critics' Dolls... when Ctaptonwas athis peak.But Rory callagherdid. The youngIrishman was his country'sfirst rock star,abluesguitarist who'd taughthimseifto play,thenwent out a avidlyin searchofaudiences.His brand of ; popularityjust musichad lost ashe'd comeof age,in the earlySeventies, but he was driven with performingand record- 9 Cobham,Bolinwasapproached by DeepPurple by his obsession in 1975afterBlackmorequit.The newlineup ing. This compulsionultimatelytook its toll tolt: August1,19sr,sioux Ciiy,lowa recordedjust one album,but Bolin had aheady on callagher'shealth,ashis solitarylifestyle DllO'Dec€mbef 4,1975,Miami,Flofida begunwork on his fust solo album,?edser, resultedin boutsofdepression.Yearsofpoor IY BELIN maybe besrremembered beforejoining the band.shortly after releasing healthrequiredthat he undergoa liver transTo I asthe guiraristwho replacedfutchie his secondslbum,Pnvate Eyes,Bolin overdosed plant.He died in the followingweeksfrom Blackmorein DeepPurpleduringtheSeventies, from a drugbinge the day after he openedfor an infection.Some15,000fansturned out ln I but to many he was nothing lessthan America's JeffBeckin Miami. Ireland for his funeral. answerto Jeff Beck,John Mclaughlin, Jimmy LOCAIIOI{, CalvaryCem€tery, r82rlackson St.,Sioux totAflOflr St.Oliver'rCem€t€ry, BalllncolliS, Cork, PageandBlackmore-aStratwielderfluentin a cily, lowa$ro5'0t2)r55-79j3 lreland wide varietyofjazz-fusionandhardrock congivenro guitar CUltAt' 1974BlackStratreport€dly 6UlIAt:r95rthree'ton€"Ex-Sunburtt" Fender texts.After revealinghis razor-sharp, rapid-fire techDavidSrown,lat€rsold to.oll€dorin Colorado own€dbybrotherDonal guitar plalng with the Jamescang and Billy
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brother 'ryinnie Paul"Abboft formedthe group in 1981,when Darrell was only 15.Recruiting bassistRexBrown and singer Terry claze, they recordedtheir first album,Metal Md€lc,in 1983, and releasedit on their own independentlabel.The group recordedtwo more albums, Projects in the Jungle (7984) and lAm theNrght (1985),before Glazeexited and formed the glam-metalgroup Lord Tracy. Darrell,Vinnie and Rex replaced him with singerPhil Anselmo and adopteda harder sound. while the first three Pantera albumssoundedlike a heavier versionofearly Eightiesgiam rock, Pantera'sfirst albumwith Anselmo,1988'sPowerMetdl, bore a closerresemblance to lateSeventiesJudasPriest. on the strength of that album,
Born DaJrellLanceAbbott on August20,1966, Dimebag grew up surroundedby music. His father,JerryAbbott,is a pr DJessj, D.D d coun t y musici an who owns a recordingstudio and playedpianoon numerous includiDg1998'sPrince sessions, o/-E3yptsoundtrack.He also composedsongsthat were recordedby BuckOw€ns,Freddy Fender,Moe Bandyand Bobby Vinton.AlthoughDimebag's fatherdidn't pushDarrellinto music,neither djd he discoluage him from learninghow to play. "The opportunityto become a musicianwas alwaysthere," the guitaristtold Brad Tolinski in the April 1994issueofGuitdr world, which featuredDarrell's first coverirtelview. "I can rememberonebirthdaywhere he said,'Son,you caneither have a BMX bike or you can have this,'and he pointedto a Buitar.I endedup takingthe bike,but he did plant a seedin my mind." The lure ofrock androll proved too toughfor Darrellto resist, however;oncehediscovered the musicofKissandBlackSabbath, therewis no turningback."l wert bacftto my old man and askedif I couldtrademy bikebackfor the g:uitar.[But]I didn'tgetmy first guitar until my next bifthday. I was about Il, and ' he gavr me a Le" Paul copy and a Pignoseamp. Darrell initiallytaughthimself to play Deep Purple's "Smoke on the water." Then his dad showed him how to play barre chords. "That's when things really started getting healy," he recalled. "The turning point came when I discovered an Electro-Harmonix Big M\ff fnzz. Feedback!Distortionl Dude, that was d1l she wrote." Darrell progressedquickly as a player, and in 1980,at the ageof14,heentered his fiIst guitar cornpetition. Ricll L1.nn Gregg, who worked with Darrell's dad irr the studio and performed with numerous groups beforc he became an acclaimed country-rock solo artist in the Nineties, recalls judging that coDtest "Darrell rvas destined to become a superstar. Kim Davis of lauthem rock banQPoint BlanL Dean cuitars' tbunderl Dem ZelinsLTand I were judges at th$ contest that was held at tlle Agor4 which was the top rock club in Dallas at the tine. There were l0 other contestants, who ranged in age liom 19 to 35 years old. Then this l4-year-oid kid who called himself Diamo[d Daffell went on last. He started ofiwith some licks ofhis own and then played Eruprion in it. entirery. no(e for nore De0n looked at me andsaid,'Its asho€-in. He s the winner.' Darell wasn't even finished yeq he went into his own thing that blew us ali away.He wa.s a maniac virtuoso, even way back then." Darrell's prize was aD€an ML glitar, which becarne his signatlre ax from that day on. T\ro years later, when he was 16, he sold the guitar to raise money to buya car. The Dean wound up in the hands of guitarist Buddy Blaze, who had the instrunclt custompainted with a
26 CUITAR LEGENDS
Atlannc Records bast west
blue finish andwhite lightningbolts."Later, I got to know Buddy,andIused to beghim to sellmebackmyguirar. Darrellrecalledfor Guitarworld. "He wonld alwaysrefuse.He wasgoingto put together anolherguirarlor me in exchangefor a trllngV that I had.I gave him the V, and a monthwentby, and Buddy just couldn'tseemtofind the time to put the a-{
subsidiarysignedPanterato a recorddeal,which resultedin the band'smajorlabel debut, Corboystom Hell. Releasedin July 1990,the albumdisplayed a toughersoundthatbore the influenceof Eightiesthrash metalbandslike Metallica,Slayer and Megadeth.(significantly, Darrell had beenofferedthe leadguitar spot in Megadethbut losrrhegigwhenhe in"istedtheyhire Vinnie paul to be the band'sdrummer) Thanksto airplayon Los Angeles'legendaryhard rock stationKNAC, metal fansthroughoutthe countrysoonlearnedaboutthesenewcomers from Texasand their fresh new sound,which effectivelybridgedthe gapsbetweenhair metal,thrash,hardcoreand industrial.
"T}|tS |(lIlI1|[[AttE[ l|lil$tF 0lAl.|[1{0 t4-YtAt{-0t0 S0ilE Ll[|(S 0AIiI|EU. tTt|T [1{tA$.]|t$AI|IE0 [tt lvII]| ptAYt[',tltljPllil{'l}l lil Ii{IIIIETY. [F}|IS ltlilAllITtltil ll[TtFIRll0lE."
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together for me. one day he showed up on my doorstepwith abox. I openedit up and inside wasthe Dean.He said,'Dude,itwasyour pnze to beginwith. Here you go."' Blazeand Darrell's friendship continued. when Darrell was interviewedfor his first guitar magazine,GL!ifdrl,l/orld'sDecember l99o issue,Blazetestified to the guitarist s previousglories."Darrell was bannedfrom every guitar competitionby the time he was l8 because he alreadywon em all. Blaze told cl4zs Joe Lalaina."Every hard rock band in th€ statewas comparedto Pantera and every guitarist comparedto Darrell." Evenin their earlyincarnation,Pantera were settingthebar high.Darrell andhis
In the earlyNineties,when the bandsthat influencedPantera'snew directionbegan softeningtheirsounds,Darrell and company madetheirs heavierthan ever."we look at our musicasball-busting,grrt-wrenching hea\,ynhdtever,"Darrell saidin 1990."we're a superaggressive bandand all our songs aremeanlIo be pla)edlive.Weplayanew groove we call it 'powergroove.'we're like fine'runed. clean-curting machinetf.A fter Eell, you'llview the listeningto CorboysJ+om world with a biggerpair ofballs.The album makesyou another foot taller and g:rvesyou crushing,go-for-it power." Alwayswillingto sharehis techniquesand tips with other guitarists,Darrell,still goingby
t h e m o n i k e r o f D i a n o n d D a r r e l l , a g r c e dt o b e interviewed by cuifdr World for an exclusivc l e s s o n h i s f i r s t i n t h e S e p t e m b e r1 9 9 1i s s u e . shortly after it appealed, Darrellsat do\rn fol G his first Q&A inteniclv with cdifdr l4/orld, l v h i c h a p p e a r e di n t h e A p r i l 1 9 9 2 i s s u e . l r it, he discussed Pantera'sA yulgdr rispld.y otPower album, r'hich featured thc Pantera favorites "Walk" and "Iucking Hostile." H. a l s o r e v e a l c da w i d e r a n g eo f i n f l u e n c e s t h a t i n c l u d e d A c e F r e h l e y ,R a n d y R h o a d sa n d Eddie Van Haler. Most notabl!', rholrgh, hc used the opportunity to discuss plaver'she admired, u'hose inpact might not have becn felrbv the rcaders but whorn hc neverrheless s,antcd
to ,:cknorvlcdge."I'n lroln 't exas.Llude," said Darrell. "Thcrc ar.eso Inrn,v peoplc u'ho, overnight, ciairn thcy plav blues!.,but I g r e u u p d o u . n h e r e u , a t c h i n ' d u d c sf l a y w i t h m ) ' c t a d . l u s c dt o c o m e h o m e f r o m s c h o o l a n d u ' a t c h a l l t h e s ci n c r e d i b l ep l a y e l sg o i n rhr,,Ieh 'l-"ir (lruL'. Jir I\ \^ rlli.e. Bud. H r . , . 1r ,- L R : . 1 , t . . r r n u r ( r . r . I r r , ) . p r n l knorvn verv much ourside ofDallas, but thev're r l l i r c r e d ' h e -a n r l r , i r r ; r r . m p l r r h r J a l * l ofeDinflucnceon me.And,ofcoume,there's the Reverend C Bill,v cibboDs. We'v€ seen him more thrr oncc at clLrbsand stufl." 'l'he inteNie\'lrlso lnarkcll the fifst tilne Dalrell lct rhe prrblic know that, hcnceforth, h e p l e f e l r c c lt o b e c a l l e d D i n r c b a g ." P € o p i e
have been calliDg me rianrond Dar-r-cllfor too long," he said. "lt's a mistak€. I've al*,a-vsbccn called Dirnebrg Darrell by m"vfriends. That's mv real namc. Dimebali Darrell got it?" Alr\ough I'inr.brgreceireJ r fifr ,-flJ.e Best New Talent nod in cuiidr lvorld's 1991 R e r J r r . P o l l .r h e f o l l o s i r r g , . r - l - " r " e l third for Bcst Heavy Metal Lluitarisr:rnd fourth in the Best New Talent catcgor_v. Pantera,meanwhilc, took second fof Bcsr Heavy Metal Albun1 \r'ithA yulgdr Displd_v o l P o l L , e rT . hc results appearcd iD the M a r c h l 9 9 3 l . u t u f e S h o c k i s s u e ,t h c f i r s t of many cuifdr World issuesto feature D i n 1 e b a g ' sp h o t o o n t h e c o v e r . His l99l GlVlesson marked the begil]llingofr \ e r u t i f u ll i i . r , l s h i p r h rer v e n r u d . . (t J r o D r . r F . long-running nonthl-v inshxctional colunnl, Riflcl Madness.Debuting in thc April 1993issue, the colltrxl was a favorite rlith readcrs,who were shou'n ho$.to pla!.€verfthing ftoll1 the nlair riff to "Cou-bol,sfrom Hell" to thehxrmonic squerls in "Cemeterycates." Fron his firstcolumn, Dimebagrvasur cnthusiasticcontributor-. "\ /hen the guys at Cuitdr world isked lne to do . r , , ' l u n n f o r ' e m . n r ) r r r l r , r l i r r e r e . r c r i o nu r . two four-letter u,ordsrHELL ITAHll" he wfore in his dc'butcolumn. Dime'ssenseofhumor xnd €ienerosity nadc Riffer Madness a nust read. Amon€ithe mrn).lighlights \l.ashis olTerto buy a si:r pack ofbeer for each of the firsr 50 readersto nasterhis lcssonin nnlu ral harnonics. Throughout this time, Pantera's rise continued. Their third album, Fdr Bcyond ,riven, stunned the music wolld by debuting at No. l on ihe Billrodrd magazirc Top 200 a l b u n c h a r t u p o D t h e l e c o r d ' s r e l c a s ci n 1 9 9 4 . B \ I \ e n . [ r i r n e b r gh r ' r e r r r e d e r o r g h J ( , l : r i n r t o a p p e a rb y h i m s e l f o n C u i . d r w o r l d ' s A p r i l i 9 9 4 c o v e r ,w h i c h r i g h t l y b i L l e dh i m a s r h e \ \ o r l d . M u . r D r n S e _ o uC. u i r - r i . r ._ A r r ' r , e p i c e n t e ro f P a n t e r a ' sr n u s i c : r 1 mosh pit is thc band's larfier-than life guitarist, Dimebag Dallcll," Tolinskirvrote in the covcr story. _ H r ' t r r J , n r r l c r : r r . ^ ng o a r e r . ,'usl,,In !'uir..: r n c cl o l o r f u l c o m n a n d o f g o o d - o l ' b o y s l a r L B l u . n n d e l - i m a l r e r or r r r ' r r t I r l d - o c k t a r ' . t s u th i . b n r e - r r trI ' n g - h r I l , n , ' v u r ' \ .: . r ,p n r : \e s o l o i n ga n d d i s t i n c t i v e r e z o r s h a r p ' D a r - f c l l t o n e ' i s w h a t h a s t r a d c h i m a l e g e n da m o D g a whole generarion ofp;uitarists seafching for a ne\r' Edr,r,ardVan Halen. And likc V , Halen, the ke). to the Texan's large trlent is his healthy disregard fol rules and rep5rlations." "The storyofvitutie ard mc is almosr identic.rl tothe VanHalen story," Dine said iD thc accompan),iryjintervi€w. "Both Eddie end Alcx l ' h v e d d - . r n r : . r rf i r , r b u r C l ,\ k i l F d . . o q J J i ( dccidcd topick up the Eiuitrr.Thc sarre thing happenedwith Vinnie and me.Igrerl.up a hcaq metalkid, ard we arc a hea$, metal band. I kno\r' it's not fashionable,but l1n pr-oudto sav thefs what rve are and rvhat we do- W€'ll remiin true to o r r r " " r . l r i l eJ i r k e e t : r * L r i r r ; r o ' r r d u . . " Even so, the band had begun making a fe\r' s u b t l ec h a n g e st o i t s s o u l d . D i m e b r g p l a y e d fewer solos on adr 3e-vondllriven, as Panterl pfeferred to conccntrate on skull cfushing grooves. "We're into topping ou rselves," Darcll revealed to n1ein an inicr'!ic\r rt the tin1e. 'Nlost bands come out with a hca\,\, record, then thcygct lighrer and lighter. YoLrlc sruck listeniDgto thc fir'st recold, wishing
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and dreaming. That ain't what we're about though.We ianted thesesongsto havethe mostimpact,period.Everythingwe do is for the bandasawhole.It's not likeyou'vegota spotlightleadguitarplayerin the band.You're going to hear me, Rex,Vinnie, Phil, everltody." DespiteDimebag'smodesty,plenty ofpeople still enjoyedhearinghim playblazingleads andsearingriffs."DimebagDarell's toneis my favorite of any guitarist I've worked with," saysproducer Terry Date,who, in addition to producing and engineeringPantera'sfirst four workedwirh Soundgarden. major-label aJbums. white zombie and Prong."The thingthat's so specialaboutDarrell is he'sthe only guitarist I've worked with who hasplayedthe same guitar sincehe was probably 12yearsold. He wonl take it off. Ids becomean appendage.His tone is asfamiliar ashis voice." when the nextReade$Poll appearedin the Marchl9o5issue. Dimebag rookrophonor.in the categories ofBestHealy MeialGuitarist, Best Solo('Planet Caravan') and BestHea\.T' Metal Album (Fdr BeyondDriven). He alsotook secondplaceinthe MostValuablePlayerand fou$h in the BestLive Bandspots.Now at the heightof their popularity,Panterahadbecome a significantinfluenceon modemmetalbands suchasDeftones, Korn andGodsmack, who werebeginningto male rumblingsoftheir own,Dimebag's razor'sharp roneandmachine fi*e rifting appealedto fans of death metal and industrialmusicalike,andnewbandsimitated Pantera'spostmodem angstand bmtal assault. But changeswere taling placein the 28 GUITAR LECENDS
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mainstream.By 1996,grungehad fadedlike a wom-out flannel shirt, replacedby a new breed of alternativerockbands,includingSmashing Pumpkins,Bushand311. when Pantera releasedTheGredtSouthernTrendkill that year, the albumdidn'tslayits competitorson the charts.Still,when thegoupjoined a reunited BlackSabbath for 1997's Ozzfestpremiere, wirh their aggre.sive. theystunnedaudiences energizedperformance,provjng that Pantera and metal were still forcesto be reckonedwith. "Dimebagwassuch a nice,genuineblotre and a greatplayer,"Tony Iommi recalls."He was alwaysvery respectfultoward me, and it was lovelyto havehim on tour with us." once again,cuitdr world readersawarded Dimebagwith numerousaccolades in the l99o ReadersPoll, the resulisofwhich appeared in the Marchl99Tissue.ln additionto being namedMostValuablePlayerfor the second time, Dime wasvoted the BestHard Rock/^{etal Guitaist andtookthird placefor BestRock GuitaristandBestsolo("Iloods").The poll
alsogavePanterasecond-placehonors for Best Album (?rendftilD.Upon receivingthe news, Dime respondedin his characteristicfashion: "Pleasetell your readersl'm real flaftered and would obviouslylike to saya big-assed'thank you'to all of 'emthat votedfor me." ReadeNcontinuedto heappraiseon Dimebag the following yearwhen they chosethe 100 createstsolosofAll Timefor Cws September 1998issue,voting for "Floods"(#15),"Cemetery cates" (#3s) and 'nvalk" (#57).while Dimebag continuedto downplayhis leadplaying it was itwhenever hc obviousthat his fansstill loved broke out somechoicesolos. During the four yearsbe.l'/ee\ TheGreat E SouthemTrendkilla\dPanterds 2000 album Reinventingthe Steel,t\ebandtoured and issued alive album,offcral frve:]ol P/oot Though Dimebagremarkedthat the bandneededa brea}, he mndeit more than obviousin his May 2o0o coverinteNiew that he wasthdlled to be recordingandtouring againwith Pantera. "we lookedbackon all of the goodtimes
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we had,all the hell-raisingwe'vedone,and all the kick-assmusicwe've made,"he said."we fuckin'love whatwe do.we're happyhowwe are.We'vewatchedwhat's goneon around r.s,and we'vebeenlike a steelrod in the centerofit all.l'm still the samecat I always was.I don't get all caughtup in that rock star shit. I don't sit at home.I go out. I'll hangout with whoever,whereverand whenever,and probablydrink them underthe table,ifI can. Ifl can't,then I'll havethem drive mehome. Unfoftunately, Pantera'ssubsequentOzzfest tour appearance in supportofleinventingthe Steelturnedouttobe the band'slast.Relations betweenAnselmoandDimebagandVinnie hadquicklygonesouthoncethe bandreturned home,andthe singerexpressed his ittent to work with his numeroussideprojects,like SuperjointRitualandDown-Dimebagand Vinniehadno choicebut to letAnselmopursue hismu\e,burby 2003.rheywererircJofpuning their own creativeurges on infinitehold.tn the March2003issueofcaifdr lyorl4 the coverof which featuredDimebagandclosefiiend Zakk a wylde, Daffell madethe announcement that Panterahadbrokenup.(RexBrown decidedto followAnselmoandwork with lown.) In the following March issue,in a Gw cover ; story interview conductedby longtimefriend
Nick Bowcott, Dimebag irtroduced his and Vinnie's new band, Damageplan. He also opened up about the problerns that led to Pantera's demise. "I don't like to irave to go into this at all, but I'm gonna step up to the plate ,nd tell fte truth," Dinebagconfessed."I finr ybelieve that Pantera fans desene an honest answer about what went down and broke this rhing apart. Thelve been awesome to us, and I want to let them klow first and foremost that me and my brother nerer" let them down. We're embarrassed about what happened, but we had no control over it. We tried every goddafined angle we could to m r k e r h i n g sr i g h r .b u ' w e c o u l J n r . t t c r u s h e L the shit out of us and took two prime years out of our cai:eeIs, but at this point iCs totally out of our hands so we've accepted it and rnoved on. "The main reasonVinnie and me wait€d around for so long and tried so hard to male it work was becausewe wanted to do Pantel a forever. We were the heart and soul ofthat band, and it meant everything to us. We honestly thought we were going to be the RollingStones of hea\,y metal. Then I got the tim€ to sit back, look at the band, reflect on it and go'Damn, iook what it's headed for!' Sometimes,when you're drivingl50 miles an hour, you don't have time to seethe wall ].ou're aboutto smash into." Damageplan's debut album, New Found
Poper, didn't sell aswell asPanterareleases, but Dimebagenjoyedhis new creativeoutlet. He was enthusiasticand excitedaboutthe numerousopportlrnitiesthat seemedto reach out to him from around everycorner. He renewedhis rclationshipwith Deanguitars, which he originally endorsedup until 1994, and was at work on new guitar designswith Dean."SeeingDimeonstagewith a Dean in his handsagainbroughrbackfeelingsI thought were goneforever,"saysZelinsk,. DimebagalsostartedusingKrank amplifierc,and his new rigmade him anxious to get backin the studioto recordthe second Damageplanalbum."I plug straightinto the Krank and let it blaze,"he said."This amp puts the funback into playingfor me." In earlyDecember, havingfinished a coheadliningtourwith Shadowsfall, Damageplanwere making their way back to Texas,where they planned to start recording new tracks.A handfulofshowshadbeen bookedfor the routehome,includinga DecemberSdateat the AlrosaVilla,a nightclub in a seedyareaofColumbus, Ohio.On the night of the gig, asDamageplanlaunchedinto the first songof their performance,2s-year-old Nathan Caleclimbedonto the stagebmndishinga9mm handgunandmurderedDimebagDarrellbefore hundredsof fansandhis stunnedbandmates. Immersedin his performance,Dimebag perhapsneversawthe fate aboutto befall him. As sadand senseless ashis murder waq Dimebag leli this earth doing the onething that gave him the mostjoy: plalng his guitar to a crowd olpeoplewho appreciared hir remarkable gift and loved him for the unique,loving aad giving individualhe was.He diedwith hisbootson, asdid somany other hell-raisingcowboyswho plied their art in the untamedwild. Dimebag Darrell wasthe original cowboyliom hell. There will neverbe anotherlike hirn I "All ofus hit a point in life wherewe need resurrecting, and it's up to you to makeit happen,straightenthingsout and letgo ofthe thingsthat arefuckedup. WhereI sit,man,I' neverquit I loyemusicanilI lovethefans too much.SoI put on m! badassshoes aniLstdrted /riclringasswith rfirsband.It's beena IoLof hard work to crawl out of the hole, and it hasn't beeneasy,but dt thispoint I\'e gotm! fdmily, my brotherhood, m! musicand d crushingnew band.t've goteverythingbackthat wds taken ftom me, anil I'm in a goodfucking place. what wasonced misefablenightmarehasbloomed into o verysNeet,comfortable place.Ament" DimebagDarrell, Gljitar rr'r'orld,,March 2004
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dlrm N SEPTEIEER l,lE7O, the day beforehe playedhis lastevergig, U.K. musicpaperMelodyMdl.er publishedan interviewwith Jimi Hendrix. "It's all turned full circle,"Jimi told intewiewer RoyHollingworth,"I'mback right now to where I started.I've giventhis era of musicever)'thing.I still soundthe same,my music'sstill the same,and I can't think of an)'thingnewto addto it in its presentstate... when rhe lasrAmericantour finishedearlier this year,I just wantedto go awayawhile and forgeteverlthing.I wantedtojust do recording, and seeif I could write something.Then I startedthinking.Thinking aboutthe future. Thinkingthat this era ofmusic-sparked off by the Beatles had cometo an end..." The Intcrviewhadtakenplacesomedays earlier, on August 29, the daybefore Jimi played the Isle ofwight festival,an appeaiance that marked the first day of a week of intensivetouring. o\,.erthe next sevendays,Hendrix, bassist Billy CoxanddrummerMitch Mitchellwould playsix majorgigsin threecountriesacross Europe.Theywouldhaveplayedothers,too, buLthe rour wa. cut shon duero concernsfor the healthofCox: on September l, someone had spikedhisdrink with LSD;morethanoneweek later,he wasstill paranoidard exhausted. on September9, thetourwas cancelled, andCox returnedto the states. Liltle did they realizeatthe time, but they'd alreadyplayedtheir lastgig together.
September6 for his last live perforrnance. Ffomhispositiononstage. U.K.srudentturned-stagehand David Butcherwas relatively shelteredfrom the chaos.Buthe knew somethingwas\rrong. "on the secondday, this Englishguy who was managerofone of the otherbandsdecidedto pullout," Butcher recalls."The HellsAngelswere causingso rnuchtrouble.Theywere ransackingthe office and giving free tickets to everybody. They weren't in chargeofsecurity,but baslcally,theykind oftook over and therewasa lot of trouble,includinggllnfire. Machine-gun fire. For awhile afterwardI wonderedif we'd imaginedit-but it wasreal." "Thank you very much.And peaceanil happiness andall theothergoodshit." -Jimi Hend x's lastwords at the Isle of wight Festival,August30, 1970.
David Butcher's road to lehmarn was a happy one.A studentat KeeieUniversity,where associalsecretaryof the studentunionhe was responsible for boohingbands, he wasalsoa Hendrix nut. "I'd beena hugefan,right fiom the firsttime I heard'Hey Joe.'when I was at university, ,lectric ,ddyland cameout, ald Ijustused tolisten to iteveryday.l still think that voodoo Child'-the longversionwith steviewinwood andJackCassady-isoneof the mostamazing piecesofrock musicever." ln the summer of 1970,David and his friend DavePhilip traveled to Diisseldorf,where fehmarn.offthe coaorofnorrhernCermanyin Philip'sfatherwasstationedin the army.with the BalticSea,wasintendedtobe the European Dave'sparentsaway,the two madefull useof answerto Woodstock.Instead,itturned into a the houseandthe cime..ave werejust hanging dot. overun by a cerman bikergang,battered out there,getting herbally enhanced,and one from bystorms,andpJaguedbycancellations daywe sawa posterfor this festivalin trehmarn. We didn't haveany money,sowe sat down at big-nameactslike Eme$on,LakeandPalmer, the festivalwasdescendingintochaos,violence this R?ewriter and we concoctedthis letter to al1darsonbythe time Hendrix got thereon the festivalorganizers sayingthatwe were pas-
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sionateaboutmusic which was true-and that we were doing a thesis on music asa unifuing force and visiting loadsof festivals..." The organizersfell for it. A few dayslater, a coupleofbackstagepassesarrivedin the post.The rwo _gotour backpacksrogetherhis father had a coupleof armysleepingbags which were of tremendousquality and we hitchhikedallthewayup to Fehmarn.we got rhereLhenightbefore.on thethird ofSeptember.we were absolutelyexhausted.Itwas really cold and we! andwe'd beenhitchhiking for a day and half, andwejust found a spot on the grassto lie down,got into thesesleeping bagsand crashedout. "In the morningwe woke up, and we were surroundedby carslwe'd crashedout inwhat wasthe middleofthe car park areaand during the night and morning,hundredsofcars had "
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Jimi'sjourneyto trehmarnhadn't been filledwith asmuchgoodfortune.Hendrix hadn'twantedto cometo Europeinthe first place,but managerMichaelJeffery had convincedhim that his new Electric Lady studios, in New York city's GreenwichVillage,needed an injectionofcash.The answerwas a short tour that beganat the Isle ofWightfestival
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and continuedin Denmark.Swedenand Germany.Hendrix arrivedin Londonon August 27 and conducteda stringof inteniews before heading to the organized chaosthat was the Isle of wight and probably the largest single audienceofhis career.Around halfa million peoplewitnessedhim strugglingwith technF
the promoter-Jimi got his revengeby plaing for 110minutes. "This songis dedicatedto all the girls who get laid," he said before the final track, 'troxey Lady,'evidentlyenjoyinghimself."A11the little girls backtherewith thoselittleyellow, orange,pink and turquoise panties that they
'l'ilil[TS|lR[ 0t[.', il.till|tT0Bt28YTA]IS cal problems(the ampswere pickingup radio signals),the effects of a cold, exhaustion (the banddidn't appearonstageuntil2 A.M.on Monday 3l) and whatever combination of drugsand alcoholhe wasjugglingat the time. Lessthan 24 hourslater,the bandwas playparkin Sloclholm, inga gigal an amusement Sweden,where Jimi insultedthe audiencefor callingoutfor the hits ('Fuckyou, fuckyoul Comeup and playguitarl') and appearing wea4 *ith Lhewholeprocess C Ah.letme tunemy guirarchereagain.Oh.w hatthe hell, you don'twant to know...").The Swedishpromoter had allegedlydemandedthat Hendnx play for no morethan an hour sothatthe audiencecould usethe nearbyfun fair, claiming thathe'd makemore moneyiiom the fair than the gig.Justifiablyoffended-and apparently leaving the stageat one point to a.gue with 32 GUITAR LECENDS
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Leepthrowing on the stage:It's closeto Mother's Day. Anybody that wanna be a mother, comebackstage," The next day, the band-billed everywhere asthe Jimi Hendrix Experience,despite Hendrix'songoingattemptsto haveitbilled otherwise-taveled to Gothenburg for an outdoor gig. During the day he gave an interview to a Swedishnewspaperthat asked him about a contdbution he had made to the Martin Luther King Memoriallund. "Would you rather I gaveit to the Ku Klux Klan?" he responded. "In the U.S.A.,you haveto decide which sideyou'reon.You'reeithera rebelor ques likeFrankSinana.'wirh hisidealism tioned by the establishment,and his commitment questionedby his audiences, Hendrix felt exhausted."I'm tired oflyingdown, andI feel mentally hollowed," he told the inteFiewer.
lfrhe giglhal nighrwasbetrerthanthepre viousone,it still wasn'tenoughtoimpressa visitingChasChandler,the man who had managedHendrixto stardombutparted\rays with him the yearbefore."He waswrecked,"Chandler said. "He'd stalt a song,get into the solo section and then he wouldn't even remember what songthey were playingat the time. Itwas really a*'ful to watch." It was at a party after the gigthat Billy cox's drink wasspiked.The bassplayerexperienceda nightmarishbadtlip that,combinedwith the stressofa busyschedule,puthimclose to a nervousbreahdown. The whole camp was at the end of its tether. "I'm not sureI'11liveto be 28 yearsold," Hendrix told an interviewer the next day. "I mean, at the moment I feel I have nothing more to givemusically.I will not be aroundon this planetanymore,unlessI havea wife and children-otherwise I've got nothing to live for " with Hendrix in the grip ofa feverishcold, the bandplayedin tuhus, Denmark,that night. Three numbersinto the set,Hendrix leftthe stage.He had onlyever stoppeda gig once before at the last Band of cypsys performanceat MadisonSquareGardenin Januarythat year.A grrlfTiend,Kirsten Nefer, ; recalledthat when shemet Hendrix earlier the day ofthe Arhus show,he was "staggering" and "actingin a funny way," tellingher, "I 6 don'twantyou to seeme likethis." Nefer says ; thatJimiwas unableto eventune his guitar beforegoingonstage.Helpedonto the stageby
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r n a d i e s .h c \ r s e . c o f L e do f f a g a i n m i n u t e s l a F e r a s M i r c h M i t c h e l l c o v e r e dh i s e x i t b y p l a y i n g a l o n g d r u m s o l o .B a c k s t a g et,h e v e n u e , s manager, Otto Fewser, claimed that.Hendrx collapsed into my arms and we sathim up on a chtrir. He was cold-cold fever-then they asked for cocaine. 'We have not cocaine,, I say_ Hendrix could not play more." The gigcancelled, Hendrix headed back to his hotel, where he spoke once again to Anne Bjorndal, a joumalistwho had irteFiewed him earlier. "I love reading fairytales," he told her. "Hans Christian Andersen and Winnie the Pooh. fairy tales are fulI of fantasy and they appea] to your imagination.I never play a song the same twice I can't play somethrng that I do not feel and that I can't put my soul into." Bjorndal claims that Jimi then sta.ted crawling around, "actingout" Winnie the Pooh. "Winnie the Pooh is searching,', she quoted him as saying. "Ifs winter and the tracks are easy to follow and, oh, now the seasons have changed.I've lost the track...,' fIIERVfEWERIlow do Jou get your inspirdtion? Jt,lltt E DRtxPdrdon, sdy if dgdin? f TIRVfEWET IJow do you getlour inspiration? hE oRlx From thepeople. August 30, lsle of wight Very early on the morning ofSeptember 3 , \ 4 i t c h M i r c h e l l g o r i p h o n e c a l l r e l l i n gh i m that his wife had given birth to a baby girl. Mitchell charterrd ; flighr brck ro Londor
takingBilly Cox with hin1.Later that day, After a strongperformancein Berlin,the he metup with Hendrix in Copenhagen for bandflewto Hamburg,then caughta train a blisteringgigat the city'sKB Hallen hall. to Grossenbrode in the north.On the train, Overthe worst ofhis cold,Hendrix had spent J i m ;w a n r e tdo l i ed o \ n , s o h e b r o k e i n r o a rhedry with Neferat her pafenrshoure(lhe lockedsleepercar."The guardfrealed out and Danishpresswere alreadyrepoftingtheir stoppedthe train and threatenedto throw us "engagement"), and he hit the stageapparent- off," tour managerCerry Stickellsrecalts.The ly invigorated.In a review ofthe concert,Dan- situationwassmoothedover,and theband ish newspaperPolitiftenraved:"Jimi wastired anived onfehmrrn on the Saturdayafternoon. and ill in Arhus,butwas so high in Copenha, "We got theremid afternoon,"saidMitch genthat rhiswasrrueenergy, rrueadrenaline Mitchell,"andwere supposedto be on at eight. whichran throughhis fingers. throughrhe By aboutsix we heardthis wind, andthen it guitar and into all ofus...As a warrior oflove turnedinto agale.We knewbythen therewere he stooddressedin many colorsandwasthe otherproblemsaswell. The usualequipment bestguitaristrock androll musiccanoffer.,' trouble,plusHellsAngelswithguns." The followingmorningHendrix had a fallPromotersChristianBerthold,Helmut ingout with Nefer,who flewback to a film she Ferdinand andTimm Sierershadrimedrheir was workingon in London.Theband flew on eventto coincidewith the Isle of Wight Festito Berlin to perform atthe SuperConcert'70, val.They did so hopingto attractsomeofthe ar indoorfesri!alar (heciry'sDeutschland major actspedorming at Isle of Wight, includ, hallewith ProcolHarum, Ten YearsAfter, ingHendrix, who was then atthe heightofhis CannedHeat and others.Interviewedby popularityin Germanyafter his appearance AmericantrorcesNetwork radiobefor€the in the woodstoct movie-But the promoters gig,he wasaskedifhe thought therewould hadn'tcolrntedon someofthe sameelemenrs everbea festivalassuccessfulasWoodstock. that had disruptedthe U.K. festivaispilling 't "well. I donl kno$. he replied. I s preny over into theirs:rogu€bikers,overcrowdjng,bad weatherand a load ofcanceilations hard for this soundto getto all thosepeopl€ in suchabigcrowd.Like,if we hadsmaller that souredthe Love + Peaceattitudeofthe crowdsyou canreallygetnext to 'em more,you 30,000-strongcrowd. know?"How did he feelaboutplayingin front "Ifyou think the Isle of wight was a mess, of400,000people?"Well, that'swhat I mean,,, you shouldhavebeento Fehmarn,"comments he said."It'sjust too big you know?you know trord Crull. Now a NewYork basedartist, Crull was 17at the time and had heardabout ]'ou'renot gettingthroughto all of them...,'
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Fehnarn while at the Isle of wight. "I was on my way to S\(.edento meet a girl I'd met," he says. En route, he took a detour ard hooked up with British folk rockers Fotheringay (featuringpopular English singer sandy Denny u'ho in l97l sangon Led Zeppelin's "Battle of Evermore"). Soon after, Clull found hirnself hired as a stage hand and enjoyinga bill that i n c l u d e d t h e F a c e s ,S l y & t h e F a m i l y S l o n e , Crctus, Procol Harum, Ginger Baker's Air "Fehnarn had agood lineup,but itwasjust chaos," Crullsays today. "sandy Denny kept gerting an electric shock fiom the mic. Whocver built the stagewas an idiot. Thereweregales, so the seajust keptblowingonstage. The whole placewaswet, and so she kept getting shocks." Crull remembers another potentially dan gerous experieice as he accompanied Rod stewart and the stage mana€ierover to the business office to collect their payncrt. "They just had suitcascs packed with cash to give the bands in American dollars, too," he sa,vs."we had to walk back through everyone with these casesprcked with I don't know how many thousands ofdollars. l'm sure ifthe bikcrs had knorvn, they would have storned the office." (That wasn't the only excess.BacL in the Faces camp, Clull pulled out lis bag ofgTass.The Faces pulled out theirs. "I had en ounce," he chuckles. "They nust have had a pound.") David Sutcher had alsobeen hired asstag€ hand. "One ofthe managersof a number ofthc English bards had paid us to be stagehands,"he
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says. "ell r-e had to do was help the roadies and nale sure there weren't too many hrngers on It *,as one of those revolving stages,so the chal lenge w.Lswhen the guys came up and got on to dre backstage bit they needed piece and quiet and spaceso they could tune up. So the job was lit€rally just keeping people away,getting drinks... "\ e uere geringprrdrhrcquiralentofrtz a day ldbour$iso roddy], includingfood and wine, so this being 1970,we were doing pretq,' welll On day two ofthe festival, this guy who'd employed us appcared in the late afternoon. He had a huge \a ad ofcerman marks and he seid,'Listen you guys, I've got the cash for the bands that have played.I've got a couple of b r r d . t h . r rr r e d u c r o p l r l I r e r ' .b u t I m t a l i n g them hone'cause this thing is fallingapart. The Angels are just ruiningthe whole thing. T h e c a s hi s n ' t t h e r e . I ' m o u t t a h c r e . ' "Hc said, 'what are you glys doing? Are you staying on?' I said,'Yeab,I'm stlyingon 'well, that's up to becauseofHendrix.'He says, you. My advice is dor't sta,v,becauseit's getting dang€rous. But ifyou're staying, you can take over,l)o you want to be slage manager?'so I srid ves, and he got outhis stage managerpass and snrck it on rne.Alrd thatwas that. We'd g o r r . f r o m n o * h e r ' et o g e r l i r g l r e e p r e . . l r ' \ p s , then backstagepasses,thelr all ofa sudden I u'as stagemanagcr. Whatever that neant." Hendrjx was due to take the stage at 8 p.M., b u t w h e n G e r r y S t i ck e l l s v i s i t e d t h e s i t e ,a Force 5 gale (an average ofnbout 21nr.p.h.) and torrential rain convinccd him that it
wouldbc a big mistake. Instead, Jimi stayed \r'here he was in the Hotel Dania in Puttgar d e n o n t h e n o r t h o f t h e i s l a D d .T h e h o t a l w a s home to most ofthe musicians appearing at th€ festival, and its bar was drunk dry. David Butcher ended up there, too. "My memory's hazy, for liood reason, but appar ently jtwas the hotel where all the musicians wele staying, and we landed up in this bedr o o m . a n d ( h e r e w e r e p e o p l ee v e r y $ h r n . i u " t crashed our. AlviD L€e ofTen Years Alier was in there. Someone had a pair ofbongos and there was lots ofmarijuana goin€i around.I just remember feelingvery mellow, and Alvin Lee was strumn]in€i away, and someone wes p h l i n g I ' o n g n s .r n d s o m r o n e s a 5 s i n g i n g . Ard wejust fell asleep where u'e were." Bill,v Cox wasn't havingnear-ly as good a r i m e o i i r ." B i l l I h r d k i r d o l a b r e e l d o w n . Gerr]' Stickles told Tony Brown for his 1997 bool. fhc Fiadl Dd-vsotimi H.ndril rpub lished by omnibus, but now outofprint). "It was part ofmyjob to nulse hin through it, r o 8 e r r h e d r l ( u \ r | $ i l n . g u , 1 ' , "1 ' 6 . . e v e r e l y paranoid ofwhat was goingon,l'ou knor,r,. Thjs *,hole thingwns goilgto collapse and e\.efybody \,r,asgoingto be killed and God knou.s what else. I had !o sit on the side ofthe stage and stuiflike that, so hc could see e all rhe time. Everybodywas feelingbad at that tinc- when somebody's like rhat, it penneatcs through the \l,hole thing. Butthis was the last sho\r.- 'let's j ust do it, get it ovcru.ith and get out ofherc' and that's what happened."
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one more responsibility."The guy who was "I'm tired. N ot physically. Mentally. I'm going controllingthe soundtook abreak,so I was to grow my hdif back, it's somethingto hide sort ofdelegatedto look afterthe soundbehind.No,not to hide.I thinkI m6ygrow but hopefullyjuststandthere and not do any it long becausemy daddy usedto cut it like a thing,'causeI didn't understandfhowto l{,orfr skinnedchicken." }1endxix, The (London) the mixing deskl. Iimes, September5, 1970 "He was halfway through'All Alongthe The following morning,the bandarrived warchrower'u henhe lookedroundat ms. at the festivalby 1l A.M.,havingbeenresched- He's doingthis great solo,and then he does uled for midday.No soonerhad they got there that amazingthing where he stopsplaying than Stickellswas hit on the headby a ptank with his left hand-he's just got his right ofwood with six-inch nails in it. Considerhand on the frets and the solo is magically ing the tensions,the bandposedfor cerman contiluing, you know and I'n,Isort of mesphotographercernot Piltz, Jimi evenrolling aroundandlaughingonrhegrassbacksrage. "Maybethat wasbeforehe realizedthe situ,,WhenI ation there,"trord Crull suggests. sawthem,Jimi and Mitchell and Cox weren't eventalLingto eachother.And he and Mitchell were so skinny.Mitchell's legswere as thin asmy arms." Itwas David Butcher'sjob to makesure that the band\rere takencare oi "I didn,t reallypick up on the rurmoiltharwasobt i ouslygoingon," Butcher says."He seemed pretty relaxed.He was probablystoneda bit beforehe arrived.There was one or two joints being passedaround.Hendrix was a very friendly, gentleguy, so laid back and selrsitive.They had one or two caravansat the backwhere the starsstayedfor the hour merizedby this when I realizehe's looking or sobefore theywent on. We madesure he at me. He's walkingtoward me and he's saywas okay and settledin the caravan,then we ing More drums.man. SorhereI am.trying went back to the stageand madesure the to find the right fader.Itwas a wonderful roadieshad everythingtheyneeded.Later, momentbecauseI did acruall)find the righr he cameout ofthe caravanand camebackleversandjust movedthem up a bit and he stageand then we kept everyoneawayso that kind ofsmiled and winked, so I obviouslydid he could tune up and practice." the right thing." Butcher seizedthe opportunity to introduce Fromthere itwas "HeyJoe," "Hey Baby himselfas socialsecretaryfor KeeleUniversity (New RisingSun),""Messageto Love" and and askJimi ifhe'd comea.ndplay there."Sure"FoxeyLady."As theband playedthe next talk to Gerry Stickellsaboutit " Hendrix said. number,"RedHouse,"the weatherturned At around one o'clock in the afternoo+ again.Umbrellaswent up andpeoptehuddled lhe Experiencelook to the sLage to boos undertarpaulins. Jimi laughedandimproand jeers and shoutsof "Ildu abl" (German visedlyrics:"Yeah,welt I got a bad,bad feelfor "Go home" or "Get lost"). The "official ing," he sang,and then laughed.'Yeah,the bootleg''releasefrom ExperienceHendrix,s weatheris telling you something." DaggerRecordsimprint, Live dt the Isle of "Itwas cold and itwas raining,with avery I€ftmdrn, presentswhat happensrext. Jimi cold wind," Butcherrecalls."The rain was takesthe taunting in his stride, beingfirst comingin,andhe wassranding there.risling gracious("Peaceanyway,peace,"are his beingelectrocutedbutjust carryingon,you first words), then comicallyjoining in with kno\ ? Hedidn\ movebackfromrhefronthe booing,before confronting the crowd. ofthe srage: he jusrcarriedon. k \ asquire A rare video clip ofthe festival on YouTube amazing,really." showsJim i walkingto rhe mic,armsourBut the troublewasn'tover."From myposF stretched:"I don't give a fuck ifyou boo," tion onstageI could seefightsbreakingoutas he shrugs,"as long asyou boo in tune, you Jimi approachedthe end of his se!,' Butcher mother..."The booing ceases,and Hendrlx says."I'm sureJimi sawthem,too, but he was introducesthe band before carrying on: powerlessto do anythingaboutit." "We'd like to play somemusic for you and, The lasttwo songsHendrix everplayed er, we hope you can dig it. Becausewe,re live were "PurpleHaze" and a suitablystormy sorry we couldn't come on last night, but it,s versionof"Voodoo Child (SlightReturn)." just unbearable,man.We couldn't makeit Fittingly-coincidentally,ironically-the final together like that, you know." linesofthe songandthe lastlyrics Hendrix trromthere,the bandlaunchinto Howlin, would singin public are asfollows:',IfI don,t WolPs "Killing I loor," the samesongwith seeyouno more in this world/I'llmeet you tn which the JimiHendrix Experienceopened the next one,and don't be late,don't be late." their first-evergig,on October18,1966, in par"Thankyou! coodbyelPeace!"Hendrix is.The songends,andthe crowd cheers,clearly shouted.DavidButcherescortedtheband wonover.Thenir'! on to'SpanishCastleMag- membersdownthewoodenstepsat the back ic," followed by "A11Along the watchtower.,, ofthe stage,andthey got in a helicopterbound David Butcherwasstandingatthe sideof for Hamburg. BuLcher decidedir wasrimefor the stage,watchingit all, when he wasgiven him to leave,too."We weren'|texpectingto
be paid anlthing for the final day, so we were gone.We had agoodsupplyofmarijuana.All this stuff wason sale.Theyhad guysfrom Holland out in the crowd, with everything set out on a table,clearlylabeled:'Whateveryou wanna try, try.'Therewere no policeat all.I supposethe fact that it wason an island,theyjust thought,Let them get on with it. By the time we left, the Angels were rampaging the stage, justtearingeveD,1hingdown. I m not!ure why.TheywerejusrdiimanrlingeverFhing.' trord Crullwas inthe thick ofit. He andone of Fotheringay'sroadiescommandeered a van andpiled the bard's gearinside."The bikers realizedthey weren'tgonnaget paid and they were running amok.When the rioting started, rhe Cermanpoliceappeared.and a gun fight brokeout. Ourvan had the windows smashed, and I helpedthe roadieby holdingup a tarpaulin sohe could seewhile the rainscamebiasring in. When we got to the hotelwhere the bandwasstaying,IrememberSandyDenny giving me a big kiss for saving their stuff, and they offeredme ajob. Shewasa real angel." As Hendrix left the site,a cerman anarchist rock bandcalledTon SteineScherber took to the stage.Infamousin cermany for songslike "Keine Macht Fiir Niemand"(,,No Powerfor No One') and "Macht KaputtWas Euch Kaputt Macht" ("DestroyWltat Destroys You"), the bandaddedto their infamywhen the stagewentup in flames.To somein the audience,itlooled like Ton SteineScherb€n had lit the match,somethingthatgavethem evenmore undergroundcredibility. The era ofLove + Peacewas truly at an end. Lessthan two weekslater,on September18, and two monthsshort of his 28th birthday, Jimi Hendrix was dead. Backin London,aweek or so after the fes, tival,David Butcherwas"sittingin an agenfs office somewherein Kensington."He told the guy abouttheconversationhe'd had with Jimi aboutplayingat Keele."It wasn'tHendrix's agent,"Butchersays,"but thisguywas saying how he could liaisewith Jimi's agentand makeit happen.And it wasatthat moment that the door openedand the secretarywalked in, in tears,tellingus that he'd died." Ifthe chaosofthe precedingweeksmaLe his deathseemalmostinevitable,Hendrix himselfwas reportedlymakingplansiFord Crull saysa friend ofhis witnessedJimi and MilesDavisbacksrage ar tsleofwighr.discussingthe possibilityof recordingtogether. He wasalsofindingcauseto remainoptimistic. "Somethingnew hasgot to come,"Hendrix had told MelodyMaker,just daysbefore,,'and Jimi Hendrix will be there.I want a bigband. I don't meanthree harpsand 14violins-I meana big bandfulIofcompetent musicians that I can conductand write for. And witl the musicwe will paint picturesofEarth and space,so that the listenercanbe taken somewhere.It's goingto be somethingthat witl openup a new sensein people,sminds.They are gettingtheir minds readynow. Like m,, they are goingbackhome,gettingfat and makingthemselvesreadyfor the next trip.', i)
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Thdnksto David Butcher and Ford Crull. Many ofthe quotesusedin thispiecewerecollecteilin lonyBrownt The Last Daysof Jimi Hendnx.
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ON MARCH r, 1994, NIRVANA Pl-A\aEDTHEIR LAST SHOW BEFORE KURT COBAIN'S UNTIMELY DEATH. GUITAR LEGENDSPRESENTSAN INSIDE LOOK AT THE BAND'S FINAL PERFORMANCE. BY CHARLES R. CROSS
6nrm I F THERE WAS a beginningol rheend of I Kurr cobains shon li[e.rhatfrnalchaprer I mostcertainlybeganin FebruaryI994. I Nirvanawere touring Europe,promoting their 1993album, In Ute,"o,and trying to plan the restoftheir tour schedulefor the summer. Though Kurt had reluctantly agreedto do the Europeanleg ofthe tour, he beganthe tlip with the motivationthat he waspromotinga recordhe wasproud of The first few shows o{the tour had beenteffific, even ifKurt was alreadycomplainingof a sorethroat.Problems with his throat necessitatedthree visits to doctors in the frrst week. In truth, the larger health crisis was that he had difficulty finding drugsin Europe,and that had souredhis mood and affected his health. Cobain'swithdrawal was bad enough that he was forced to take prescdptiondrugsto help him cope. rJuirn Farrson FeDruar)rJ.uoDarns ryprcal melancholyrnoodturnedinto something that in retrospectwas a harbinger ofdoom. The bandagreedro do a photosessionor. its off day with a photographerthey had known for years,Youri Lenquette.cobain consideredLenquettea friend, which is why he had agreedto the sessionat a poilt ill his careerwhere he rarely did promotional work. It was no surprisethat Kurt refused to smile duringthe session,but when he found a BB gun in Lenquette'sstudio,the gun turned into the focal point ofthe sitting. Lenquette later recalledtryingto convince Kurt to put the gun down, but Kurt insisted that it be included in the photos.The gun looked remarkablylike a firearm, but it was merely somethingLenquettekept in his studio as a prop and as a sort ofjoke. To the photographerand the other two membersofNirvana, cobain's fascinationwith the pistol was anlthing but humorous.He kept plalng with the gun, put it to his temple and
mimed pullingthe trigger. He completedthe act by pretending his headwas reactingto the bullet. It was suggestedagainthat Kurt put the gun down, but he ignored that plea and insistedthat Lenquettetale a photograph.For Lenquetteit was a diffrcult situation: he had the most famous rock star in the world posingouhageously,but rheposesseemedin badtaste.Still.Lhephotographer kept shooting.In one picture taken that day,Kurt insertedthe barrel of the pistol into his mouth. The pictures were widely published after his death.
thiq: not his health, band or the public image he had once valued so dearly. Kundidn\ pull anyreal triggerslhar day in Pads,but asthe tour \i'ound through Europe, he beganan almost daily ritual ofvisiting a doctor in whatever town the band was passing through.He complainedofstomachproblems, backproblemsand throat pain,but mostofhis ailmentswere due to drug withdrawal. Much of Europeviewed drug addiction compassionatelyasa sickness, in contrastto the United States,where it was considereda moral failing. Many European doctors would prescribe opiatesin pill form to help addicts suffering from withdrawals. Still, finding a physician so inclinedwasa hit-or-missproposition,pafticularly in citieswhere Nirvanahad nevertoured before.ln Barcelon4Kurt visitedonedoctor, and when that failed to produce the desired results,he visited another later in the sameday. In Paris,he visited one physician twice, the next day, in Rennes,he sawyet another. How many of Kurcs physical problems were related to his addiction and how may were separateissuescould neverbedetermined. By that point in his life, it was all intertwined. When he took the more illicit route and bought drugs on the sheets,he couldn't risk taking them acrossa border, so he was ableto use only enough to get over the day'swithdrawal. Itwasn't a matterof seekingeuphoria-drugs had long agofailed to give Kurt a high. It was simply a matter of staving off vomiting fever and the shales. on Iebruary 20, on a daythat sawthe band rraveling ro \4odena, ltalyfromSwilzerland Kurt turned 27.There waslittle celebration onthe tourbus. His manager,John Silva,gave Kurt a cartonof cigarettesasa present.Cobain jokedto rhecre\ thathismanagerwastrying to kill him, but consideringhisown health, cigaretteswere hardly his biggestworry.
OI|IJES l|AO IIIIG AEI IAIttO T[EIVI l(Ut|T A]|IE}|. IITilAS SIilPtY AIIATIIR [tsTAl|tl{Eltt'lmtl|ilE, ttlltfiAlt[ilttsl|Alffs. That Kurt cobainwould posewith a gun in his mouth-in front of a photographerwho worldwide is soldpicrureslo newsagencies indicative ofhow far things had gone down hill. Earlyin his career,Cobainwasa masterat controllingand manipulatinghisimage,even to shoothim fiom directingphotographers certain angles.cobain alwaysvamped it up for photo sessionsandhad beenphotographed with gunsbefore,buttheglotesquenatureof somethingbeyond the Pais photossuggested simplepunkrockcynicism-itreflected desperation,nihilism and a largerdeathwishthat was playingitselfout in everyaspectofKurt's life. He simplydidn't carean'nore aboutany-
GUITAR LEGENDS
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I eb rary 24 wasKurt and Courtney'ssecond anniversary,but theywere not togeth€r-Kurt put offany celebrating he had plannedthat for later in the month when they were together-andplayed a show in Milan, whichwas issuedasabootleg.Itmay haverepresented the la$ aecent N irvana show, asthe group tore through22 songsover 90 minutes.Kurt wasclearlystrugglingwith his voice,but the punk part ofNirvana'ssoundwasstill strong, and the crowd loved them. By the next night, alsoin Milan, Kurfs dark He met moodbecame increasingly desperate. with Krist Novoselicand told him that he needed to quit the tour. "He gaveme somebullshlt absurdreasonfor why he wanted to blow it off" Novoselicrecalled.Though Kuds voice had beenhis main physicalcomplaint in Europe,he now addedthe familiar complaint of stomach painsto his litanyof medicalconditions.Kdst was havingnoneof it; he reminded Kurt of the hugefinancial obligation the bandwould haveif they called the tour off. Kurt agrcedto continue with the tour, if only to male it through the next datewhich would take them to Slovenia,where Novoselichad relatives. Therewere neither streetdrugsnor easily swayedphysiciansto be found in Slovenia,and while Novoselicand Grohl exploredthe counuy, Kun sra)ed in hisroomfor rhleedays,bouncing offthe walls.He was miserable,andhe continuedto talkofendingthe lour. \ hile irrslorenia" Novoselicwas readingone Da! in theLife oflvan Denisovich,byAlexander Solzhenits]'n,describing aprisoneis life in a Sovietprison camp.Kurt askedIkist aboutthe plot of the book,andwhen heheardSolzhenitsl.n'sdescriptionofthe camp, le remarked,"God,and lr€nisorrch] wants to live!why wouldyoutly to live?' on March 1,1994,Nirvanarolled into Germany,where they had three consecutive shoMs schedLrled beforea one-weekbreal The attitudeamongthe crew andbandwas to tough it out for theseshowsandthen enjoythe upcomingtimeoff to vacationand regroup.while in Slovenia,Kurt had called abandmeetingand againsaidhe wantedto cancelthe restof the tour. He'd beeninformed that rhebanddid norhavecancellation insurance,soto pull the plugat this pointwould result in a hugefinancialpenalty."So,ifsomebody died,we'd still haveto do the shows?" Kurt asked.He wasinformedthat deathwas the only acceptablereasonfor acancellation. The MarchI Munichshowwasheldin Terminal Einz, a lv!\lll-era airylane hangerthat wasnow beingusedasa concertvenue.Not muchremodelinghad beendoneto the facility. that It wascoldanddampandhadacoustics were horrid for abalrdwith boomysoundlike Nirvana.Kurt hatedthe look ofthe placeand cursedthe fact that his careerhad progressedto the point where Nirvanawere plafng arrylane hangers,though part of the reasonfor this was their hugefar base,which wastoo largeand venues, rowdy{or mostEuropeanopera-house At the soundcheckthat afternoon,Kurt a"kcdhi" rourmanager foranad\ance on his pe. diem.After collectinghis money,he said, "I'llbe backfor the show."Somein the crew were surprisedto hear that he was leavingthe facility conside ng that, momentsearlier, he hadbeencomplainingoffeelingsoillthat he 38CUITARLECENDS
couldn'tstandup or playthe concert."l'm going to the tminstation,"he announced. Everyone in the creivandbandknewthat meanthe was lookingfor Munich'sdrugculture,not that j\e wasseekingtransportation. Hecemebaclbut onlyrighrbcfore"howrime.
His mood had not improved but instead oftuninghis instmments or preparing a setlist, he began calling people. He called Courhey, and they argued. He called his la\l,yer, Rosemarl' carroll, and in a completely uncharacteristic move, he called his s2-y€ar-old cousin Art Cobainbrck
a 5 !
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il1 Grays Harbor, in Washington State. Art was surprised to hear {iom his famous cousin; they hadn't talked in years. They made small talk, and Kurt complained about the circumstancesofhis life. "He was getting really fed up with his way of life," Afi later reported to People magazine. Afi invited Kuft to a Cobain fanily reunion later that year. Kurt said he'd be glad to come. Kuthad personally asked his childhood heroesthe Melvins to open these European dates,and when their set was over, Kurt went to lead singer Buzz Osborne'sdressingroom where he announced that he was ending the band, hrs mar:riage,his relationship with his managersand perhaps his whole concept of being in a band. "l .houldju.tbedoingIh'ssolo. heLoldOnborne. "In retrospect," Osborne surmised, "he was talking about his entire life." T e r m ; n a l L - i n zh e l d J , o 5 0 ,a r d t h e v e n u ( was filled to capacity for Nirvana's firstshow in Germany in three and ahalfyears. Few in the crowd would have Doticed, but fiom the openingnotes, Cobain looked half-dead, and his performance, which had been rote on much ofthe tout, was almost robotic. He began with acover of the Cars"'My Best Iriend's cirl," but even this tune was redone s o t h a l i r s o u n d e d. l u u e d d o w n a n d d r o n e like, as ifKurt had wanted to take any element ofpop out ofhis sound. Coguitarist Pat Smear later recalled that Kurt'svoice was indeed completely shot bythe Munich show.,'Kurr a n d I w e r e s u i f e r i n g f r o m b r o n c h i r i s .a n d h i \
restored did Kurt return to the stage.Without aword or a smile,he beganplaying"ComeAs You Are" onaeagain.The songsoundedeven morelifelessthis time.In total,the bandplayed 23 songsandendedwith "Heart-Shaped Box," the samesongthathad endedthe previous eightshows. The showdid norendwith n'umph,or any feelingofvictory itjustended. As Kurt walked offstagehe went directly to his agentDon Mullel who had flown in to mahesurethis showwent offwithout any problems."That'sit. Cancelthe next gig," Kurt saidwithoutemotionashewalkedto his dressingroom.No explanationwasgivenand nonewasneeded.Kurt hadbeenthreateningto cancelthe tour evenbefore it beg$, and for the entire month everyonein the crew had imaginedeachshow mighrbe the last.Novoselic, who knew Kurt better than anyone,had sensed for months that Kurds interest in leading Niryanahadpassed."The bandwasover," Novoseliclaterrecalled.On March 1,1994,the onlythingthatofficiallyendedwasthissingle legofthe fn UteroEuropeantour,but everyone knew that a larger story was coming to a close. Finally,in a drafq abardonedairplanehanger inMunich, in circumstances almostasdreary astheir genesis,Nirvanaended. Just a few dayslater in Rome,Kurttried to kill himselfbytaling three-dozenRohlpnol,a powerfultranquilizerthat is commonlyknown asthe "date rape" drug. He'd left a note that referencedShalespeare: "Like Hamlet,I have lo choose betweenlifeanddearh.I m choosing death."He wasrushedtoahospitalanddid not die,thoughseveralnewsreportsannounced that he had.NovoselicwasbackinSeattleand got a phone call ftom managementsayingI(urt wasdead.CNN ran a newsflashon Cobain's death,asdid awire servicenewsbulletin. voicebecamenoticeablymoretrashedwith Kurt cameout of a comathat aftemoonand everysong,"SmeartoldjournalistRasmus wasbackin Seattletwo dayslater. He spent Holmen."When we sangtogether,we sounded much ofthe next month on a heroin binge.His like catsfighting.His voicewassooooo gone, usagewassorecklessdrat evenhis drugbuddies but insteadof trying to conseNei! he seemed begantoshunhim, wonied rhathemightdiein to delightin pushingitto the'I won'tbe able their presence.When one warned Kurt that he to singfor days'limit.After awhile itwas a wasusingenoughdopeto kill himself accidentalbit much-"To Novoselicand Grohl,who had ly, Kurt replied that he intended to shoothimself beenon the roadwith Kurt for moreyears Severalinterventionswere attempted, than Snear,it wasobviousthat if the bandwas and finally on March 30, Kurt agreedto give goingto relf-desrrucr. it u ouldbe Kurl s doing. rehabanotherchance he hadtried four times The showitselfran23 songs,butlatersome before.He checkedinto the ExodusRecovery remarkedthat it felt doomed.The powerin the Centerin MarinaDel Rey,California,but left buildingwenrourju.t asKun beganro singrhe after lessthan 48 hours.On the flightback to fiIst line of"ComeAs YouAre,"the sixth song Seattle,he satnext to DuffMcKagan ofGuns of the set and it wasseveralminutesbeforethe N' Roses."I could tell he wasbumming," problemcouldbe fixed.This kind oftechnical McKaganrecalled.Duffoffered Kurt a ride problemhadhappenedfiequentlyto NiFana home,but Kurt splitbeforetheyconnected. duringtheir career,but neverin a cold,dra{ty Overthe next week Kurt went missing,and airplanehanger.Ratherthan waitfor the crew evenrually a policereporrwa5filedanda pri to fix the problem,Kurt walkedoff to his dress vateinvestigatorwashired to locatehim. He ingroom.I n somesmallco.m;c n^isr,Dave spentmuch of the time in seedymotelsusing Grchl'sfirst showwith Nirvanain 1990,in a drugs.Sometimeduringthe first weekofAp l, tinyOlympiaclubcalledthe NorthshoreSuIf moll likelyon April 5.hesnuckbackinrohis Club,had alsobeenplaguedby poweroutages. mansion,which wasnow emptyof family. That technicalproblem,inthe nascentearly On April 8, 1994,an electrician servicingthe daysofNirvana,had madethe showmore housediscovereda body in the greenhouse.It joyous,andthe bandplayedthroughthree was Kult He had killed himself with a shotgun, poweroutages. When the lightswentout, they leavinga long suicidenote next to him. He continuednonetheless, playingwith flashlights endedthe note by quoting Neil Young:"I don't shiningontheir face,asifto saythat evenelec- havethe passionan).rnoreand so remember,ids tricity wasnot goingto stopthem. better to burn out than to fade away.Peace,love, Backin Munich,onlyoncepowerwasfully empathy.Kurt Cobain."i
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ON MARCH r8, 1982,RANDYRHOADSPERFORMEDLI\,.E FORTHE FINALTIME. || | | || | | || | | | || | | || | | || | |I| | || | || | | |I| || | | || | |I| | || | |I| ||
By ArAN Dr PERNA
drr;rtD HEt{ OZZY OABOUFITES Diary of a Mddmdn toUJ hit Knoxville, Tennessee,on the night ofMarch 18,1982,nobody
knew that RandyRhoadswould be deadthe next day.Sothe metalguitaricon'slastgig occurredwithout anyspecialfanfar:e. It was just alother night on the road. "Ever sincethat night,I go onstagewith a different attitude,"saysRudy Sarzo,thebass ist in Ozzy'sbandatthe time.'Lou haveto go onstageeverynightliLe thereisno tomorrow. 'Cause ) ou reallydon t knowifrharwill bc the last time yolr'reevergoingto ptaywith your friend or whoeve/s in the band.Or ifit's gonnabeyour own last night playing." Rhoad.hadcatapulred ro fime quickly.fisingfiom L.A.hairbandobscuri$roa promi nentpositionwith Ozzyall in matterofa few shortyea$.Butby'82, stardomhad lostits appealto the idealisticyoungguitarist.For a well-broughtup youngLutheranboyfrom Burbank,California,life with rock'snumber-one alcoholicnutcasehadtaLenits emotionaltoll. Relationshad gIown strainedbetween Rhoads andOsboumewhen the guitaristrefused to play on an albumofBlack Sabbathcoversthat ozzy wasslatedto record.ThenRandyannounced that he was goingto leavethe band in order to sflrdyclassicalguitarat UCLA But he promised to playouthis commitmentto Ozzyandfilt all the tour datesthat hadbeenbooked. That's what he was doing in Knor-villeon the nightofthe l8th. "we hadjust retumedfiom a brealq"Sarzorecalls."we did Atlanta first,
: like that But it wasjust us goingup there and beingthe bestwe could be." The show endedasusual.with an encoreof "Paranoi4" during which raw meatwasdrou.n into the audience."And they, in turrf would throw it backat us while we were playing,"Salzo recalls."The whole stagewas full of raw meat.It wasthe most absurdsetofcircumstances." Knoxville being a small town, there were no celebrity guestsbackstage.After the show, the then anothershow,and then we went over to bandgotbackon the lour bus."l ll neverforger Knoxville. We were basicallyon a roll. The band it," Sarzosays.'nve were sitting in the fiont was alreadymakingits mark with the ,rd{y o/d loungeof the bus, and we started watching Mi,+ M.tdmdntour, and everlthingwas going along l{,.iy,a World War II Pacific Rim movie widr like awell-oiledmachine." all thesekamikazepilots, which is pretty iromc At tle time, saysSarzo,"there wasstill a rift consideringwhat happenedlater. I decidedto betweenOzzyand Randy,becauseOzzywas of call it a night and go to bed,but Randy and Ozzy coursenot pleasedwith him leavingthe band. were sitting there watching the movie. It \rasn't But I would saythat a little bit of that special like theyweretryingro avoideachother.They camaraderiemight havebeenworking its way were cordial. And who knows?Maybe they had backinto our tout our backstageamrosphere, somekind ofconversarion. Maybelhey stafting especiallyafter havingtalen abreal. People working on repairing their rift." hadhadtimeto chill.I think basicalty Ozzyand In the early hours ofthe following moming Randy'srelationshipwasmending." Sarzowasawakened by Rhoads. Thebuswas The eveningnonethelessbeganwith what parkedneara tiny aimtrip in llorida, andRandy Sarzorememberswas a nightly occurrence. invited Rudyto join him on ajolride in oneofthe "Ozzysittingin a cornersaying.I ain.ldoing small airplanespiloted by their tour bus driver. It it. I ain't goingon!'Over and over again.Then seemedlike a crary ide4 but then life on the road Shlron losbourne, Ozz!'s wife and manager] with Ozzywas full of cr^zy ideas.Sarzodeclined would grabhim and bringhim onstage,and the invitation andwent backto sleep. then he would justgo crazy. Shortly afterward,he was awahenedby the "As far asthe performancethat night," Sarzo impact ofthe airplanestriking the tour bus,then continues,"there was nothing indicativeofwhat crashinginto a nearbyhouseand bursting into was goingto happenthe next day.No m€ical flames.RandyRhoadswas dead,alongwith the signsor anlthing. I wish I had seensomething othersonboardthe Dlane.l|
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Rtl vvvvvvvvvvvvvvvvvvvvvvvvvvvvv HEWAS THE SOFT-SPOKENLEAD GUITARISTFORTHE BEATLES,THEWORLD'S GREATESTROCK GROUP. BUT GEORGEHARRISON'S PI.AYING SHOOK UP THE WORLD AND HELPED CREATE GUITAR ROCK AND ROLL. T BY CHRTSTOPHERSCAPELLTTI
6!|'l'7?-) E THE UlUlOLS who grew up on his music,hewasthe QuietBeatle.To the Hamburgteensthat in the earlySixties wihessedthe Beades'evolutionfrom cmde protopunksto polishedprofessional rock stars,he wasthe Beautiful One. Butas far asGeorgeHarrisonwasconcerned, he couldbebestdescribedby the namehe choseforhis recordlabelill the lateSeventicsl the Dark Horse-the stragglerwho vaults fiom behindto win the race. The choiceoftitle was ironic for Harrison, the Beatles'former leadguitarist,who died ofcancer on November29,2oo1.Of the group'sfour members,he wasthe one most disinterestedin the spoilsofstardom,the loner lessconcernedwith winning the race than running it on his own terms.For those who watchedashe abandonedthe spotlight for a more domesticlifestylein the Eighties
As he notedin 1989,long afterhis career had passedits zenith,"I don't haveto prove an!,lhing. I don r wanrrobe in rhebusiness full-time,becalrseI'm a gardener:I plant flowersand watch them grow." He wasa leadguitaristfirst, ofcourse,an acepractitionerof R&B and rockabillyriffs whobecamethe masterofhis own singularly Iluid glitartone.In this alonehe wasessential to the FabFour'ssuccess, sinceneitherLennon nor Mccartneypossessed his talentonthe instrument.More consequential, Harrison's skills asa lead guitarist are what elevated the Beatlesfrom a rhlthm-based pop act to a guitarrockgroup,anditwas in this form that they changedpopular music permanently: Beforethe Beatles,few pop groupswrote and pe ormedtheir own material.After them,no self-respecting bandwould not. It was easyto overlookHalrison's
As ex-Fabsgo,Harrisonseemedthe loneliest, a hermit lodged in his rnock cothic English mansionandhiding behinda maneof hair and squire'sbeard. No longerrequiredto beguile and amuse,Harrisonseemedeagerto be ta}en seriously,and he gavethe world goodreason to do so.As a solo artist he releasedwhat many regardaslhebestsoloBearlesalbum.1970's AII ThingsMust Pass,and launched abenefit show the following year to help war-ravaged Bangladesh,thus laying the foundation for Live Aid, trarm Aid, Concert for New York City and every other music-oriented charity event since. In morerecentyears,when Harrison's albumscarnemore slowly and his life appeared moremonkish,itwas hard to rememberhe was there at all. Having renounced the fame that bloorned{iom his diligenceandtalent, Hairison followed a path of solitude few celebratedartists dare to tread. No wonder he remained an enigmato so many,not least his former bandmateJohn Lennon, who once remarked,"Georgehimselfisno mystery.But the mysteryof Georgeinsideis immense." To GeorgeHamison,however,thosewho questionedthe complexity ofhis choiceswere simplymissingrhepoinr."lcs goodto boogie oncein a while," he remarkeda few yearsinto hisposFBearles career. Butwhen youboogie all your life away,it's just a waste of a life and of what we'vebeengiven."
"Et[l|Gt HI|t|$|t lsil[|t|YstffiY. BUIT1|I I.IY$I[|Y [FGEII|GI -J0ilr{Lt|ilill il$0ttstililtilst." and Nineties,it washard to know what to makeofHarrison; normality,after all,was not what we'd cometo expectfrom a member ofthe Fab Four,th€ groupthat roseout of Liverpool,England. to conquerour senses, Bearleswere suppo-edto be largerthan life. yet iconic enoughto be desc bablewithin a spacethe sizeofa postagestamp:glitarist John Lennonwasthe outspokenradical, bassistPaul McCartneythe eager-to-please prodigyand drummer RingoStarrthe happygo-luckyluminary.Harrison,on the other hand,defiedeasydefinition. CUITAR LEGENDS
significance,for he madeno show ofit. The youngestofthe Beatles,he was,in the group's early days,its most humble member,a young man unguardedlyinsecureofhis talents, who would greet reporters'questionswith self-mockery anda largedoseoflaconic Liveryudlian chaisma. when in 1964he and his shaggybandmateswere askedat their first U.S.pressconference whentheyplannedto get haircuts,it was Harrison who irnpishly replied, "I had oneyesterday." somesix yearslater,when the Beatles brokeup. how thosecharm!seemedIo fade.
ceorge Harrison was born on February 25,1943,at 12Arnold Grove,in Liverpool,to Harold and LouiseHarrison. The youngestof four children, he was a favorite, doted on by both his mother and siblings, and a sourceof constantconcernto his practical-minded father. Evenat a youngage,Harrisondemonstratedthe self-reliantdispositionfor which he would later becomefamouslyknown. "Georgewas always veryindependenl. hismorherrecalled.'He
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ncvcr wantcd anv assistanccof an,vknrd." Eerl) on, his independence turned to outright rebellion. In 1954, at age 11,he began atterdiDg thc Liveryool Institute, and lhhough he rvrs a g o o d s t u d e n t ,h e l e s i s r e d the school's attenDts to mold hirn and his rnatcs into n 1 o d e cl i t i z e n s ." l h a f e db e i n g d i c t a t e dt o , " h e s a i d ." T h a f s n'hen things go wlong, nhcn you'rc quictly g'lOwiDgup and thel start tryingto force beinli part ofsocielv do\r'n your throar. I \r.asjust trying lo be myselt Thc_v\\,erc tr)ingto turn everybody into fo\\,s of little toffees." H a r r i s o n r e b e l l e dn o r o n l v b,r'shirking on his schoolrvolk; he also began to dress outlandishlt ind to grow his hair our. "ceorge used to go ftr school u'ith his school cap sitting ligh on top ofhis hai," h i s m o t h e r r e c a l l e d ." A D d Yerv tight rrousers." "Cioirlgin for flash cll])thes u.aspartofdre r'ebel1irrg"he exphined. "I don't know $4rat mademe do it, but inr.olked. ThL) didn t get me.'' It $as ! good tine to be r r e b e l .R o c k n n d r o l l l v a s o n the horizon,and Hrn ison rvas alrcadl bcgnrnirts t o d e v e l o pa Di r t e r e s t i n music through his father's r e c o r d c o l l e c t i o n ,u ' h e r e h e discovcrcd Arr clican countr'1 artisls like Jinnnie Rodgefs r n d H a n k w i l l i a 1 n s ." w r i t i n g f o r a T r r i n " $ , a s o n eo f h i s i , N , o f i t e s . ' T h r t l e d mc to lhc guilar," he said. Halison leceived his fil.st irstNnlcnt ar E$nond acoustic purchased ftorlr afcllo\! studenr at rhe a€ieofr3. As he fec.rlled,"It v ls a rcal chcapo honiblc liftlc g irar, blrt it was oka) at the tine." Harison rcccned lessons fron one of h is father's tiiends for r les hour . p r e r l T h u ^ d r \ n i g h rT . \ o r r p \h . . l ' l ^ r r r \ e insrnnnent came slowlyand rvith difficult-r'.he kept rt it, sonetimes practicing 'tiil his fingcr. were bleeding," !ccordingto his rrrother. H c e v e n t u r l l ) g o t r p r o p e r € i l r i t r r ,. r I l o l r r e f Presi d ent, 1r'ithf holcs, thanr.as bascd on thc big Super cibson Eiuiters."l rvr:ultl sit aloulld fol hours, p1:ryingencl tr,ving to fi$rre !hirgs out. I rLscdto sit up latc at night. I didn\ Iook u r r. r i r . p r u .r . i n ; . r r . n l , . . . - r i :r . t r ' . l . " o n l , vt h i n g l r e a l l v1 i k e d . " By 1957,rock music had !lr.i!e.ljn gnli1an(l through thc recofds oftrh.is Presley,Fars Donino,little RichaId arrdBuddy Holl). Simultaneously,Great Brjtain's teer$ \\'ere uDder the spell of skiffle, a Britisb iorm of fast count|y western folkrrusic playcd on acousticSrimf. * a . h \ o r l d a r J . t l i n e \ r . . . l l r r u n J i , p u r , , l kr ' ofthe genre i[as Lonnie DoneEirn,a Scottish g u i t a r i s t $ h o s ev e r s i o no f ' R o c kT s l . r r dL i n e ' was knoul to cverrtccnlger hom Brightou to
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B | n o \ \ ' , I l l r f i s o n w r s g 1 r { ) cd n o l r g hr o i i t r rl l' . 1 '.1. .\r' r'r'r\ h o w e r c r .h u , 1u c t L n l hj o ; , 1 e crl g r o l r 1 )T. h c r,r, I l . - . 1 , . j . 1 . | , r ' r ' .r1. f i '(n)lton ri \ Prrish (lhufch, $hcrc hc s.r\r l skifllc rct clllcd the Qutrr|} Ilfn. l hc tr$rd \\ xsr)1 ro good. L,Lrtthe gfolrtts lerllef imt)rlssocl \ I c c t l r e ! c n o L L gthh : r h c ' d e c i c l o dt o n k c his rrctLr|1intrncc.lt r'.rs .lohn, N{cCirftrlc! f e c l l l c d .' H c s r s l 6 r n d i \ r s o n l ! l - 1 ,s o h e l as rbig man. I shoii ed lrinr ,r ti:w nrLrrecholds h e ( l i d r 1 I n o \ \ . T h e r rI l e f t . I f c l t I d n r r d e r r r i n r p | c s s i o ns, h o $ D t h c n r h o n g o o L Il \ \ l s . ' l:ignring th:rt \l(Cartrlcl r'as as grrorl rr r t-'i. r. r ' ' r.!,r"'r' r'ircdl rr t i." r t h e Q L r . r r r \N l e n .T h o u g h l l c ( l r f t r c ! s h ( ) \ \ ' c c l talcnr orl thc instmmcnt, his sliills s cfe l i l n i i c d . D u r i r l g o n c r r r f l v p e r f i ) f n r N n c c$. h 1 L e ' c r t e l n p t i n l ir rs o l o o n " l \ \ e r ( r F l i l i h t R o c l i . h r f r c 7 e .I t $ . s h i s l l r s r . r n d ,l o I n u n ! v e e | s .l e s t ettcmpt to pll lcrcl gLritar'. 'l'horlih Hxr|ist)n h.r(l Do su(lr dilllclrlljes. , r " r , \ ( , . , , ' ' . 1 ' - r r ' . . . ' ,r . 1 1 . ' . guit:u dri11sbr copling thc grritel ri ifs fir,nr r c c o r d so f t h c d , r ) .A t I l c c a ( n c v ' s i n \ i t . l l i i . h e r l t e n d e d r Q L l l f N N I e n f e r h f l r r : r n c €i n 1 9 5 u . -Therc \r'xs this othcr $rirarist ir rnothcr gloLUrrhrt nighr," HrrTison Iccallcd. -Hc n.rssl.c.r|..lohn r x i d i f I c o u l dp l u r I i k c t l r r L .
'Tt0t|Et l{At{ttl I[ Jill{ IJS BIIA|JSI HtI(]{II{ ltltlt[l|0fiN, .S[lttEOT AL[TFtl[lilH|il." .\berdccn. "l luvcd hin," rcc.rllcdH.rrin)rl. 'Hc $.rs r big her'oofninc. Firerv|rncgot guitrrs rnd fomrcd skilfle b:urdsbcc.rusoolhinr. ' Am(mjlthosc caught up in thc c|ezc was a bor on H.u rison s srhot)l bus. P.rul xlccartnr ! rrrs.t grade aheadof H.uris.,n, Lrutthe fivo hrd k D o $ , ne a c ho r h e | c r s u r l l v s i n c el I : r f r i s o n ' s r I r . l r r. l , | . . t i r , . \ \ l r . \ r f f , i , ,r l r 'l shxred irlteresr irl thc $ritJ b|orght thenr c l o s e ft o g e t i r e f".h u I c r r n e r . o u r r dt o r r \ h o u s e one elcningto look et thc $rit:rf nrrnlrel I had. which I coulilncrer srrk out," s.ridHunivrn. ' w e i c a f n e di r c o L r p k ' o f (h o r d sl i o r r ri l r r d nrrrrgrd () phv Dor't\iru Rock \Ic Decicir
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I could join them. I played'Raunchy ld 1957 instrumenfdl hit] for them,andJohnsaidI could join. I was alwaysplaying'Raunchy'for them. We'd be going somewhereon the top of abus with our guitars and John would shout out, 'Give us 'Raunchy,'ceorge.' " Lennon,neai) rifeeyear. Harrison! senior, wasslowIo accepr him inlothegroup.'George wasjust too young,"he recalled."I didn't wantto know him at first."But Lennonwas impressed by his talentandsawthe potential for dre Quarry Men to developinto a stonger group.1r probably helpedtharHarrisonmughr Lennon someguitar rudiments he severely lacked."His guitar wascheap,with a little round soundhole," Harrison recalled."It only had four strings.John didn'tevenknow thatguit Is shouldhavesix strings.He wasplayingbanjo chords,big extendedfingercl,ords.Isaid,'What areyou doing?'He thought that that washow itshouldbe.Sowe.hoMedhimsomeprope. chords-E andA, and all those and got him to put six stringson hisguitar." SaidLennon,"ceorgewantedto join us because he knewmorechords,a lot morethar we knew.Sowe gbt a lot from him." But all ofHarrison'shoumofpracticecould not comparewith the experiencehe and his bandmateswould get playing in tle cerman seaportofHamburg. By 1960,the skiffle boom had given way to the beat music ofAmericarr rock groups,and the Beatles-as Harrison, LennonandMccartneywerenow knownwere amongLiveryool's top rocl and roll acts. With Lennon'sLiverpoolArt Collegefiiend SruSutcliffe on ba.sandH arrirons friendPeLe Beston dmms,the groupwashotdingdown regulargigsat the Cavern,a Liverpooljazzclub . Lharhadbegunopeningil\ door.ro rocLacls asbeatmusicgrew in popularity.Througha : localnighrclub ownernamedAlanwillirm: 6 - they were invited to play in Hamburg,a town infamousfor icsrowdy nightlife. "Beforewe playedHamburg in 1960we were 6 very ropy-just keenyoungkids,"Harison told - Guitar world in 1997. "As a band,we weren't a unitj we didn't havea clue." Hamburg changed
everlthing for the group. Shovedonto a stageat the Indra and,later, the Kaiserkeller-two ofthe strip's lower-tier clubs the five innocentsfrom Liverpoolplayedgueling l0-hour sets.The hard work not only fusedthe group'ssound;it alsohonedHarrison's guitar-playingskills. B1now playinga solidbody Czech-made Futurama,the youngestBeatlewasbeginning to develophis own stylebasedon the doublestopleadsofChuck Berry and the count fied licks he'd learnedfrom his favoriteguitarist, Carl Perkins.As oneof the main artistson the legendarySunRecordslabel,Perkins had madean impressionon Harrison,as well asLennonand McCartney,with his rapid fire leads.What's more,Perkinswrore andperformedhis own material-songslike "HoneyDon'C'and "Everybody'sTryingto be MyBaby," and,not least,the rockabilly anthempopularizedby fellow Sunartist ElvN Presley,"Blue SuedeShoes." "CarlPerkinsand'BIueSuedeShoes' they don't comemore perfect than that," saidHarrison.
he did, the resultswere more often tlan not refreshinglyoriginal. "Thinl for Yourself' and both from 1965'sRubber "IfI NeededSomeone," Soul,havea melodic angutaritythadsmissing fiom Mccartney's lilting melodiesand Lennon's harmonicallydissonantvocalstyle.Likewisc, 'Ta-\man. the leadtrackon 1960s Reyolyer, is wriften with a stingingly personalmalevolence previously absentfrom the Beatles'catalog. Harrison could alsodemonstate striking melodicinvention, ashe did in the Rerolver track "I Want to Tell You." The song'sdisturbing sentimentis neadyunderscoredby ajafling chord that appearsnearthe end ofeach verse. Though dissonanceis corffnon in today'srock and metal music,it waspractically unhead of in popular musicprior to "I Want to Tell You.', "That's an ETthwith an F on the top, played on the piano,"Harrison explainedto cuifdr World in 2001."I'm really proud of that, because I literally inventedthat chord.The songwas aboutthe frustlation we all feel abouttrying to communicatecertainthings with just words. I realizedthe chordsI knew at the time just didn't capturethat feeling.Soafter I got $e guitar liff, I experimenteduntil I cameup with this dissonant chord that really echoedthat frustration." ww It's not coincidentalthat Harrison's growingmusicalexpressionoccured in the sameperiod that he begantaking drugs. ?ot and LSD had aprofound effecton him, asit did on the other Beatles,drawinghim deeper into his psycheand awayfiom the pervasive glareofstardom. "Around the time ofnubber Souland Revolver,I becamemore...conscious,"Harrison "Everyrhingwe weredoing recalledin 1997. becamedeeperand more meaningful.All the music startedhappeningfor me when I started smokingreefers.I've come out the other end ofthat now and I don't do it. Instead,you leam to get your owl cosmiclightning conductor, and nature supportsyou. You begin to realize that you are very sma1l,andyet everyoneand everygrain of sandis very importalt. You listen deeper,somehow,"
It was in this liame of mind that Harriso4 in 1965,found hirnself&awn to India.nmusic and $e spirirualphilosophybehind ir,a fascination Perkins'guitar work influencedHai:rison's that culminated in 1968with the Beadestrip playingon manyofthe Beatles'early recordirrgs. to India, where they studiedfor severalweeks By the time the group-now a four-piecewith under Mahadshi MaheshYogi, the spidtual Mccartney on bassand Ringo Starr on drumsleaderbehindTranscendentalMeditation. hadbecomeinternationalcelebdties, hisclean Harrison's interest in Indian music grew after and sinuousleadgritar work was helping to Lennon askedhim to add somesitar to his 1965 forge the soundofguitar rock and roll. song"Norwegian Wood." But while Harrison wascelebratedfor "Norwegian Wood' wasthe first useof sitar his playing,songwritingwas-and for years on one ofour records,"saidHarrison, who remained-hisweal suit.Lennonand recalledthat "during the filming of-Elelplthere Mccaiftey had beenwriting songspractically werc someIndian musiciaJrsin a restaurant 'rom the day$ey mec.bur Harrisondidn rbegin sceneand I first messedaround with one then." to develophis song[Titing talent until after the The impact on pop musicwasseismic.Before Beatles'first album,PleasePle.IseMe. His first long,bandslike the Rolling Stones,the Blads effortproduced"Don'tBotherMe," the minorandthe Hollies were working the insEument key songthat appearedon the grcup's second into their songs.By 1967,the instrument wasso albnm,With theBeatles,in 1963."I decidedto in$ained into psychedelicmusic that DanelecEo write asong,justforalaugh,"he explained. \ asm3nufacturingseveral "l elecsicsirarmodels gotout my guitarsndjustplayedaroundtilla that could be playedlike a standardguitar. songcame.It was a fairly crappysong." But while the sitar wasa fad for some,itwas Thoughhisassessmentwas part ofa largerspiritualjourneyfor Harrison. undulyharsh, "\ henI fir:r consc;ousl! it mayexplain why nearlytwo yerrs passed heardIndianmusic, beforeHaffison attemptedto \,aite again.W'hen it wasasifl alreadyknew it. When I was a
ou,to* 1!B """"^o,
Life?" "wah wah" and his smashdebutsingle,"My SweetLord" that showcd how little the Beatleshad utilized Harrison'sgrowing talentsasa songwriterin
child we had a crystalradio wjth long-andshortwave bandsand soit's possibleI might havealreadyheard someIndian classicalmusic. Therewassomethingabout it that wasvery familiar, but at the sametime, intellectualiy,I didn't know u'hatwas happening." Towardthe endof1965, at a fi-iend'ssuggestioq Harrisonpurchasedan albumoflndian musicby sitarmasterRaviShankar. "l went out andboughta record,andthatwasit," he recalled."I thoughti!was incredibl€."Harrisonmet Sharkarin 1966durirg oneof the sitarist'slondon visits,andsubsequently receivedlessons liom hirn. Shankarnot onlybecamea lifelongfriendof Harrison's but inspiredhim to pursue writing on the sitar,which resultedill Harrisonwriting threenore songs-"Love You To," 'avithin You, WithoutYou" andthe groundbreaking "Lady Madonna"B-side,"The InnerLight" thatutilizcd Indian classicaliNtrumentation. As the Beatles moved into theirfinal_vears as a band, George Harrison was gron'ing as amusician. Havingindulged his interest in Indian music, he began veering offin an entirely oew direction with his guitar playing. while his contemporaries like Eric Clapton ard Jim y ?age dcveloped a lock style based on traditional blues guiter, Harrisoll continued to look East for his inspiration. He drew into h i s g u i t a r - p l a y i n gs t y l e t h e m i c r o t o n a l s l u r s and sustainingnotcs ofthc sitar and cventuall,v employed a slide to facilitate his technique "Whateveryou listen to has to come out some*-ay in 1'our glitar playiDg," Har son told t,uttdt Wot ld |\ 1997.'l do thirl lnJixx music influenced the inflection ofhow I play, and certain things I playhave rsimilar feelin€ito the Indian style. Ravi shankar didbringan Indian nusicianto lny holrse oncewho played classical Indian music on a slide guitar. And, yeah, he did play runs thatwere precise and in perfectpitch but so quick. That was a real inspiratior." The change in Harrison's soundwas due not only tohis change in techniquebut to r change i r r . q u i p r n , . n t .I n t l r , u a r l y r r r ' u f B c r t l c r n a r i a . Harrisol nostly wielded a cretsch Duo Jet and Rickenbacker Chet Atkins Count.v centleman :lnd Tenn€ssem. The warm twangingtones of the acoustic-electric guitals wcre u.eil suitect to the $oup's conbination ofrlllthm arld blues andcountry-western-inspired music.Asof 1965, however, Harison begar to favor solidbody guitar's,whicl, delivered greater sustai[ Fron Rdbbersoul forward his guitars included a Gibson SG Standard,afender Stmtocaster,a Rosewood Telecasterand a Les Paul given to him by Eic Clapton,lis fiiend sircc 1964.
4o CUITAR LE'lE\DS
To helpiim recordthis backiogof material,Harrison assembled an all-star backinggroupthat included Eric Clapto\ Ring0 Stafl andproducerPhil Spector. Alsopresentwasa trio of musicians keyboardist Bobbywhitlock, bassist CarlRadleanddrummer Jim cordon whowould in the following monthsjoin Claptonto record the rock milestonetdyld dndAsso,'f ed ,ove sonssunderthe name Derekandthe Dominos. "I wasreallyabit paranoid,"Harrisonsaid in 1975aboutthis time period."Therewasa lot goirg down of negativism I fek that lin rfie-Bedtles]. whateverhappenedto my solo album,whethel it was a flop or asuccess,Iwasgoing out on my ownjust !o havea bitofpeaceofmind. Fol rne As Harrisol's g'uitar style cane to naturatloll i n r h e B e a d e . f i n aI y e a r s . d i d h i q s o n g w r i r i n g . "o B e r w e e nl u o S a n d t u 7 o ,h e w r o r e . o n . e o f l . i . populxr and most songs, including"while best My Guitar Gentl"\,Wceps,""Hcrc Cones the sun" and, his oniy Beatlessongto be released as asingle, "Something." Evenso, Harrison still had to compete withLennon and McCal.hleyto get equal tine for his songs. "It wasn'l easy,sometimes,geflingup enthusiasm for my songs,"he said. "We'dbe churning through all this Lennon/Mccaft ney, Lennon/Mccaf [ey, Le ron/Mccartney. Then I'd say,'Can u'e do one ofthese?'" \ 'hen the $oup gave his 1968 masterpiece,"whilc My cuitai cently Weeps," a less-thar-erthusiastic reception, Hanison put his foot down. "I thou€iht,This is reallyagood song,it's notas if it's shit."'The next day, he invited Clapton to accompany the group in the studio to record the r r J c k .- w h r c h h e J i d . A n d e r e 4 o n e b e h a v e . and the songcame together quite nicely." But episodes ofdiscord were bccomnrg more fiequent, and by 1970 the Beatles were history, torn apart by legalproblems and each menber's desir-efol greater alrtonom,y.EveD as thc band nenrbers wenttheir separatc $,alrs,it was Lennon al]d McCar'tre! who continued to c o n r r n a n rdh e n r o . ra t L e r r i o nq.L i c L l yr e l e a . i l g so)o albums and carrl';ngon a public spatboth in the nedia and in their songs. So it was a shock when Harrison turned out n hat is argrably the best lnd rt its original ihrcc-disc leryth, certairly the longest solo a l h u n rb 1 a f o r m e r B e a r l < .R e l e a . e di r r l ! 7 t ) All Tiings M.rst Pdss is Harrison's declaratron o f i n d e p e n d e n c ea, s u r f e i t o I i n h o s p e c t i v e and quasi-rcligious songs including"what Is
to do my own album after that it was joyous. Dream ofdreams. Even before I stalted the album, I knew I was going to male a good albun becauseI had so nTanysongs,so much energy." swept alongby the successof "My Sweet Lord,"A?l flrin8s Must Pdssreached No.1in Britair and the U.s. shortly after its releasein l r r e N o v e n r h e rl a - 0 . F r o r ni r . \ u g g e 5 r i v et i r l e to its covef photo ofHairison surrounded by r quartet ofreposirggllones,All ?,hin8sMust Passsignaledhis emergelce as abonafide nusician and songwriter. As 1971begEn,Geor€ieHarrison wls everybody's far.oritc folmer Beatle. His popularity reached ar all tinre high in August l97l with the Concert for Bangladesh,a benefit to raise money forwhatwas then a territory of Dast Pakistan.Abrutat militan' crackdown had led 10 million of its people to flee for lndia, resulting in a vast humanitarian crisis. Instigated by Harrison's old friend Ravi Shank , the Concelt for BangladeshcoDsistedoftwoberefit shows held on August 2,1971,at NewYork Ciq/s Madison square carden. Amongrhe musicians H r r r i s o n r e c a r i r p dw e r e n - a n yf a m i l i r r f i c e . associatedwith A11",hin8sMustPdss, as well as one particularly specialg!est-Bob Dylan. Hadson had met Dylan on several occas'ons in the earlySixties, when Dylan was a yourg folk-rock fircbmnd. Theirbord was forged in 1968,when Harrison paid a visit to Dylan at his home in NewYork's Catskills. Incrslsingly plir.ate and withdra*-l follou,ing a nearly fatal notorcycle accident in 1966,Dylan warmed to Harrison, and the two composed "I'd Have You Anltime," one ofthe many standout backs on All ?hiigi MustPdss. Dylan was still keepinga low profile atthe time Harrison organized the
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him in his home with aknifc and punctured l'tis lulg. A longtime snoker', Halrison o v e r c a n e t h r o a t c a n c e r i n 1 9 9 8 ,b u t i n 2 0 0 1 i t rvas revealecl that hc had an inoperable forn of br-ain cancer-.Despite attempts to stave off t \ e L l r s . a . c i r d , r d i n gl a . r d i r .h , l f " r s e t radicaltreatnert in Ne$,York Citv and Los A r r S e l e . H r r r i . u r . u r t u n r ' p dr o i r o n r h e a f t e r - l o o no f N o v e m b e r 2 9 , w h i ] c a t a f r i e n d ' s house il1 l-os Angeles. It is our good fortlrne that much ofhis b r . r u n t i . r e .J i l t r r r . l a b l e i.r r r r r r d ' r rgh e Beatlcs' catabg and a selection ofhis solo albums. Harrison reissued an expandcd and f e ' n J . r e _ e d, e r . i o , ' f 4 l / / f i i , r g .M & . 1 P n . " i n 2O01,and r remastefed Concertfor Bangladesh aibum rvas posthumousl! feleescclin 2005.
"ff[P[SAY:'YDU'V[ liltY[l{tilt[.'gllT YOIJ'III EBI AS IIAI{Y AS Y0|J urfi,At{[ l,|0ttt, EtlEl{ M{ffYOIJ Mil'T lvAilI." *lJIiii lli$Ili CirDcert for Bangladesh,and thou€ihhe made lehearsalsfolthe shoiv, Hallison didn'tkno* Lrnlil liten l!the last momeltifDylan rvould nctuallv perfom at thc concerts. "He never comnittcd hnrseli lto p/ayl right up until the moment hc carro onstnlie," H r | r i s o n r e c a l l c d ." I h n d a l i s t , s o r t o f a runninli ordef, that I had glued on ny guitar. Whcn I got to the poirt Bob wns goin€ito c o m e o n , I h a d ' B o b ' \ ] l , i t ha q u c s t i o l n a r k I looked ovcr m]. shoLrlclelto see ifhc u-as around, because ifhc r,!esn't I would havc to go on to the next bit. And I looked around, aro he u as so ncr-vous he had his gritar on and h i ' . h , J L , H , $ r \ j u . , c o n ) . I g : s ut j J s r . J i d , 'My old friend t s o bD y l a n l ' I t w a s o n l v a t t h a t rnoncnt that I knew for surc he was €io'ngro do it. And after the second sho\r'he picked me u p a n c lh u g g e d] n e a n d h e s a i d , ' c o d l I f o r l y we'd done thfee sho\,!sl"' The shorv and its subse.luent concert a l b u m a n d f i l m w e r e a m a j o r s u c c c s sr, a i s i n g 8 to 10 milliol dollars fof the inpoverishcd country. Unlbrtunatclv, l€gal wranglingkept the moncv tied up in an escro\r- account for years. Har-rison had to confort hims€lf wirh rhe kno\aledge that he had, at the very leasr, nade \\-esterners eu,arc ofthe srrfferingil1 Barglad€sh and music's potcntial to improve the human condition. Surpdsirglv, {,'hat appeared to be a promisingsolo career for Harrison came slo\.ly to a halt. He !!as still capablc ofproducing rhe occasionalhit, as he did uith "LiviDg in ihe Mrteria1\ rofld," "civc Me Love (cive Mc Peaccon Eath)," "AllThose Ycars Ago" and "Got M), Mind Set on You." In 1988,hcjoined Dylan, RoyOrbison, Tom Petty and the Elecrrrc Light Orchestra's Jcffl,vnne in the short livcd Tra\.clingWilburys, and cowrote the EI oup's hit "Handlc with Care." But for much ofthe {everfie. a|l,l LiFlI it^. H. rri.o f(.hrrr, d lr^m making music. Instead, hc indulged his inter.cst in filmmakilg, p|oducingMrrDty Plthon's ari' o/Bridn and thc indie hir lyithtldil and L Harrison's last ycars wel€ spent in scmircclusion. He elnergcd forthe Beatles' A n rhologl project, for \\,hich hc teamed up with McCartnei' ard Starr-to record "ttealLor.c" anr.l F t e er s r 8 i l d . r p r r r ' , , [ ' n r g . c r e a r e J h u r r . lhe latc John Lennon's rough home demos. Likewise, hc hclped prcmote the group's 199y Ycllou,s.rb,ndrine SonSiJ"dc[. S a d l y ,i n h i s f i n a l y e a l s , H a n . i s o n g a r n e r e d L e a . l l i r r , . f , , r I i . n e r . o r r . r lt r r g , d i , s l r r l - e rhan for his music- In 1999 he \r'as almost murdered bv a dcrangcd man *,ho attackcd
In the tributes that follorvcd his derth, Georgc Hajrisonwas mourned as a gifted guitarist and musician, ns a charitable l1rn of Cod, and as one \aho, at 58, died roovoung. UDdoubtcdly, Hnrrison in his lastdays d|erv from the \,r,elloflndian religious plilosoph"v rhat had given hiln strcngth and faith rhroughout muchofhis life. Over thc vears,he spoke malv tines oflis beliefin reincarnation and the gr ace with $,hich he hoped to meet lis fatc. To those gl ieve \r'ho his dem ise,Il arrison niglrt have offered this passagcftom his 198o autobiogr aph)., I Me Miie: "Funr4 how people say;'You've only onc lifc, Squire.'I've given up saying 'You've got as nany as you lik€, and more, even onesyou don'twant.' But it's truc.we have." {
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IIE FRAilI vvvvvvvvvvvvvvvvvvvvvvvvvvvvv VISIONARY COMPOSER,GENIUSGUITARISTAND HIIARIOUSLYACERBIC SOCIAL CRITIC-FRANK ZAPPACONTINUES TO BE AN INDISPUTABLE FORCE LONG AT.TERHIS DEATH. IN A SPECIALTSTHANNI\.ERSARYTRIBUTE, GUITAR LEGENDS PRESENTS THE ONE AND ONLY GRANDWAZOO IN HIS OWN WORDS. l l ll l l l ll l l ll l ll l l ll l l ll l ll l
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t BYAr-ANDI PERNA I | | I | | | | | | | I | | | | | | | | | | | | | | | | | | | | | | I | | | I | | | | | | | | | | | | | | | | | |
6r!lrr-) HAI WOULDFrank Zappa sayifhe were alivetoday? What would he sayabout beingrecontextualized, in recentyears,assomekind of 'lam band" phcnomenon?whatwould he sayaboutthe 2oo0 "electior" ofBush Il? The "liberation"of Iraq?ClearChannel'sgrowingmonopolyover the airivaves?The shrinkingofthe record biz?Our tuckedeconomy?Ior anyoneat all familiar with zappa,it's a safebet that his take on alltheseissueswould haveus peeing our pantswith laughterwhile simultaneously savoringtheincrersinglyr aresoundofa public figtre speakingthe tluth. Ifs ha.d to fatho that nearly16yearshave goneby sinceZappapassedaway,succumbing to prostatecancerat age52 on December 4, 1993.Becausehe wasso hardworking and prolific duringhis lifetime,u'e'vebeen continuallyblessedwith posthumousreleases ofbrand-newZappamusicin the yearssince his death.Butwhatwe've beensadlydeprived ofis the benefitofFrank's intelligent,highly originaltakeon the phenomenonwe call reality,and his tifelesscrusadingagainst stupidityin all its infinite manifestations. No wonder the world is in sucha sorrymess, Frank Zappawasone ofthe smartest peopleeverto play rock and roll, andone of the most influentialmusiciansofthe 20th century.First emergingin1966asthe leader ofthe Mothersoflnvention, he stoodout as a fielcely icoloclasticand innovativeartist in what wasarguablyrock'smost wildly creative erL The very term and concept"to freakout" enteredthe Englishlanguageandworldwide r ia Zappaandthe collecri.e corr.ciou'rress Mothers'1966debutalbum,FredftoufJ Raunchierthan the Stones,more experimental tlr.rrthe Berrle..n_ore dJngerou)rhJnrhr
VelvetUnderglound,uglier than sin, Zappa andhis hirsutecohortsblendedpopulistforms suchasdoo-wopand blueswith highbrow art tacticslike Dadaismandmusiqueconcrite ftheart of capturingand mdnipulatingraw sounilsotl tape td.l, dramaticallyexpanding rock'smusicallexicon.Early Mothersof Inventionalbumslambastedthe mainstrearr Americansocietyofthe Sixties,with its racial (the Vietnam tensions,imperialistaggression warwas raging),sexualhalrg-upsandboozy hypocrisy.But zappawasequallyhard on the emergentSixtiescounterculture,suggesting that maybehippiesweren't anybrighter than their parents.Resolutelydrug-freeall his life, a clear headedchampionofindependent thinking,Zappaneverjoined anyone's movement,party or fashionparade. As the Sixtiesbled into the Seventies, it becameincreasingiyclearthat zappawaslar morethan the propdetor ofrock's strangest freakcircus.A seriousdiscipleofthe 20th centurycomposersEdgardVarise,Anton Webe.n and lgor Stravinsky,Zappa'sown considerablecompositionalprowesscame to the fore on soundtrackalbumslike Uncle Meat (1969)and2oo Motels(1971). At the sametime, Zappaestablishedhimselfasa guitar heropar excellence, via solodiscs like -HotRdts(1969).He was oneof the most accomplishedanddistinctiveguitarsoloists that rock haseverproduced a playerwho possessed an equallybrilliant commandof 20th centuryavant-gardemodalitiesand the lou'down,gl easyblues. Severalgenerationsofrock musicianshave learnedto countweird time sig:natures by listeningto Frank Zapparecords.Buthe also cultivatedabizarre and controversialbrand of gross-outhumor that madeZappastandards like "Don't Eai the Yellow Snow"and "Dinah-
Moe Humm" concertfavoritesfor fanswho wouldn'tknow an ostinatofrom horseradish. Zappa'speIwerselyfecundimagination extendedbeyondmusicinto other media suchasfilm. Longbeforethe MTVera, Frank was experimentingwith cutting-edgevideo techniques,searchingfor avisual equivalent to his music'scut and paste,dreamJogic discontinuityin cult movie faveslike the aforementionedUncleMeat,200 Motels and BdbJsndkes(r979). LongbeforeNirvanaand othersstartedthe ongoingcampaignfor artists'rights,Zappa wasbattling againstcorporatecontrol of music,splitting acrimoniouslywith warner Bros.in 1977,and settingup his own Barking Pumpkinrecord labeland merchandising operationin 1980.This was longbeforethe intemet madeit easyfor artiststo reachthe public directly.Oneofthe first things Zappa did wasrelease1981'sShutUp'nPIay Yer cuifdr series,three albumsconsistingof nothingbut glitar solos,culledmainly from live concerts.Meanwhile,zappa'sorchestral and chambercompositionsbeganto be performedand recordedwith increasing frequencyby suchpr'estigious ensembies asthe LondonPhilharmonic,Los Angeles Philharmonic,Aspenwind Quintet and EnsembleModem. Indeed,the Eighties sawan avalancheofZappa releasesin an abundanceof stylesand formats-concert albumsandpristinestudio discsfeaturingthe work ofnoted playerslik€ guitaristsStev€ Vai andAdrian Belewand drummersTerry BozzioandVinnie Colaiuta. tror Zappa,musicwas not a careerbut a calling.He possessed a work ethic unlike anythingthatexistsin current music.And while we'llnever know preciselywhat Frank would havesaidabouttoday'sissues,we do
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har.e rhc follon.ing iltcNic$ fron 1983.Neler b c { o l c p u H i s h e d n r f u 1 1i,t w r s o f i g i n r l l } . ' , r r J , r i r . , lI , r ' b . i e i t r ^ . e t i p . e i I l l 5 i . i a i , l n r g a z i n e .w h r t ' s m o s t r e m a r k a b l ca b o u t t h i s d o c u m e r l ti s Z r p p a ' s u n c a n n ) p r c s c i c n c e . NIaD) of his connlents irbout Alner;cin s o c i e t ye o d ! h e n u s i c b u s i n e s ss o u n d l i l { e t h c " v c o u l d h : r v ec o n l e o u t o f t h i s w e e k ' sB i 1 1 6 o d r d of Nrw York ?i,ncs. Thc inrcNic11.t(x)k placc.rt a tinc vllen Zappa had Icdircctcd his attcntion to playing d c c ? c c u i cg u i t a r , f o l l o w i n g a l i u r I e r r p e f i o d d c ! o t e d i l m o s t e \ c l u s i v e l ] 't o t h e s v n c l a v i c f, xn erfh digitrl worhsiation. His aluitdf alLruln, x c o n t i r u a t i o n o f t h e " ! l l g r i t a r s o l o s ,r l l t h e tine" fornrt ofthe.sfilrf L,'ph PldJ sefies, h r d j u s t b e e n r e l e a s e dg, i v i n g g u i ! i r l o \ , e r s e l e r ' 1 . ul T e r ' ren r p l e c a u s ef o l c e l e b l a t i o n . I s t o k e w i t h I f a r l k i t h i s h ( J l n co n Woodro\\' Wilson Drive, just off l-.A.'s storiecl L a u r e l C r n ) o n l l l v d . T h e r e , r p L r t hb o | d e r - e c l u i t h d e n s eg l e e n e r y ' 1 c dt o t h c c n t l a n c e ' ' ' Z r f , ' . r , l i ' r r , . . u . . i. r . r , J r i l i r \ \ l u l i i r I t c s c a r c hK i t c h e n , l o c a t e do n t h e l i i o u n L j flool oltbe house. A r-ftxnopcncd into the smclio s loungc nd lirlco room, rvhich u'as b c s o c r v n r v i t h a n a m a z i r g c o l l c c t i o no { Z , r p p , l l n e n o r a b i l i r r n d o l h e r b f i c - a - b r a c .A l a r g e , D r ) - c l o r e l l o q ' s h a f l (( l r t e r i n n n o r t x l i z c d o n thc orchcsn al :llbun ofthc sarne n.rme) reste.l a g a i l l s tt h e b r i c k u , e l l . r l s oc o n t r i n i n g a v i d e o s c r e e n .F o o d d n d l { ' i , r c m n g a z i n ea n d o t h e r peliodicals covered r 1:rlgeerd table xnd part o f t h e l e a t h e r s o f ar e x t t o i t , i n t h c c c n f c r o f the roorrr. There \r'rs :r lirrnd piano behind rhe sofa and e locking chair ro the right. Thc r ' , .r n r r . l i . t r , ' l u r t r 1 . l r . t o p , , l r , . , t . r ' , corllporents and ll1ost of rll-\'ideocasset!es i n e v e r y c o n c e n ' r b l ef o r m n t , l i n e d u p o l t h e floor'. thc u :rlls...everyplacc.Thc cnsscttc boxcs ucre ali neatll'labclcd "Babl Snakcs," "DuLr ltooD spccial," etc. I n s h o r t , t h c s c c n c1 1 a sq u i n t c s s c n t i a l l'frnk, wiih its scnsc oflrrcthodical, highh pro.luctive u ofk taking place anid g_\'ps! d o r r r e s t i cd i s a n : r i ' .A n d t h i s i s r r g u l b h ' r r h a t \r'as at ibe hcrrt of:rll Zappa's bost rvolk thc conflucncc ofhis obscssivcli olganizcd habit o f n i n d u i t h t h e r n e s s , rc' ,h a n c co c c u r r e n c c s ofhis irrmediatesitlurion. Frank loved io conduct chaos calcfull,v olchcstlating rrndonr noisesb , e l c h e s ,f u d e j o k e s e n d t h e s t o n c d r u m i n a t i o n so i b a n L l m e m b e r s i n t o D a d a i s tc o n s t r u c t so f b e g u i l i n g f a s c i r r r t i o n . ln 19s8, when rhe follo\\.ing inter\,ieu t o o k p h c e , I l u s h t h e F i r s t s , a si n p o $ c r , h a r r m e t a l : r n db l a n d p o p b a l l a d sr u L l e ct hl e c h a r t s , rhc cconon])$as txnliingand Zappr had r e c e n t l v e m e r g e da s a r c l o q u c n t d c f e l d c r o f o u r C o n s t i t u t i o n a lr i g h t r o f t e e s p e c c hi n t h c C o n g r c s s i o n a l' p o f n r o c k " h e r l i n g s d r a t h a c l fnlloncd h thc rvakc ofa concctcd cffortby the rellgiolrs right to ccnsol and supprcss lock music. Th:rt u,as lhc year Zappa rctircd holn t o u l i n g , d i s g l u n t l e db v i n t e l b r n c l f e u c i i n g ihat brirkc our during his final outing, the Bford$:rv the Hrrd Wa) tour.In'83, Fr.uk was srill two,ve:rrs rwa\, from being dialrrosecl w i t h r h c i l l n c s st h a t l r ' o u l d t r k e h i s l i f e i n ' 9 3 . llut onc r'ould rcvcr havc gucsscd Zappa had j u s t f i \ , e\ , e u s t o l i l e . I l a r e f o o t , d r e s s e di D a b r i g h t i e l l o u . s h i l t r n c l b 1 : r c kr u n r i n g p u u t s , h c l o o l { c dt r i D r i n d f i t . N e v e r a l o v e r o 1 - t h e
5 O L J I I JJ \ R I - E ( I I \ I J \
rock press, Zappr was nonetheless cordial and -rrgt\' 3 ' r r ,r , J l . p r r i , r r ri r : ' r r . s , JUurn1..(. q u e l i e s p o s e df o f h i n r . cullat LEGET{Ds Whel1 \'.'u first stn eLl r l c . ' . ' r q . r l l ' ur r . " o r '1 ' r ' e . l e r c L . i r r l , f . r r i r r s o l o s \. ' i t h s h r r t L ' p h P I d v v c f c u i f d r i r ' 8 1 , d i d the idergive vou any rrouble'i Di(lr't it seenl kincl oflike taking all the sex scenesout ofa €ioocl f i . , \ , l ^ r 5 r r r r . t r : rg r ; . r r c l r , l r o ; , r l r , . ? \\icll, in :r $ a), !cah. But I r ' r ir l t l ' , ( . ' l r , t r l r ' r r ' r L r (r , r l h $ r . r ( q , . F o l a g u 1 ,u , h o r e a l l y l i k e s g u i t r r s o l o s ,a r d c l o c s nt n e e d r n e x c u s er o h n l e r g u i t e l s o l . , , hcle it is boon. And thcrc havc bcer eroush cus(nners for these .rlbulns ovel the _\, eius tc) p r o v e t h r t t h o s el i s t e r r e . se x i s t o u t t h e r e . ct So it docsn t bothcr \.'outhal pcoplc arc t r k i i g . l s L r f to f o n e d i n e n s i o n a l i r t e r e s t i n r o u f n r u s i c ?T t ' sk i n d o f r p r l r r i e n t i n t e r e s t r t t h n r ,j u s t f o c u s i D go n t h e g l r i t a r s o l o sa n d ignorirg ihc rcsr ofthc conrposition. I iton't find that cspccially'
.= o b j e r t i o n . r b l eI.n r u x y , i t ' s n i c h e m a r k e t i r g . I \ , e c o r s h . u c t e di t f o r t h o s e p e o p l c n ' h o \\'anl that. Also, lhc solos thcnsclves ere cons.ructed iD stch N \\'ry thet rhe)"fe l i L e l i r t l e s e t p i e c e s .T h e , vb r v e m e l o d i c s , develof mlrnt sections aDd rccapitulations, j u s t l i k c c o D r p o s i t i ( n l ss.e e ,t h e w a ! I ! h i n k ofa$ritar solois rs dn iDs! rt compositior Y o u h c v e r c e r t r i n r n l o L r n to f t i n l e i n u ' h i c h
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I]|APPfttT[ftilt( Yt{EI|ltt I|At.il$Etll[Al{ ]|tAI.I.Y PI.AY."
you'regoingto be makingup a pieceof music,andyou hopethat the peoplewho are workingwith you onstageare alsointerested in inventingmusicon the spot.When it worLs, which is notvery often,that'sone ofthe reasonswhy I'mglad I havea recordingtruck. You cansnagit, Becauseit's goneafterthat. That'sihe only time it exists. cr Unlike other forms ofcompositionyou do-on the S''nclavieror with manuscript paper-a live guitar sologivesyou the advantage, or disadvantage, or instantaneous feedbackftom the audience. zAPPA I don r evenknow rhe audi€nceis there.It's nice if they are,but I'm paying attentionto the instrument. clBut in other ways,one alwaysthinks of you asan artistwiih a real firm graspon who hisaudience is andwho willbe interested in what. Do you do marketingsurveys? zaP?ANo,I don't do marketilg surueys. Comeon, do I look like a !'upster?What I do is this:when we're on the road,there arekids who cometo the concertsand follow us from town to town. And if we seesomeofthose samefaceswhen we arrive at a venuein the aliernoonfor soundcheck, we bringrhemin and they sit in on the soundcheck.Andyou know, I talk to thesepeopleThey'realways very explicit aboutwhat they like and what they don't like on the albums.So that'sthe closestI would cometo a marketingsurvey. I meannobody'sgoingto teli me whatto do and what not to do. But atleastI havesom. informationthat I'm basingmydecisionson. And they're nice kids,too.
cr I just noticed that you have a tendency to localize whatyou do to certain segnents of the audience. IAPPAWell, there's no one ideal listener out there who likes the orchestra music and the guitar music and "Dinah-Moe Humm" and the whole thing. That's why sometimes lhere will be an orchestra album and the people who like the guitar stuffcan't stand that. And then a guitar album comes out and the people who liked the orchestra album can't stand that. You knowthey're allmy friends in their own way, so why not accommodate theif interests? cl, What about targeting the "youth market"? zAPPAWell, the problemwith the youth marker is (he iact rhar Ll)eygo ro lJ.S.lchools. And the United States'school system has been tumed into a kind ofassenbly line for really ignorant little consumer clones.I was lucky. I got out ofschoolback when they were still teachingkids to read and write. The market you're talking about now is basically people who can't spell, can'tcount, dor't knowantthing about economics and thinkthe mostimportant thing in the world is dressingproperly and h a v i n g a p a m y .S o y o u r g u e s si s a sg o o d a s m i r e as to what sort of musicwill fulfill the emotional needs ofthose people.I just think they've been cheated by the government. They're talking about yet another budget cut for education. And things are ugly enough already. cl So I suppose they'lljustbuy into whatever type ofmusic is advertised best. IApPAYeah, well, what they're being taught in schoolis how to respond to advertising. The e n e m ) o l a d v e r t i s i n g i 5 l o g i c .A r r y b o d yw i r l
logicor commonsensehasgot to look at what you seeon televisionand say,"This is bullshit." But nobodyis providingthesekidswith the criteriaby which to judgebetweenanlthing u ith an1qurliry.or evenro helpthemspol bullshit.Theyjust don't know. They comeinto the whole thing completelyunpreparedfor the tricks that arebeingplayedon them by the car companiesand everybodyelse.They'rejust beingused.lt's rcally not fair. c! You'reone of the few guitaristswho reallyusethe low stringsto their full porenlial. Youdo a lot of reallyrich harmonic th;ngson rhelow \r rings.what s involvedin gettingthosesort oftones? IAP'A What you do is touchyour [o1{,] E string right at the c fret, and awayyou go.There are four or five harmonicsin that little rangebetweenthe F fret and the c* fret-different points in therewill giveyou somestrangethings.And the samethingwill happenon the A string,and all your other wrdppedstrings.You get...stuff Cl Somany rockguitaristsseemmore concernedwith squealingonthe high strings. ZAPPA well,I think mostguitaristshavea Lendenc) ro playin (hesamewaytheytall. And sinceI'm not much ofa squealer-I happento be a ba tone kind ofguy to play on the low stringsis a little more in phase with my reality. clYou often pick way up bythe neck.Why? ZAPPA Well, there are a coupleofreasons for that. Ifyou rest your palm on the trloyd Rose,it puts the stringsout oftune. And I Jiketo havesomerupporrfor my right hand. so the easiestway to do it is to move farther up toward the neck and rest your hand thereThatwa1.you leep your handoff the bridge tailpieceand you getbetter intonation.To me, the most hateful thing aboutthe Floyd Roseis the fact that, when you bend a high string,everythingelseon the guitar travels out oftune. So ifyou've got any other strings ringingwhen you bend up the pitch, you get stuffthatyou don't went. So to usethat ir'ntrumentyou haveto learn a whoie new hand positiontechniqueto try and obliterate the bad things you don't want to hear,and ger the ff rharyou do.Also.picling closer "ru to the bridge givesyou the kind oftone that I dont like to usevery often.It'stwinkie.The tone getsa little bit rounder the more you go toward the fretboard. cLWho are someofyour all-time favorite guitarists? zAPPA I like Wes Montgomery,Johnny "Guitar" Watson,Allan Holdsworth,Jeff !eck, Guitar Slim and Wnlter cerwig-he p l a ) . l h e l u r eI . m . u r e t h e f e a r e fae \ o r h e r 5 , but that'swho comesto mind first. cl ls there anyoneon the current scenewho you particularlyenjoy? IAPIAIn spiteofthe negativethings that
currAR LEGENDs {+
"T1|I SPII|II OI'I.IT'S JUSI E[PI.AY'IIIO AI[]'IG IIilIAE[. I[01{T [)(PEITI1|AT IT'S tvtt|[[[|Ii{E BA[|(." are said about him, I happen to think that Yngwie Malmsteen really can play.I saw some videos when I was in Europe that they were playirgon Sky Channel.I was realJy impressed. And ofcourse Eddie lydnIjdlen] is unbelievable. And this guy in Ratt, Warren Di M a r r i n i . h e . p r " t 1 1 u r b e l i e v a b l er o o .A n d r h e g ! ] L h a tp l a y e J w i r h O z z ) O s b o u r n eo n r h e album with the red eyes coming out the front. I can't remember his name. He was great, lJdke E. Lee Ed.l cl You listen to a lot ofmetalish guitarists? ZAPPANo, but my son Dweezil does.And i n t h e c a s eo f t h a t O z z y a l b u m , I h e a r d i t u hen Ozzl broughr ir over Io p'ay ir for me. That was right around the time that some guy was trying to sue himbecause the guy's son c o n _ m i r r e d. u : c i d e .O z z y w a s o v e r h e r e t a l k i n g about that and he had a cassette ofhis new album with him. I can't remember the name of the album, but it was real good. GLMost ofthe Guildr album was done orr a custom Strat, accordingto the liner noles wha! did that consist oe z A P P AT h e o n l y t h i n g t h a t i s " S t r a C ' a b o u t this Strat is the shape ofthe body. I think that the original bodyu'as a hear'y Fender Stratocaster body. And I had a neck custom
5 2 ( JU I T , \ R L E C E N D S
made for it at lHollywo od custom shop] Performance cuitar, and it has custom electronics in it and Seymour Duncan pickups. 4 what kind ofelectronics ale nrvolved? zaPPAItwas a circuit that was designed ght h€re in the Utility Muffin Research Kitchen. It's got a gain stage and two parametric EQ circuits built into it. lfs set up so thatyou can have either EQ or gain, or gain plus both ofthese concentric [tQ] pots. The pots give you variable frequency selection and variable boost and cut at the different frequencies. And then there's a screwdriver adjustment for the Q lrcsondncepointl ofthe filter-how peakf it will be. This allows you to tune righ! into the feedback point ofthe room. You crn find our w\ere'r's goingro squeal locate it and then that's it. cr Hence, a lot of that really controlled feedback in your soloing. zAPPAExactly. cL Are the pickups just stock Seymour Duncan Strat pickups? zAPPASeymour has wrapped some special pickups for me from time to time.I believe that what lives irthat Strat no1,r'arepickups that have an 8k boost.
cLWhat aboutamps?Signalprocessing?
TAPPAWhat I've been usingon the road on this tour was a pair ofCarvin heads for the clean sound. And that clean sound was processedthrough a Roland GP-8, or whatever you call it.lt's an effectbox that has the whole assortment of effects-compression, flange, bladdy blah. Thatwas on a separrte footswitch so that I could either turn it on or ofl And the rest ofthe dirty sound was made by four Marshall amplifiers: r|o 100 watts and two 50 watts. Most ofthe speaker cabinets were hidden underneath the stage and miked. And that's what's goingto the P.A. At the end ofthe tour, I started using one Marshall cabinet onstage, powered by one of the 50 watt heads,just so I could have a littie more presence right behind me. c! Looking back, ifyou had to locate a c o u p l eo f r e a l t u r n i n g p o i n t s i n y o u r development as a guitar player, are there any epiphanies that stand out? ZAPPA Yeah, when I first heard the guitar solo in "Three Hours Past Midnight" by Johnny "Guitar" Watsor. That's probably one ofthe most important musical statements I ei'er heard in my life. And also the guitar solos on "I Got Something forYou" and "The Story of My Blues" by Guitar Slim. And "Lover Man" by Wes Montgomery. G|'what about your own work? Are there any points for you where you said "Oh yeah, I really... zafPA I really got down there? cLOr, "I really took offin a new direction." IAPPAYeah. There was this guy who used to bc a drummer in onc ofmybands. His name $ a . J i m c o r d o n . H e s i n i ai l i o r m : r d e r r i g h t
. <
-
n o u . B u t h c s h o u ' e dn 1 ch o w t o d o r h a t t h i n g ' r I \ ' n < ( Lu f r - r Lg r i r l r r r h J .'Iirrr llicl fi.€., usirS r?cpicl to do Innner ons Ed.lI ceftainlyput thattogood use for a Dunbcr of y e l r s . A D d a t r h a t t i m e , I u ' a s nt p l i y i n g g u i t a r \r'ith a whal1rn1,\'baf.So the Lrthcr impoft,rnl t h i n g r v o u l c l b e u h e n I c h a n g e do v c r - a n d s t r f i c d u s i n ES i t r a r si n s t e a do f c i b s o r s . cl A Iot of ,voLr older things rver.edonc on L e s P r L l lJ u n i o l s a n d S G s $ r i t a f s I i k e t h : r r . Tdidn't usc r sn rt until the Floi d Rosecarre a1ongT . hc old Strrts lvcrc jusl s o o L r to f t u n c I c o u l d n c \ ' c r s t a D dt o l i s t c r
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a t O n e t h i n g t h a d i n m i n c l i v a st h c p c r i o d right aftcf dre N,Ic,thersdisbanded, whcn vou sttfted doinghearr- !,uitar solos like "NIaglc Iingefs,' on2O0,\,fote/s. \ V e l l , t h e r c a s o nI \ r a s . r b l c t o g o i n t h a t d i r c d i o n w r s b c c a u s eo f t h e d r u r r r r n e , u h o r v a si n t h e b a n d a t t h a t i i m e , A ] n s i e ) Dunbar. Rencn1lrcr, in the earlicr \,Iothefs of I n v c n t i o n i r e h a d a n a s s o f h n e n to f d r - u m m e r s thowcrcokay lorleepingabeet,bututcn I p l a y e da g u i t a r s o l o $ , i t h t h c n , t h e r e u a s n ' t much interactidr. That changed \rith dre e r r i \ . ' aol f A v n s l e y D u n b r r , u h o p l a v c d o n 2 0 0 lllote/s. \ rc Lrsedto sit herc ill mv basemcnr a n L lj i n l . H i s d r u m s $ e r e s e t u p f i g h r o v e r thcrc and I had iD anlp here. We woulcl p1e,, ir the aftclnoon.But it's been e longtimc sinceI've known anydrunmcrs i{hojust like to play drums in that way. You knou.. i{ irhout iooking at rhe clock aDd rvondering u4rcn the next palcheck was arr-ir.ing.That's prdtl n r u c h e r c s u l t o l i h e E i g h t i c s ,\ r ' i t h e \ e D b o d ) .
b e i n g c a r e c r - o r i e n t e da n d s o f o r t h . T h e s p i n t . ' ' - l e r . L r r r ; . p i r r ' J i e C r l u r U r i n e l e o I. don'texpect thut it's €ver colringbackCl ls lhere r feason whl r-ou\,e beeD s o . r c d v el a t c l y i n r e l e r s i n gl i v e c o n c e r r e c o r d i n g st h i r l o u ' v e ! l o n c o v c r t h e y e a r s a n d r e i s s u i n gy o u r -o l d e r .a l b u n s ? -lre Ir",..r vp J-( rqler.r'r!,ln.e o l d e r a l b l L n s i s t h r t p e o p l ew r n r r h e n o n C D . l r " " u t u r r c r r . r i . rf '" o h l c r r rI r l i , , ' v l i L h r . t r , n o r l c g .r . n I f \ e r \ l I I , t . r p l o . l thc door', sorrebody is bootleggirlg what I do. I ' n r f i n d i r g L i i s c so f i n t e l r . i c n s t h a t T ' v ed o n c t h a t h . r I e b e c r b o o t l e g g e c lC. D s o f i n t e r v i e w s . r , : r r r) e . r f .\ - ( k : A r d r o r c e l r . a | , , r e l r f c placc alc bootleggcd. So rarber thaD just grve u p a r d l c t t h e b o o t l e g g e r sh a n d l e m y m u s i c a l o L r t p L l tI, f e c l I s h o u l d r e l e a s cs o m e t h i n g . Har-dcole fans ar-cal-erdv buving these bad qualitv lecoltlings ofthe live conccrt m a t e r i a l .T h e b e s t t h i n g I c a n d o r i g h t n o \ r is give them fhcbcsrversions and the best rccording qurlitv I can provide. c L S o h a s f e i s s r i i n ga l l t h i s s t u f f p r o n l p i c d vou to go back and ree\.aluatc the ear.ly.phasc $ I e 1 l .v o u c a r ' t h e l p b u t t h i n k solnethirgabout it !vhen yoLr'reremastcrinll ir. Nlostofthc tim€, I'm just giad I don't ha\.e to do thit ,lnvlnorc: don't have to pla! .| ith t h o s c m u s i c i r n s ;d o D ' t h a v e t o u , o r k i n t h o s e s t u d i o s ,u n d c l t h o s eb u d g e t s ;d o n ' t h a y e t o d e a l u ' i t h t h e b u s i n e s sp e o p l e I r v a sd e a l i n g rvith in that pefiod ofthe tilrre. The general e x p c r - i c n c et h a t I h a d r ' ! , a sn o t p l e a s a n ta t a l l . Ics not fun ro redo those things.
cl \\rhat's your opinion ofthc rnusic, though? \'Vell, sLrlrrcofit's €iood .rnd s{rrrc ofit's not. The problem $,ith nll fecorclings dufing that pefiod of time was that vou \r'ere stuck with.r fixed budget to nakc an album. lvhich meant that I'ou nlight want to Lrerfcct . , p , _ f , , _ 1 . 1 n q . . 6 'r,-' r . l - r r r o u c o u l , ln u r . " Wher thc dollars rvere gonc you ll.ere out of the studio:lnd rvhatever srage thc rccord wxs i n , t h a r ' s\ , h a t g o t r c l c a s e d .T h a t ' s t h e t h i r g 'h... rr".r t_ouble.urrr, rn e r\o.rr | .rrni.rr.: -orhL.rufr. kr nw whrr ..ul,l ir Lrr, Lee But there afe a lot ofpeople uho lovc thosc' a l b u m s .S o t h e l e t h c y a r c . crI think they'reanongthe bestrecoros thrt canc out in that era. J u s t i m a g i n e \ ah a t t h c y $ o L r l d l r J \F . ^ u r r r l ( Jl i \ L l u o L r l J h - , . n r . r r l L . s a m eb u r i g e t a s s o n e o f t h e s r r p p o s e d" b i g " gfoups had rt that perioti oftime. Fol rll r h e e a r l v W a r n e r B r o s . c l b u l n s ,t h c t o t a l budget for the wholc thing u,is S27,500, naximum. And fdripping wit/r sarcasnd the really "inrportant" liroups hacl budgets forr and five tincs that amoLrntA . nd Y niddle p e r i o d w a f n e r t s r o s .a l b r . r m sh a d b u d g c t s o f q o 5 . o n nI n t ' r . O , r 0 I \-Ji Lll.cLigg-o.rt. \ v e f e s p c D d i n gh a l f a n l i l l i o n t o $ 7 5 0 , 0 o 0 . so ir's a little diffcrent siruationno\\' thar I l r . r \ ,r ' \ o s r c o r n p r n \I r l I \ r r e . n c . . r r f a n d d i s t r i b u t i o n d e a l . I j L r s tk e c p w o l k i n g o n s o m e ! h i n gu n t i l i i ' s d o n e . H o p e f u l l y I c a n s e l l c n o u € i hu n i t s o n t h e t h i n g w h e n i t c o l n e s o u t to pay offwhat it costto ]nakeit. C LS o w h a t a r e , v o ul v o r k i n g o n l i g h t n o r i , ? Any ner\, compositions? Slrclar.icr siuff?
(;urr^R LEcDNDs {Gh
zaPPA Oh, there are tons ofthose.I work everynight on that. Synclavierhoursare usuallyaboutll:00 at night untilT:00 in the morning.Thererre mrybe50Ocompositions sittingonfloppydiscs.ljustworkon themat randomuntil they'redone. cLNght now, the ideaofcombiningwhat you do on Synclavierwith playingglitar' doesn'treally interestyou? rapP^?layingthe gritar alongwith a sequenceyou mean?one ofthese daysI'm goingto try that. Becausebandshavebecome j ncrediblyexpensiveto maintain.And with all the inevitablepersorulityproblems,I'mnot all that enthusiasticaboutstickinganother bandtogether. c! Do you think that'sa reasonwhy guitar is becominglessofa prominentinstrument in pop today?Do you think other peopleare experiencingwhat you're experiencing? zaPPAwell, pop music is not the end ofthe world. There'sa whole substructureofwhat they call pop music which is healT metal,in which the guitarrules.Andthat s nevergoing to change.That's a stylethat's probablygoing to be with us until hell freezesover,to usea rock and roll term. But ifyou're talking about whitney Houston,that other kind ofpop music,they try to keepthoseblasphemous element"our of ir.Theres norhingfrddio formatl AoR lAlbum orientedRocftlor MoR lMiddle ofthe Roactlabouta fuzz-toneguitar. They try to makethe orchestrationon those songsasneutral and comfortableaspossible. And I think the listeningpublic is, to a certain extent,deceivedby what is broadcast. Becausewhat is broadcastis not necessarily an accurateindicatiol ofwhat peopleare writing or recording.Now, what usuallygoes on the radio is the most banalproduct that every record companycan manageto put together.ln the United States,radio truly is a cultural en'rbarrassment, The only creative radio you can listen to is what they call shock radio,where peopleare talking and making things up. There'sa little sparkofcreativity there. But most ofthe music that'sbroadcast is harmful to your mental health. c! Even collegeradio is formatted thesedays. !aPeaWell, that's becauseeverybody wants to make The Buck. That takesus back to the career orientation we were talking about before.Everybodyis looking at their watch and thinking about their pension.And they forgot how much fun it is just to get out there and play. so that's where the problem starts.Ifall musicianslovedmusicso much that they'd play it l1omatter what happened, then all recordswould be terrific. Then what would go on the radio would have to be wonderful. But the radio is showingus that people don't love music all that much, but they have a tremendousidea about how their careershouldgo.It's kindasad,kinda hnrino,n.l
lind,
rfl,p
cLThere wasplenty ofAOR ard MOR pap in the Seventiesaswell, but a lot ofit wasstill guitar music. z A P P\Ae r h .b u r n o rl i l e r h eg r i l a r m u s i c oftoday. The seventiesstick out in my mind asthe yearswhen corporaterock was invented. And the people decidedthat that's the only kind ofrock the humanracewould 54 GUITAR LECENDS
"t{08[[Y lriltttvEI| Sil{GS [1{I]|t]lA0l[." HEAII TI|EST ever hear from then until the end of time Except for the hearT metal bands, who were doing their vision ofbeauty. But then that pretty much became a formula too. Hea!ry metal took a real dolvnturn when videos came in. It wasn't so much how well you could play as how tremendous you looked in front ofa camera.so obviously the most important mernber ofevery heary m e t a l b a n d i s t h e h a i r d r e s s e r ,t h e u n s u n g hero ofrock and roll. c! But right from the beginning, metal quickly asserteditselfas a pretty stylized genre. TAPPA lt's beenaround a reallongtime, though. And I remember atime when people frowned on it, the earlyBlack Sabbath and all thatkind of stuff. When I say "people" I'm talking about rock writers and the kind of people that think they know. But the people who bought concert tickets, they always
liked it, even though it doesn't get played on Ihe rrdio. I dun l rhink Ozzy i. going to rhe poorhouse anytimesoon. clWhatyou do seems to exist in its own cubicle, apart flom all ofthis-certainly jn the conception and recording ofthe music. But also, now thatyou're marketingit onyour own, it really seems to exist independently of an)'thingelse. zAPra That's the only way it can exist. There is no way that what I do fits a corporate format. And unless ther-e'sa n'iracle of evolution that takes place at the radio broadcast level, nobody will ever hear these songs on the radio. And certainly MTVwould never show a video that I would make. c L l f l o u h a dc o m e a l o n gr o d a yr s a b r ] n d new,2o-year-old artist doing what you did when you were a brand-new, 2o-year old artist... tAPaa I wouldn't get a contract. +
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LIFE HE CALT.EDHIS BAND DEATH, BUT CHUCKSCHULDINERLOVED LIFE, FAMILYAND THE MOST BRI]TALMETALIMAGINABLE. ASWEAPPROACHTHE EIGFIT}IANNI\IERSARYOF HIS PASSING,GUII}RIEGENDS CELEBRATESDEATT.IMETAL'SPIONEERAND SPIRITUALGUIDE, BY CHRISTOPHER SCAPELUTI
6Trm I T WAS EARLYzOOt WHEX EHUEI headaches rerurned. over the I schuldinefs I pastyear.he hadbegunto feellikehisold I selfagain-remarkable, consideringthatjust oneyear before,the deathmetal guita st had nearly died. In early January2000, doctorsin New York City had managedto removemore than halfofa canceroustumor dangerously nestledat the baseofhis brain. Months of physicaltherapy followed while he recovered at home,in Altamonte Springs,Florida. chuck had never liked being far fiom home,away fiom his family and the orlando suburbwhere he'd grown up with his sister Beth and brother Frank. This waswhere he thrived, where he drew inspiration for the melodiesthat tempered thejaggedshard.ofmu.ic he hadcraftedfor Death,the bandwith which he pioneeredthe ferociouslymanic soundsofthe deathmetal genrein the mid Eighties.And indeed,back home following surgery,Chuck had begunto craft a fresh batch of songsfor his new group, "we spentthe summerof2oo0 rehearsing and recordingdemosofthe new songs," recallsRichardChristy."Itwas fun, and Chuckwas doingreally well." Though familiar to many asa castmemberof the Howard Sternshow since2004,Christy is alsoa professionaldrummer who is best known for his work with Iced Earth, Death and Control Denied.At the time ofthe 2000 recordingsessions, Christy had known Chuck for only a fewyears,but the two men were as _We closeasbrothers. \ efeboth passionate aboutmetal,and we lovedto go to the same bars in orlando and hangout," he explains. "But basicallywhat it camedown to was that we madeeachother laugh.We would do pranLcallstogetherin the middleofpracrice. He had this dogthatused to makethis weird facewhen itwas happy,and itwould snoft
somethingsohard and still playingguitar al1d writing music.Chuckwasjust so committed. He gaveit eveq.thinghe had."
TO [1|U[I('S GOAI TilAS "BASI| OIJT I1|IIIIST BttlJTAIttlFIS IlJIt|, TIITH T1|I [I[SIBR|JIAT E|JITAI| silJil0tl|tR." like a pig. Sowhen me and Chuckwere happy, we'd snort like pigs." As the end of2ooo approached, therewas muchro be happyabour.Chuckwa55lrong and backat work on his music.His new songssoundedgxeatand continuedto build upon the technicaland progressivemetalof control Denied's1999deb|'rt,TheFragileArt of Existence. "And then we went into the studio,"recalls Christy."And his healthproblemsstarted comingback." For the next 1l months,Chuckbattled heakh.tryingto win againsr hisdeterioraring time to work on his music.On gooddays,and oftenon bad ones,he couldbe foundwriting newsongs,or entrenchedin the studio,stillat work on the album. "He drovehimselfunmercifullythat last year,"sayshis mother,JaneSchuldiner."we worried so much abouthim andbeggedhim to rest.As the perfectionisthe is, he saidit wasjust okayand that wasn't goodenough for him or his fans.He would go on until he couldn't anymore." "Music wasChuck'sfocus.Itwas the thing that gavehim strength,"saysChristy."Itwas inspiringto seesomebodygoingthrough
CallingyourbandDeathis eithertongllein-cheekinsolenceor a proclamationofutter since ty, andChuckSchuldinerwasnot given to flippancywherehis musicwasconcerned. Next to his family, music was most important to him, and this clarity drove him. To call his band Death wasto equatehis life's purpose with the mostunim€inableendto which we all willgo: it waspredestinedandnon-negotiable. with Death,Chuckaffirmedhis life. That he found his way there at all seems prophetic. WhenChuckbeganmakingmusic. deathmetaldidn't exist asa genrebut asa virile, yet negligible,strain of hea\y metal practicedmostevidentlyby Britain'svenom. Low tunings,guttlrralvocalsand extreme speedwere the musicalingredients,topped offby lyrical praisesofthe devil, hell and ingloriousblackdeeds.Bythe time Chuck appearedwith his firstgroup, Mantas,in 1983, scatteredpocketsofgrowling dark lords were plying their brandof metal in parts of the U.S., chieflyin Tampaand Orlando,the Bay area andChicago.Chuckcameto this musicwith a goal"to bashoutthe most brutal riffs ever, with the mostbrutalguitar soundever,"he told c&ittrschool, but almostimmediately, he sethis sightshigher."Though things were very crudebackthen,I still had a vision 01 becomingavery musicaldeathmetal band." The visionwas everlthing. It pushed Chuckto createDeath,in 1984,and through Deathhe cameto defineat lastthe genreof metalinfestingtheunderground.The release of Death'sfull-length debnt,ScreamBloody Gore,in 1986,gavethe scenea united front and furtheredthe awarenessofdeath metal as a genre.Althoughthe music'sstandardshad
GUiTAR LEGENDS
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longbecn cstablishcd, ChLrckraised the L.ar' rvith his tcchnical and meloclic rilfing, rvhile he uppecl the hoflof qr.rorientwith l,vricsthat dlew color'fully from gorc movics likc MaAe Thc,n,ic,slowlv ard Jle Anindtor. Thc dcaih rietd scene g]eu, and as the audience for estiblished acts gl.erv,a host of n e r v b a n d se m e r g e r l ,e a c ht r y i n g t o o u t s h o c k its predecessof. By thc carl) Ninetics. thc sccnc was ovclpopulatcd ['l' speecl riffing s a t r n s o l s h i p p i n g ] n e t r l h e r d s ." D e a t h n r e r a l
frustration with th€ Inusic busincss for Chuck weIc thc labcls," says Jare Schuldiner. "He iold me that ifhe could bypass the labels and just play for the lans, he rvould be a happ1, r r a n . " A n d i n t h e s p i r i t o f a l l p i o n e e l s ,C h u c k could be rccklessly impulsive, as when he p u l l , ' I u r t o f a L r l o o e r r r o u rj r r . r d J y . b P f n r c it was to begin. B u t h u m i l i t y t e m p e r e dh i s c h a r a c t e r ." H e u,as always surprised nhen pcople would comc up and say they rvere such a huge fan,"
"[1|II[|(IIIJ Tl|tIABttS AI{O [|tIHAI IIHI[[|lIJBYPASS ilriili,[':i iiii:iiiii h a s n o u ' b e c o n r ee x c l u s i v e l ! a b o u tb e i n g e v i l , sat:rnic and ph,r'ing full speed rhead," uhuck c o m p l a i n e dt o U . K . ' sM e r d l - F o r c e isr 1 1 9 9 l ." I t ' s notwhatl'm irto at all." B)'then,Chuck had tacklcd topical subject lnatter dr:rt included .bol tion ("Alterin€i the Funrre"), the snrrgglcs ofthc tcrminally ill ("suicidc Machine")and the risht to die ("Pull thc rrlug"). Comnitted kr his !ision, Chuck grle shrpe r n d " , r h r r e r ' . . h n r rt o ^ l :' t r n r r r s 1 - ,: ; r t , . tsLriit \\'as not \r'ithout its costs. His denands of himselfandhisb.rnd frequentll led to . ( f i n r u r ' . nr . p r r r i I g : h e r r re e r I i r r r I d h ' . | n u s i c i r n s .B u s i n e s sd e : r l i n g sl e f t h i m f c c t i n g ovenr-helurcd anrl dcplcsscd: "rhc biggcst
5 t ( i u I I A R L E G U ND S
sa,vsCh sty. "He was the most humble 63ry.I d o n ' t k n o s , i f h e e v e r r e a l i z e dh o \ r i m p o r t a n t h e w a s t o t h e m e t a l s c e n e ,b e c a u s eh e l o o k e d :rt /rtnsef:rs a fan ofit." A n d s o i i w a s , i r 2 0 o 0 , d u r i n g C h u c k ' sb r i e f fccovel-!, that he and Chrjstl- i,!ere rttendinga K i n g D ' a n r o n d s h o w i n S t . P c i c f s b u r g ,I l o r i d a . The corpse-painted thrash metal singer lvas a favoritcof Chuck's, ard Iliamond's guitar.ist. Andy LaRocque, had even briefly pcrformed with Derth, on 1993'sIndfiidLtdl T horlSht P a r c r , , 5 .$ r r - rL r l { u ( I u , . x . . : . r a n c e ,a h r r . k ard Christy \\.ere escorted backstage. " I j u s t r e n e m b e r u s b e i n g s o n e r v o u st o 1 1 l e eKt i n g . C h L r c k u , a si n a l r c , " s a y sC h r i s t y .
"And for me, it \r'asjust so weird; there I was, a chuck Schuldiner fan since I don't kro\,r, *,hen, and I'm u'atching him gct toDgue tied in front ofhis hero.ButChuck wasjust like any orher metal fan. I'het's lvhai made him and his music s0 gIeat," Hc \l,asborn Charles Schuldincr on May 13, 1967,in Longlsland, NewYork, the youngest ofthr-ee childrel1 born to Malcolm and.Iane schuldircr. Malcolm was a Jeu, ofAustrian dccentiJane was born and raiscd in the bibie b e l t s o u t h . R a i s i n g t h c i r c h i l d l e n ,t h e y e x p o s e d them to thc practices and customs ofboth p a r c r t s ' f a i t h s , " i n c l u d i n g t h e h o l i d a y s , "s a y s Jare. "They ended up beingthc best ofboth." When Chuck was onc, his parents mo\.ed their brood to the budding suburb o f A l t a m o r t e S p r i n g s .J a n e c a l l s C h u c k ' s c h i l d h o o d " a - L e d r cI . t o B e a v e r l i f e . " A l t a m o n t e S p r i n g sw a s l a r g e l y u n d e v e l o p e d a r t h e t i m e , a n d t h e S c h u l d i n e rh o m e w a s nestled in forests where seminolc Indians once hunled. "chuck and his brother lFrdnftl and sister [3r,rfij grcw up playing in those woods, buildingforts in lhe lrees and seeing q r i r . r l ,' r u i u i l J l i f er h e r er l : o . s r v s J a r r L " C h u c k a l 1 dF | a n k c a n p e d o u t i n t h e b a c k y a r d *,ith flashlights alrd s[acks lots oftimes, r n d r h e r eu , n r r : r r ) o f ' h e ( h i . l r p r i n r h . ncighbolhood at the house rnost days." C h u c k ' sc h i l d h o o d u a s ,b y a l 1a c c o u n r s , happy and iraditional. Family photos from thc r i r . r . J \ f . o n l r l u e r I ^ h i . t r p r e e nr r r ( f u ' t . . : t ) o u n g C h u c k d r e s s e du p a s a n l r d i l n s c o u r , d i s p l a ) ' i n g t h ec a t c h f r o m a f i s h i l g t r i p a n d Z posin€iin his socccr outfit. His artistic sn-eak tr
. ; ; ; i
displayeditselfearly.SaysJane,"Chuckwas interestedin art and sculpturefrom a young ageand Iovedboth equally." Althoughtrrankwas sevenyearsolder than Chuck,the two were closecompanions. Oneday,while returninghomefrom a visit to an out of-stateuncle,Frankwas killed in a car accident.He was 16.His deathwas devastatingfor Chuck,and the sobe ng reality ofthe losshauntedhim. "He never really cameto termswith it," saysJane..,He alwaysmissedtrrank." In the monthsaftertrrank'sdeath,Malcolm and Janebeganlookingfor away to help Chuckdealwith his griel He had begun to take an interestin music,and the guitar had arousedhis curiosity."we discussedit with him, and an acousticguitar seemedthe best,"saysJane."Itwas portable,something he could carry with himwhen we went on vacationor camping. ro a friends houseor
Brook Everitt in 1999."I said screw it and went on my own," "Chuck found the acoustic guitar lessons and his teacherboring" says Jane- "He didn't like the repetitiveness ofit all." It's possibte that Chuck would have abandoned the guitar entirely had his parents not madeyet another attempt to indulge his interest. While at a yard sale, Chuck spotted an electric guitar, a pointy knockoffin the spirit ofB.C. Rich, whose guitars Chuckwould later employ. Once itwas in his hands, his old acoustic glitar was completely foryotten. "The first time he played the electric guit , it was as if a switch was tuned on in hin," says Jane. "And it never turned ofl" His enthusiasm was in large part fueled by his love ofKiss, who bythis time in the late Seventieshad reached their commercial zenith. Foryears, the], were Chuck's favorire group, as evidenced by a familyphoto inwhich averyyoungChuck is dressed up like Paul Chucksignedup for classicalguitar lessons, S I a n l e y A . t t h e a g eo f 1 3 .h e w a s r r e r r e d r o h i . but the tedium ofstudy quicklywore down first Kiss concert, courtesy ofhis mothel. his enthusiasm."I took two lessons,and lthe By then, he had discovered metal through instrucror]showedme 'Mary Had a Little New Wave of B tish Heaq, Metal acts, Lamb,'" Chuck recalledtoPifmagazine's including Raven and, his favorite,lrol
Maiden,whoseguitar tandemofDave Murray andAdrianSmirh werecriricallo forminghis loveofheaq', butmelodic,glitar lines.In lieu ofglitar lessons,Chuckhad begunto teach himselfto playby ear,listeningto the songs he lovedand,with uncommondetermination for an adolescent, soundingthemout on the fretboardofhis guitar."He had a very good ear for musicearly on, andwhat he listened to he taughthimselfto play,"sayshis mother. "He absolutelyloveddoingthat." ln the metal-intensiveyearsofthe eariy Eighties,Chuck found no shortageoffresh inspiration.In additionto U.S.bandslike Van HaJen, he wascapLivated by Scandinaviar. metalactssuchasHellhanmer and Mercyful I ate,and B tain'sVenom,who would inform his growing deathmetalsensibilities.In 1983,the arrival ofthrash actslike Metaltrca, Posses"ed andSlalerinrroduced him ro music heavierand morebrutal than anlthing he heardbefore.Bythen, he was 16and coming into his own asaguitarist."I was lucky to start playingguitar in the Eighties,"he told Pit, "when so manygreatplayerswere around to inspireme, like Yngwie Malmsteen,Van Halen and especiallyDaveMurray andAdrian Smith of Iron Maiden." Chuck'sgrowing fondnessfor extreme metalwas no causefor alarm aroundthe Schuldinerhousehold.Malcolm and Janehad alwitysbeensupportiveoftheir children's interests,and Frank'sdeathonlybrought the family closer-"There is alwaysfear involved when a child dies,and I watcheddiligentlt afraiditcould happenagain,"saysJane. "Chuck'sfatherworked and had tennisand other hobbies,soI wasmore involvedwith Chuckand his interests,asI was with my other children." And sowhen Chuchdecidedto form a bandwith two Iocalhigh schoolers,the garage wasgivenup to the group'srehearsals.They calledthemselvesMantas,a pseudonymfirst adoptedby VenomguitaristJeffreyDunn. Chuck'scohortsin thisvenflue were guitarist Irederick DeLillo, rechristenedRick Rozz, and drummer/singerBarney"Kan" Lee-The bandhad no bassist.Chuckwrote most ofthe band'smaterialand occasionallysharedvocal dutieswith Lee.Shortlyafter forming,Mantas releaseda five-trackcassettecalledDedfhby Metal.recordedin Schuldiner's garage. Irs coverphoto featuredthe threeband members in front ofa signthat reads"DangerHigh Voltage." Publicreceptionto the gxoupwas anything but electric,however.That, combinedwith internalbandtensions,led to Mantas'breakup in lat€ 1984.for the first of manytimes to come,Chuckfound himselfsearchingfor new bandmembers.Not surprisingly,given the uncommonnarureofhis music,he found his optionswithin the Oriandoarealimited. Within weeksof Mantas'breakup,Chuckhad reconciledwith Rozzand Lee.The old tineup reconvenedbutwith a new leadsinger Cl'tuck and a new namerDeath. Ifever Chuck'smusichad alarmedhis parents,they did nottry to deter him. Even now, ashe rubbedagainstthestill-fresh woundsofFrank's untimely d€ath,they kep! silent."l alwaysthoughtthat the nameofthe
" u , r o * . u o u1*6o1.
triobroke up again.while Lee and Rozz joined Massacre,anotherdeathmetalact that had formedthe previousyear,Chuckweighed his options. By now, he was nearlyl8 and closeto gaduatinghigh school.Thoughhe'd been a goodstudent,Chuckwasboredby school and anxiousto pursuea recordlabel contract. As always,he turned to Malcolm and Jane for guidance."we talkedwith his school counselor,who urgedus to let Chuckpursue h i sd r e a m .s a y sJ a n e .W h i c hu e d i da f t e r gettinghis promisethat if, after a year,he did not get that contract,he would finish school and go to college." Thoughhe had only a handful of independentcassettereleasesto his credit, Chuckclearlyfelt readyfor a professional career.He'dbeenpracticingat everypossible opportunity,and on increasinglybetter instruments.At somepoint in the early Eighties,chuck switchedfrom his yard-sale elecrricto a PerveyT25,a two-humbucker modelmanufacturedin 1982and 1983.A photofrom this time showshim posingwith the guitar,a youngteenpracticinghis attitude for the camera.Eventually,he would move on to a B.C.Rich Mockingbirdbefore choosing the B.c. Rich Stealthmodel,a rarity offered throughrhe company' Cuotomshop.This becamehis main guitar throughout most ofhis professionalcareer.
=. :. =. :. =r =. =' : !
1l|AS T|JB|(Y IO$ART PI.AYIIIE EUIIAR IIII1|I IIGI|TIES ptAYtI|s tf]|tl{ s0ltAilY GRTAT lItI|E At|0|lil0 T[il$tl|E [IE, II|(IYtIETilIE, I|AII l|AI.Iil A]IO IAllE IIIJI|]IAY."
Chuck'sfirst act asan emancipated musicianwasto headfor SanIrancisco and its burgeoningpool of metalmusicians.His search wasunsuccessful, but in January1086,shoftl) afterreturninghome,he wasinvitedtojoin the canadianthrashact Slaughter.He accepted and movedto Toronto but left two weeks after arriving, having recordedjust one track with the band,By now itwas clearto Chuckthathe had to follow his own musical goals. _ofcourse,his farherandI wereinvolved the first year,from afar mostly,"saysJane "After that, Chuckdiscussedhis plans,buthis decisionswere alwayshis own. we trusted him to do what wasbestforthe band,with the inferredpromisethat itwould, aboveall, be the bestfor himself,also." That March,back in SanIrancisco, he met drummer Chris Reifertand struck up a friendship.The followingmonth,the duo entereda BayAreastudioto recordthe threesongdemoMufildfion, with Chuckdoubling onbass.Mudlafion wasby far the most professionalsoundingof Death'sdemos,and like its predecessors, itwas circulatedthrough the undergroundtape-tradingcircuit. which is howwriter Don Kayefirct came to hearit. "I wasbiginto tradingtapeson the undergroundscene,and I had beenaware ofChuck'smusicsincethe first Mantastape 6 5 wasreleased.The Mantastapewas pretty primitive,but right from the startwith Chuck, you couldtell thathe had talent on the guitar = andwith writing pretty catchystuff within lhrtgenre. Therewere so manybandscoming o out ofthat scene,but asalways,the problem wasthat theywere trying to be ashea\,Tand brutal aspossibleand weren't ableto writc anythingthatsoundedlike a reasolably cohereDtsong.Chuckwasgood,and he just
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bandderivedfrom the deathofhis brother," saysJane."And while the word had such painful memories,I did not object." Under Chuck'sleadership,Deathbeganto find its distinctivevoice.As the w ter and, now, singerofthe group'slyrics,he tumed the focus of Death's songsaway from Lee's 60 CUITAR LECENDS
preferreddevil imageryandtoward gore.The group releasedthe five-songcassetteR€r'8nof ?error in october 1984,and the three-track InfernalDeathtapeh. March 1985.Both were soldin the undergroundcassette-trading market.Response to Death'smusicwasgood, but shorrlyafterissuingI nfernalDedth.the
gotbetter ashe movedcloser to makingthe first album."
supportto Massacre,the deathmetalbandRick Rozz and Kam Lee had joined in was dividinghis time 1985.By this time, Lee had asajournalist for metal left the group,replacedby magazines, including Bill Andrews.With Massacre I(errdngl and working part bassistTerry Butler onboard, time asa publicistfor Combat Chuclwas freedftom fourRecordsin New York City. string duties.Recording The hea\,f.metalrecord was,byvarious accounts,a labelhad formed in 1984 happyexperience.Chuck's and quickly found success old friendsprovedthey when it signedMegadethand were up to his standards, releasedtheir 1985debut, arrdLeprosy'spolished Killing Is M! Business..And productionputs their BusinessIs Good, contributionsto good Au/are that Death display.Musically,Chuck had agood buzz on the was continuingto grow, his undergroundscene,Kaye philosophicalsideemerging urgedCombat'schief,Steve in "Pull the Plug," a song Sinclair,to signthem."I aboutlife supportand the 'They'd said, be perfectfor right to die. the label.They'redefinitely The group reconvened a bandthat'sgettinga lot of for l99o's Spiritual Healing, atteltion from people.'He with virtuosometal wasvery hesitant,but I just guitaristJamesMurphy kept badgeringhim to do it. replacingRozz.The album Until, finally, he agreed." maiked a breakthroughin That summer,following Chuck'smusicand lyrics. an abortiveattemptto record Turning his attentionto the their debutin Florida,Chuck daily headlines,he found and Reifertnailed down a everydayAmericaa place dozentracksin five daysat of tuneworthyhorrors. the Music Grinder in L.A. "Living Monstrosiry spoke The band,suchasitwas, to the crackepidemicand stilldidn't havea bassist, the drug'saffecton unborn and Chuckonceagain fetuses,while "Altering the handledfour-st ngduties. I uture" laid out what he Titled. ScreamBlooalyGore, saw asthe implicationsof Death'sdebutwas released abortion.with thef focus upon an unsuspectingpublic in May 1987. "Butitshowed me that, althoughsometimes on reallife problems.the ne* songsseemed Its songs\rere little more than an extension to his detrime[t, Chucktook his musicreally more morbid and pessimisticthan Chuck's ofthe pile-drivingriffs and blood-and-gor. seriously.He wasreallyinterestedin death previoussongs.While it wasapprop ate to lyrics that had populatedDeath'sdemos.But metalandgoingasfar ashe couldwiththat." the genre,Chuckwasn'tsimply miningtopics the pro{essionalproduction,coupledwith Any animosityChuckfelt wasshortlived. for their suitability;hebelievedinwhat he Combat'sextensivedistributioncapabilitics, "Deathcertainlyhad agoodrun with Combat. sang.He was.!aysJane.a'deep rhinker.a allouedSc'pam Blood)Cor"e lo havean impact Theydid five recordswith them." ponderer,and his lyrics cameftom his feelings that Death'shome-brewedreleasesnever aboutlife happenings...and things he felt was could achieve. Two yearsof travelingbetweencoasts wrong in the world, He was a very concerned Slowly,lhe metalcommunitywasbeginning had convincedChuckto makehis homein personfor the wrongedpeoplein this world, iobuzz aboutChuckSchuldiner,the wild Florida,nearAltamonteSprings.His famil, and it saddenedhim." deathmetalguitaristfrom Orlando,Florida. welcomedthe decision."Chuckmovedout Musically, the album showedChuck Don Kayehadbeenprovenright aboutDeath's on his own to a town nearus and sawus continuing to gTowas a songwriter and potentialfor success, but his victorywas when he wasn'ttouring,invitingus over for guitarist. "I started practicing more alld anlthingbut sweet.RecallsKaye,"When dinner andvisitingus often,"saysJane.Chuck cameup with the idea that, for this band SteveSinclairagreedto signDeath,he saidto had invited Reifertto return to florida with to move forward musically,we'd needa me,'Somewherein the credits,I'm gonnapur, him, but the drummerdeclined,preferring cleanerapproach,somethingreal dry and "This recordis Don Kaye'sfolly." Thatway, to stayin California.Their separationwas in your face,"he told cuitdr magazine.At ifit's a bigbust,I'm gonnablameyou.'And I amicable,and Chuckwishedhim "good a time when death metal was in danger said,'Okay,'thinking he wasjoking. luck in the future" in the creditsofDeath's of becominga grunting Satan-glorifying "But Stevewas a ball breaker.And sure secondrecord,l9 88'sLeprosy.Oncesettled parody ofitself, Spiritirdl Itedling showed enough,whenwegotcopiesofthe albumin the in Florida,Chuckwent aboutcreatinga new that death metal was important and that office,dght thereon the insidesleeve,inder Deathlineup,a processcomplicatedby his Chuck Schuldinerwas undeniablythe 'This the llrics and credits,it said, recordis demandingstandards.Henceforth,he would personto show the way forward. Don Kaye'sfolly.'I just thought,Oh god." be the group'sonly consistentmember. Ironically, Chuck had beerl cast out ofhis Kaye'sreactionwasnothing comparedto "I thinh he wasa perfectionist,"saysKaye. own band. In the weeks after the album's Chuck's."Now Chuckwasa guy who wasvery "He really had a high standardand maybethat completion,personal and businessproblems passionateand very seriousaboutwhathe did, madeit harder for somepeopleto work with him had begun to overwhelm him, and Chuck and he could be a littlebit abrasive,"recalls and meetthosedemands.And asthe bandwenr pulledout ofthe Europeantour that had Kaye."But he sawthis, andhe calledme, on, the musicjust got more complex.It was easy been iined up. "I cameto a point [dt] which and he wasjustlivid. He said,'Who'sgonna to play that kind ofmusic poorly,but it wasvery I thought everything was doomed to fail," take this recordseriouslywhenit saysit's hard to keepup with someonelike Chuck." he told Arno Polster,without elaborating somebody s folly?He wasrerllypissedoff On Leprosy,Chuckturned for studio on the details,in the March l99l edition Af rha rima
-
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a"""*o, {@ "urto*
o f c e r m a n ) " s R o c l H d r d m r ! i : r z i n e .T o h r s surprisc, his band ncnlbcrs dccidcd to so s i r h u r h i n , . l r u r . : rn u r rf u r g . .r l - . 1 r- r u t i r . . n a c l e r v o r s e b y t h e i r d e n u n c i : r t i o n so f Chuck onstagernd in the media. Burler told I l o c / rH d . d i h a t C h u c k u . a s h o m c , n o r v i n g t h e g r i r s s .I n r e s p o n s e t o t h e i r a c t i o n s , Chuck hired rn attorrle! rnd grined the f i g h t s t o t h e n n n r eD e a t h . ' A f t e f a l l , D e a t h , ,rrll rr, br rd. f, r.ld P r.r, . rlr,,usll t h e ) l v e r e l 1 1 vb e s t f r i e n d s , b u t I $ ' i s \ a r L r n g . , \ t r l l t i n r e s , l r 1 r i s i c i e n sa r e r ' e p l a c e a b l e , ffiends ere not." Chuck had ncvcl nccdcll an cxcusc to fighr for his lnusic. N*o*,hrllded ole, he r-espotded with devrsrrting force.,qumdn, his fbllo$,up to s?iritxdl Heallnst w|s a calculated retaliation to his former bandnr ates,who clairned he rr,as wrshed upi to thc lnedia, *.hich panrtcd hh as r n g r c i s s i s t i cl n o l l s r e r i e n dt o r n y o n e d e l u d e d e | o u g h t o b e l i e v eh i s d e t r a c t o r s ." T h i s i s nNch nl(nc ihan a fccord to mc," he told Mcral }ldmmer's Robcft Hccg ir thc Dcccnbcr l99l i s s u e ," I t i s a s t a t e n e n t , I t ' s r e v e n g e , " s h e d d i n g t h e g o r , vt r n p p i n g so f h i s p a s t lvrics, (lhuck no\l'\\.r'ote in a mann€r thrt . c n ' r . l r l r " l , . r r r . p , , r i r , . r , lp e - - r r r ' . lCs not hafd to inegil]e hinl addressing Butler i n " S e c r e t F a c e , "w h e r e h e s i n g so f " a n a s k / T l . ' . o r . ' . l | n o ' e : r I U e i r r e r r : o n . .^ r i . l r h e o p c n i n g l i n e s o f " L a c k o f c o m p r e h c n s i o n " :" A condel11ningfeaf strikes do\\.n / Things thcy c n n n o r u n d e f s r a n d/ A n e x c u s et o c o v e r u p \ \ c a k n c s s c sr h a r l i c r v i t h i n / L i e s . " Certairly, thc irt caci'and nuance of Chuck's songrvliting rnake it cleal hc had not spent the past yerr l,ving ar'ounc1. He had been s t v i n g t o g i v e D e : r t ha r n o r e t e c h n i c a l s o u D d , a n d o n H i r r r d n h c s u c c c c d c di,n p a l t d u e t o h i s choice ofn1usicieDs.Guitarist Paul Nlasvidal a n d d r u n r m e f S e a nR e i n e r tw e r e r e c r u i t e d fion fkrIida's plogressive tech-Dretrl brnd r r | l . r .u l r . L h r . . i . s r - ' r D i d i u . i . , : r r , [ r n California's highly tech calthrash bard sadLrs. C h u c k ' s m u s i c a lg r o s t h c o n t i n u e d w i t h Death's next two album s, Indiri.ludl Tl:oLlgllt Pd.terns and.s),mboli.. But b)'1997, hc {.:rs \ c E n r r n i nr; ' r i r , , f \ . r r , c : . 5 . r . . , r r , r: r l ^ r . . r r 1 . \ , e r r r ! 1 , r . r w' h e \ - . , r ,. l J C l d i .S.hoo/, 'ln thc future I plan to do a nrore meLodic, straisttforwird lnetal s c pr(icct \!ith a singer in the Rob Halford style." No$. h e p h n n e d t o s e t D e a t h n s i d et o d e v e l o pj u s t that soft ofgroup with Conh ol Denied. ''ChLrck\r'antrd () ha\.c aband in utrich hc did no singing, that u as the nairl rcason," says . l r I e . - 5 ' r ! i r ' g' r . r c r ' l ' h a r d . r n h , .r o . c e Adds Richard christ_v,"HejLrstu,rnreLl to try solnethirg $,ith a lnor-eiraditi(nlal lnctal sirtacr, b e c r u s eh e u a s r h u g e f a n o f b a n d s l i k c l l o n X,Iriden, l,Irnowar rnd bauclslike rhet.I don t thirk hc cvcr \rantcd ro stop doingDe:rth full time, Lrecausehc knew horv much that band n1e:rntt(r people. tsut hc was lead"l ibr abrcak." C h f i s t v i v a s : l l r o n g r b e f i r ' s tp e o p l e C h u c k s e l c c i c df o r C o n t r o l D c n i e d . T h o t u o h a d m e t b v c h r n c e i n 1 9 9 6 .C h r i s t y h . r dj u s t r l o \ ' e d t o O r l a n L l o! v i t h h i s b r n d , I t u f n i n l i I r s i d e , and was shopping at Altrnronte N{all \,!ith his i$itarist whcn thcv sporicd Chuck at a B. D a l t o o b o o l t s t o r e .' \ \ ' e * , a l k e d i r t o c h e c k o u t s o n r e| n e t a l l n a g a z i n e sr,n d t h e r e ' sC h L l c k f c a d i n g a m a g : r z i n eA l n d w e w e f e I ' k e .O h ,
a , t( : t t T \ R I t ; t \ F s
s h o u l d \ r e s : r , vh i ? S o w e s r i c lh i , a n d h e r v e s s u p c r n i c c .w c t o l d h i l n u e n e r e h u g c f a n r , , a n d I ' i 1n e v e rf o l g e t t h i s h e t o o k t h e t i m c t o t a l k t o u s .\ \ r e t a l k e dt o h i m l o r l i k e 1 5 , l 0 minlrtcs about rretrl. Ancl ihvas just so cool. we couLttntbclielc that ir.r nall in Orlando, F l o r i d N ,s ' e $ e f e n e e t i r g C h L r c kS c h u l d i r l e f .' S o o n a f t e f .C h r i s t ! r n l l C h 0 c L b e g r n b u n l p i n g i n t o o n e : r n o t h e f -" P r e r t , vm '' uch cvcrvbolt) in thc rrrdal sccnc in orlando s o u l d h r n g o L t ta t t h e s a n e p l a c e s , "s i r y s ' l - ' . n . I ' e . r n e J ' n v . .r h e r r ' . p r r r i e . . B l ' c o i n c i d c n c c ,\ r h c n ( l h u c k \ r r s i n n c c d ofa dlumrrer fol ControlDenicd,a nlLrtLrrl f r i e n d s u g _ g e s t eCdh r i s t ! . " T h e v g o t l n e i 1 r c o n t a c t$ , i r h ( l h c k , ' t h e d r u n r n r e l r e c r l l s , ' ' r n d I $ ' a s n ) n c r \ r c u s i u s tc : r l l i n g h i u rt o s e t u p . r nr u d i t i o n . I l c m c m b c r i a k i n g l n v d r u m s t o a l h u c k ' sr e h e r r s r l s p r c e r n d p 1 : r ) ' i n g fouf o f t h c m o s t c o n r p l i c a t c dD c r t h s o n g sr i g h t rurr ..1/t, rF" 'tr. tr ' '1,-. R i g h t t h e n , i t j r s t c l i c k e d .l t j u s t i e l t r u . e s o r r e , h o c a u s eI h r c l b e e n p l a l i n g a l o n g t o t h o s e s o r s s o n C D f o r y c a r s .A n d t o b c t h c l c p l a l r n g tlrem lvith Chuck \r'.rsrrrirld blon irlg. ' C h f i s t y g o r t h e j o b . r n d ,i v j t h j t . e l i t t l e s l p l i s c : t h o u g h ( l h u c k r v a sr e r r | ' t o m o r , e
ahexd ivith (lontrol Dcnicd, hc decirlcd to . r ,. ' r r r r , . J , t , l r r . r r '* l . , t r , l N , u' L.rr tsla. w i ! h o n e l n o r e I ) e a l h a l b u n r ." i ! r , a ss L r p e r e r c i t e d r b o u t f t a t b e c a u s eI n ' a s x h u g e D e a t h fan." sa_rsChrist\. u'irh Scott Clcndenin on bass end Shrllrlon Hirnllll on guitar, C h u c I q u i c l r h b e g . r nr e c o r d i n g ? f t . ' s o x n . l ol Pcrsercrdn... Derth's most rggressive, p r o g r c s s n ' ca n r l t c c h n i c a l 1 !c h a l l c r g h g a l b u r r r . Opcnirg lvith thc srvrgc bhst of'Scrvenger of e "r ., , i r - l . r n ' 1 n : , r r . ' . , 1 , c .L r r r , r r . r . r ' e l 1 r ' r r ' ' rd r . i . r l\ i - , I n . i D I l r . r i . r i r r i r a b l i s t e r i n gc o Y e Io f J u d a s P i c s t ' s " P a i n k i l l e r . " Rcle.sed in 1993,flie Saun(l ofParc{.|er.ln.! '\r,ne,rl,..erpr,' JI'rrrrrd. rrl."pi ri r o f m a n v f : r n s .t h e i r b e s t . Chlisn lecaLlsthe subscqlrcnt tour.rs ahapp)' r',(. 1,lL,rt.'i l.u.pul..lrpr"rhi..lu\ir N I i l : r nr, n d t h e r en ' e r eh u n d l e d s o f k s r v a i t r n g thcrc. wc got olrt and hcrdcd to a rcstaurant. ) r r r .rrl r ' , l r ' l . . r r r . J t b l l u $ r n ! u . J u M r l h e li, s h e e t ,l i k e i t \ l , : r s . rp r r a d e .: r n d c h a n t i n g C h u c k ' s r ' . r , . $ t , . r " r l r . 1 . r 1 u r rr .1 r l . J r , - r i r ! . r r , l ' L u - \ i . 1 .l r r l t h . i r t " , r . p r r - . < . t . , 1 r i r r . t lhewindoivs.s'etchingusea!.Itwaslikea z o l r r b i e1 r o \ , i eC l h u c k g o t s u c ha k i c k o u r o f t b a t . H c s a s s o h u m b l c d ,t t x r . "
With the Sound o/Perseverdnce tour completed, Chuck and his new $oup wentto work on Control Denied's debut in early 1999. The sessionswere well underway that May u h e n C h u c k b e g a n r n e x p e r i e n c cp r i n i n h i < upper neck, u'hich lTebelieved was caused by a pinched nerve, possibly from strain. An MRI exam proved he was right about the pi[ched nerve; unfortunately) itwas causedby a tunorgrowiug at the base ofhis brain. On Mny 13,his 32nd birthday, Chuck was diagnosed with pontine glioma, a rare type ofbrail stem cancer that typically affects chitdren. Says Jare, "Chucl's doctors determined that he had that tumor from childhood, with no symptoms at all to alert us through the ycars.', The tumor's sensitive location made it inoperable, and Chuck underwent radiatioD therapy to controlits growth. Alternative treatments were sought as well.Iecausc h e h a d n o m e d i c a li n s u r a n c e a c o m m o n situation for nany musicians, ever those signed to label contracts Chuck's treatmenr was pajd entirely out of pocket. In all, his family spent some $90,000 for his therapies. Duringthat time, Beth put her.eal estate deals on hold to take care ofChuck and raise funds for his treatment. "I told Chuck as ajoke,'you are a full-timejob,'" Beth told MTv. "Every single dime has been for hin, but Chuck would do it for me 1,000 tines over." November brought thc release ofControl Denied's debut, rhe Frd8rle Art ofLxistenc". By then, fans knew ofChuck's condition and many assumed thc band's narne and the albunis title were a refercnce to his illDess though both had been chosen bcfore his illness was known. I n l h e r i r s rd a ) . u f 2 o 0 0 , C h u c k r r d h i r family learned of an experimental surgical procedure that could treat his conditioD. Within just one week, rhey managed ro a s s e m b l ea t e a m o f f i v e m e d i c a l s p e c i a l i s t s to perform the surgery, and to do so quickly: the head surgeon dcclared rhat Chuck's life was "in imminent dang€r" and scheduled his surgery for January 19. Although the procedure was expensive, the doctors had ngreed to waive their fees. Unfortunately, the hospital hosting the operation, Neu, York University MedicaJ C e n t e r .w o u l d n o r w a i r e i r s f e e ,e s r i m a r e d at $70,oo0 to $r00,000. Although rhe hospitalwas willing to accept as little as $5,o00 as a down paymen!, Beth was also asked to sign over Chuck's future royaltres t o p a y t h e b a l a n c e .S h e r e f u s e d . Still, the surgery went ahead as planned. Nearly half the tu or was removed, and Chuck's life had been saved. Soon aller, hc began physical therapy to help him recover from the effects of the tumor and surgery. Within two months, he was telling MTV News, "Everything looks good. I'm moving pretty quick through physical therapy, and we're seeinggood r'esults." Chuck said he was especially buoyed by the financial dolations from his fans and from fellow musicians who put together benefit shows. "When this sort of stuff happens, itreallybringspeoplctogether. It's incredible how people aggl essi\.cly organized for this. It's very uplifring."
Chuck had good reasols to be optimistic. Though the tumor.had notbeen entirely removed, it had reportedly necrotized;the tissue was effectively dead. In addition, ifthe tumor had been with Chuck since childhood, as his doctors said, then it was most likely a low grade glioma, which is slower to gow and less aggressivethan a h;gh-grade variety. In any case,Chuck's prognosis for a full rccovery looked good. Workwent ahead on a new Control Denied albun, tentatively title dwhen Mdn and Machine Collide. B\t wheD Chuck's symptoms recurred in early 2001, his worst fears were realized. The lumor had begln to grow once . r g a i n .i | | v a d ; n gr r e a s o f l h e b r r i n r o o . e n 5 i t i v e for surgery. Havingbeen once abated, the cancer now returned with a dcvastating vengeance."Chuck lived on his own until e a r l ) i n 2 o 0 l . . a t s J a r e , ' w h e nl $ c n r I o h i s
he were to lose tha!fight-" Although Chuck's condition improved by November, his weakened state left him vulnerabie to infections. Late in the month, he contracted pneumonia andwas placed rn the hospital. He was released oD December t3 and returned home. One hour later, at 4 P.M.,Chuck's bodygave up. He died as one i m a g i n e .h e w o u l d h a t e w r n t e d , a r h o n r e surrounded by his family. "At the end," says Jane, "he thanked me for t h e g o l d e n m e m o r i e so f h i s c h i l d h o o d . " The fate of the final Cont.ol Denied recordings has been a matter ofcontentioD s i n c c C h u c k \ d e a t h . l n M a r c h 2 u O 3 ,J r n e announced plans to make the unfinished songs avajlable free for download but changed her mind the followingmonth, sayingit wouldn't do anyju.rice to Chrck r final music. \4ore recertly, the SchuldiDers and Guido Heijnens, owner of the now-defu nct Hammerheart Records, to which Control Denied was unde. contract, entered into a lawsuit, with each side claimingrights to the recordings. Heijnens has previously released some oftlrose tracks, against the family's wishes,on Zero Tolerance, a two-disc compilation from 2OO4that also featured Death demos and live recordings. SaysJane, "The legalbattle continues with hope that allwith be finalized soon.I can tell you that absolutely Chuck's last album witl be released exactly as he told his sister and I he wanted it to be done. That was Beth's lasr plomise to Chuck, and she willkeep it." It's not putting too fine a point on things to say the fight for Chuck's music is the figh! for his soul. He lived for his music, and he died for it. Clearly, had he chosen a more lucrative occupation or sold out to play a more popular styleofmusic, Chuck might have lTadthe financial rncans and benefit" to beat his diseaseB . ut sellingout was an unknown concept to him; he was incapable ofdoing less than following his heart. In his life, Chuck gavenot just his music,notjust a g e n r c o f m u s i c , b u t a l s oa n e x a m p l e o f h o w an artist lives his life: \rvithout compron'ise, and on his own terms. "With regard to death metal, he coltributed a standard ofmusicianship that people are still aspiringto," saysDon Kaye. "He was a pioneer who tried to tale the music in an interestingand pro$essjve direction. And in that wa)., coming a l o n gu h e n h e d i d . h e c r ys r a i l i z e dr h e g e n r e . "His music is timeless," adds Chrisry. "lt s t i l l s o u n d s a s F e s h a si t d i d w h e n i t c a m e o u t . Plus, Chuck's style on guitar is unmatched: it's the perfect mix ofmelody, technicality and brutality. I'm extremely lucky to have been notjust part ofthe band but also a close friend ofChuck's. He inspir€d me, and he continues to inspire me, every day." He is clearly not alol1e. "I still receive so many emails from Chuck's fans," says Jane. "I know from them that Chuck is renembered not only as a gTeatmusician but as someonewho made, and continues to make, a difference in their lives. He inspires them still." Not allthose fans are adults who grew up with Chuck's musicj nany, says Jane, are as young as ll, ''Just r h i r r k :a n o t h e r g e n e r a t i o ni s d i c c o v e r i n g Chuck's music. He would be so proud." I
stlililfi 0|JTulAS Atl |Jlil0tffi]t[0ltffPlT[ [l||JEl(-l|[ r{AS til[ApA[tt ff 0illtE rr$Il|Ail IftI.Ol'lIl{E HIS 1{IAtll. housoto staywith him duringthe day and eventuallyftrlltime." By May, his do(ors believedsurgery waspossibleand shouldbe performed immediately.Onceagain,bureaucracyblocked the door to Chuck'srecovery.Thoughhe had obtainedmedicalinsurancesincehis first operation,his insurerrefusedto pay for the sccondsurgery estimatedat $70,000to $l2o,0oo-becausethe tumor existedbefore the start ofhis coverage. The Schuldiners, havilg exhaustedthcir' fundson his previous treatments,did not havethe $30,000down paymentrequir€dfor his surgery. Respondil,Ig to Chuck'sdire condition, nunler-o!rs artists-includingPantera, Disturbed,RedHot Chili peppers,Marilyn Manson,Korn and Slipknot donated merchandisefor an online auctionto raise futrds.Chimairasoliciteddonarionswhile on the road,while benefitconcertswer-e organizedby metalactsworldwide.The outpouringof supportwasenormous. ThroughoutChuck'sillness,Christy regularlyvisited,doinghisbestto keephis friend'sspiritsup. "We'diistento metal together,nake prankcallsandgoofaround.We tried not to think aboutthe badthingsandjust stal positiveandthinlrbourmusicard happier things.We {'ouldjust talk andreminisceand look forwardto goingon tour again." "Chuckwastheonewho nevergaveup,who instilledhopeandlovein rhoseall aroundhim, andhe nevercursedfate,"sayshis mother. "After losingtrrank,he woried soabout whatit u oulddo to rheI hreeof us Berh,[ris nephewlChristophelandmyself-to losehim.I promisedhim we would do the bestwecouldif
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GUITAR LEGENDS 65
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66 GUITAR LEGENDS
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GUITAR LEGENDS 67
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134
I-T-I-Tr1 3241
o,ot) @ {o,os,
Intro (oroo) Moderately J = 104
r. lh€rs arc 2"Bd of
A5
A5
tetnnS----------1
tetnnS__---_____1
=. = t
=. =. =. =. =. =r
Substlute BassFis. I seco d nnc (seebat I )
Solo (010,0:51, 1i28) lgl Verses/Keyboard (1.) prffi I rellEmb€f lh6e triends lowrs and e) all
AE
ever men'rie9
all nry life ft€rc 18 no
though sorlE comparcs
tuwdEng€d Somoforwtlh you Alrd frse
F*m
not lose
for f|eir
better meanrng Flm Tr'G
Somehalregor€ r!fl| hlnk
D
of love Dm
ano a
(r.) All thesq sorF rcmain 8omehingnevr(2.,3.)Tlor4h I
COPYRICIITO 1965SONY/ATVM Y S O N Y / ^ T VM U S I CP U B L N H I N CL L C , ' M U S I CS O U ^ R EW E S T
68 GUITAR LEGENDS
'1il[|YLlF[" @
Clo*"
(0:28,1r0,1147)
phces har/€their krow l'll neverlose FSs
mon|onts alfeclion Ds
wnh lor
loversand ftiends people and t ngs
fEl
slill can rccall rlEnt be{ore
Soane arc
1sttime, go back to E 2ru1titru, go back to @ Kelboard Solo 3rd tima, continue to @ Outro
dead and lmowlll aflen F*5
llvlng stopandthink aboutEm
b tih
I've I
loved love
thqn all you norc
@ Oot"o iz,ool A5 Gtr. I
lib ry Dm/F
|ove
you
(2r5) molg A5
GUITAR LEGENDS 69
"SI]L|PII l'|Al|"
S|(YI{Y[|I
As heardorrPRONOUNCED LEH-NERD SKIN-NERD (McA) . wordsdndMuiic ,y Ronnievan zsnt andcary Rossington* ?rdnscribed byHemmeLutdeboerandMatt scharfglass
All guitars are tuned down one half step (low to high: Eb Ab Db Gb B, Et). Basstuning (low to high): Eb Ab Db Gb. AII m sic soundsin the key of A, minor, one half step lower than written. G FFFN
A5
G
FFETN
t:EIll0rr
ElFftr tsFtsFH
ffi
ffsfi
trffi
A5
C5
fF+F5fr'+FIn3i.
trT+F rlFan
+FH
Inrro (o:00)
E
Moderately Slow .l = 60
c
Am7
RhJ.FiB.I
Am7 Gtr. I pl1lysRhy.Fie. I thrce lines (seebat 1) Gu. 2 (elec.w^lighrly diny bne andUnivibe)
Rhr. Fig.2
1. lry mama
E lst V€rse(o:33) toldme
wnen I was
c
young
silbeside Come
c
Am7
Gtr. I plars Rhy. FiB. I si\ tines (seebar 1) Gtr.2 (Uniribe offl plars Rhr. Fie.2 thrcetines (seebar 5)
i
ti
I c o P Y i r c H r( c ) ' ! 7 3s 0 N c so r
70 currAB LEGENDS
"slilPffi llAll" son
do
thi8
c
andlisten clos€ly
il'll
holp you
some
G
to whatI
sunnyoay Am7
say
And lf you
yeah
.= t =
2. 0h takeyour
t = t = ! =
end Riff A
! =
r=
.= .= .= .=
4:30) LqJ2nd, 3rd and 4th Verses (1:21,2:33, lime don't llvgtoohst (3.) lusl lorthe chman'sgold (4.) worry you'lllindyoursell B4s C G Am7 21 Gtts. I and 2-ptar Rhy. Fiss.I and2 thrceanl onehaf tiMs(seeba6I
pass soul
Golinda {onan Andyou can d0 this Atdyou cln do lhis
eFe
c
24'
Troubloswill come All thalyou need Folloyi yourhea
c
and5)
ye6n oh hbe oh b6be
andyou'lllind low fi you try il you try Am7
I gel son wsnll0r wsnllol
there is somgone youmy 90n youmy 8on G
up 16lo be is lo be
above ) satislled) rallslied) A5
andhey dlll |s In your and nolhln'
Andbe a
cno*" 8lmple
Anddon'ltorAll h,t I All fEi I
(1:53,3:05,5ro1) kind of
c(
GUITAR LEGENDS 71
"sl[|F[[ l{Al{" orbe
man
youlovsandundoBlsnd A5
Somethln'
c
A5
Babybea A5
30
lrd line, skip ahead to @Ourc
simple
kind ol
man
0h won'tyou dolhis
CGA5
G5
fot me son
il youcan
c
A5
Gtr. I plays Rhy. Fi8. 3 one and orc half tines (see bar 29)
=. =. :. :. =. =. :. =.
[.
Bo back to @ 3rd ve^e 3. Fo.gel your
A5
A5
Am7 Gtr- 2 plays Rh!. Fig.2
36 Gh. lmd2
Ctr. 1 (w/voltrme
rcled
back)
@ Goit". Solo 1o,oo1
2.
0h yeeI vrill
c5
A5 39
loob
(see bar 5)
Gtrs. 3 dd 4 (e14. w/dist.)
A5 Gt.4plays Ctr.3
11
G5
A5
FiU I (see nett paSe)
A5 Gtrs. I ahd 2 pla,
42
Rht- Fies- 4 akn 4a hrce and one hartimes
(see bar 40) Y2
l@
17 4
Bassplort Bdss FtB. I rdi." ('"" bar 4t
72 GUITAR LEGENDS
ttt
12
m-m-zo-
c5
A5
"slllPEilAll"
A5
G5
Gtls. I and 2 pla! I
A5
Rhy. Fill I (see belo|')
top notes:ctr.4 plars bouon notzs.
1O_10-
5-S>-
7
7
@trl)
7
80 back to @ 4th Ve6e
4. Boydon'l you
CGAmT 50
7
Am7
Gtr. I plals Rhy-Fi8. I trice (see bar 1) GtL 2 ptaysRiffA(see bar 17) sas
@ oot.o (s,ze) Andbabybea
A5 54
Gt6. 1 ad 2
Fill 1 13:40) A5
slmplo somethin' simpl€
play 3 times andfad.e of De Baby ie 8
bea simple man you lov€8ndundersland kind of man
c
G5 (As)
A5
P.M.
P.M-
Rhy. FiU I la:6J G5 As
G5
A5
C5
A5
C5
GUITAR LEGENDS 73
"nllY [sB[|JI|]{t
As hedrd oIBLIZZAR:D OF OZZ (JET) words and Music by ozry osboune, Randy nhoads end Bob Daisley * rrdnscrired by Andy Aledort
AgA
tinii," iimi". l+ltN t++t+ 12
D/F{
HU# I
F-ITN I ,14
1,14
D5 fTffll
FFFF
ffi arrrTl
E5
imfr'" +eF
3rZ
E5 'r'Tri+"
tFTt't
A5
ffi'," +F4 F-FTF]
B5
E5
lTrm
5ft
ffi
LE]N
l14
lnt.o io,oor
Moderately J = 138 Allaboard hahahahahaha
(A)
N.C,{Ff5)
Aye Gye) (aye) (aye) (aye)(aye)(aye) (E) (F{5) 2
=. =. =. =.
(D)
(E)
t i n eo n l ! - - - - - - - - - fdhL
lni.!
c.rxnF
=r
=r
*A, additio&l Euitar pa va! ovt lubbe.! for this bat: Slide pick-hand pitkie alons siinss (in th. .rirc.tiol of ^u, white pedomi'e jast doubte putt ofs on G sdhs e,frctihs hand, p roduc ins r@don hamonics.
@ to,rs,srzt (Ffs)
(E)
(A)
5 Gtr. I
12.
(Ff5)
( repeot plev ious hao ba6 )
gA
D5
c o r v R r c H r( c ) r e 3 1 BLrzzanD
74 GUITAR LEGENDS
"I[|AZY TtlAI]|" DlA
A5
A
r,oe, e,eol @ v"""". 1o,rs, l. Crazy (2.)llstenedto preachers 3. Heifsollhe Cold War
E/A
D/A
A5
bul lhal'showit goes I've listened lo lools thal'swhatvre'v€ become
D/A
lve In-
A5
D/A
AA
A5
SubstituteRhr. Fill2 on 3ni Verse Olr. I 15 P M.
.
P - M .- - ,
P.M.
P . M -_ _ .
_
Millionsol people walchodall the dropouts herlting troublgs
P.M.
_
P . M . __ _ .
P.M,
living as loe8 who makelhekownrules I'm mentally numb
E/A
D/A
A5
D/A
it's nol loo late to rule and clnlrol I iu8t cannol boar A5
P-M.--,.
_
0ne Substitute Rhy.Fill I on 2nd Verse and Rhr. Fill2 oa 3dverse (seebelo'|)
ElA
0/A
A5
19
li4aybe person conditioned Crary
E/A
leam how to love nedia sellsil living wilh somelhing
E]A
and forget how to and you live the lhat iust isnt A5
D/A
to tne I'm
EIA
D/A
A5
hate ole fatl
D/F* P.M.
-.
Rh!.Fill 2 13:39,3:a5)
D/A
D/A
A5
D5 r.n.
GUITAR LEGENDS 75
"[tlAIY T'|AIil" 4:01) @ Pre-chorus (1:07,2:06, (1.) Mental wounds not (2.) li,tenlal wounds slill (3.) Mental wounds not F{5
A5
Lile'sa bitter D vlng me Who andwhal's
-^ .tit
In8ane to
healing screamrng healing D5
substitute Rhy.Fill 3 thikl tine (see prertous paee)
2:r3,4ros) @ cno"* (1rr4, l'm going otl rallg the
shame )
I
blame ) D5
A5
ES
crazy
lraln
ctr. t sutsritutes ritl I secondtine (seebelow)and FilL2 thild tirc (see net, P4ae)
P.H.
>
on a
I'm N.C.(F{5)
going
olf
rails
A5
s7 l
ona
qa4
3d tine, skip aheod toB
lrain
D5
F{5
L_L--IJ
LJI
*natural
rrr hamonics
located opprox.
8/loths
u
the distance betwea
FiU I 12115J
N.c.{F{5) 1_8-
*.hrohati.al!
76 GUITAR LEGENDS
ascendiag
hiaor
tnads
**chrotuti.alry
as.endiag
Mjor
iia^
lsr and 2nd frcts
"IRAZY I]lAIil" Let's go
e. t'".t ,.ga z^n 2. I've
l'
r=
.= .= r= .= .= .= .= .=
@ nriog" 1z,or1 I
klow
lhings are A5
lhat
Ffs
P.M.-.
You
gona
lbten A5
54,.
gorng
D5 >
lo P.M. ,.
wrcng lor me
>
P.M._.
my
w0t0s
yeah D5
P . M . ,_
Fill2 14:10) Bb
*chroMticall,
os.erdine ninor penbtonic bor patz6
CUITAR LECENDS 77
"I[|AZY I]|AIl{" E coit"t soto (e,+s) yeah F{5 *Ct .2 (ele. w/dist.) 58'-T T
'Dt,..eard
pra,.
T
T
nat. wh"n nqurc ^ r., all?d as B^\
Fte. J rn bar 62.
(A5)
'8rdd.
r.lease while tawi\
bend
++Era.l \|hile
(E/G{)
benn taryinq
ehd Rbr. FiB. 1
Play Rh!. Fig- I dvo and one half tines (see bat 58)
PIay Bass Fig. 3 tto and one heu tines
t_IJ
L..l
tltl
{UG{)
Bass Fi
Bass Fill I
12:57)
(F{5)
78 GUITAR LEGENDS
l (see betow)
"I[|AZY T1|AIil" B5
(E/G*)
F*5
16-14115
eo back to @
B5
(A)
(FJG{)
.=
72 ci'.2
.= .= .= .= .= .= .=
L-I-L-J
E *"0
E Outro (4:25)
Play Bass Fis. I untilJade (seebar I)
P.M.
(
wcal
.
ad libs ahd sound effects) P.M. -
D5
P . M . __ , , - .
-
fade out
I GUITAR LEGENDS 79
,,AP[ST[i[P}|['" T[|AI{|( ZAPPA As heardon APOSTROPHE () (RyKoDIsc) words dnd Music by F\ank Zappa, Jir|| cordo[ and Jack Bruce * Tr4nscribedby Jeff I,effitr
G5
A5EMDC$
rr+l{
sff:t H*lll
ffi ffi
r34
ll4
frft'n fuf 5fr fui4i Ft+*fl lt#t H#l 13421
tt444
Csus2
D5
?FFITfr
#i'n H#N
Tlaa1]
ffi ll34ll
tt444
C5
#i,t Ft#N
l:
TH,t
ffi
TTTTN 32ll
A5
Tf..A'o ffi t2tl
@ rooor Moderately .l =86
N.C.(E5)
G5
Ctr. I (elec.tr delc slighrly dirD robe&d sr elope lilter efleco
Rf A
y:?:
':i"::
Em
A5
G5
A5
Em
(enverope nLter ofr)
*Ctr. 2 (elec. w/darlq slighdy dfty tone and delay)
rconporte
aftons"n?nr
Tro stutaa
at t ansed fot on
Bass(Vdist.)
E Bssssolo(ol7)
cfs c
D5 Ctr, I
D5 t e tn n g - - - - - - - - - - - - - - - - - - - - - - - 1
80 GUITAR LEGENDS
Csus2
"Ap[slt|[p]|
.= end Rhy. Fig. l
.= t =
,= ,= t =
r=
.= .= .=
D5 Gtr. 1 plars Rhy. Fig. t two and one har
nes sinile (seebar 12)
GUITAR LEGENDS 81
.,APISIl|[PHT' : @ cuitarsoto1trtsl .85
N.C.(85)
'lower strins
Ds 82 currAR LEGEN
cavsht under nnstnCel
,,APIST[|[PJ
.= .= .= .= .= r= ,= .= .= ,= .=
GUITAR LEGENDS 83
84 GUITAR LEGENDS
,,APIST[|OP
r=
! =
r=
.= .= .= .= .= .= .= .= .=
GUITAR LEGENDS 85
,,APIST[|[PHT"
E DrumBrerk(322)
E r,o,r
@ tr,*t (E5) _-
Cr. 2 play, Rif A 25 tmes stntle rseebar 1t
Gtt. 2 plays RifA (see bar l)
(play 4 tine,
(play 4 tine,
14-14-14
86 GUITAR LEGENDS
-L14
12 14 14 12 14 14
=
1',Ap0sl]|[P .' ==
11111X11)
11 12 1
11 111H11
11
11 111
GUITAR LBGENDS 87
,,AFISI[{[PJ|t-
= !
n-:::,,_,,'',''_,,_,,'',_,,.,,'' n ---t4-,14Fn14'
=.
14 ,14*14i
=r
=.
88 GUITAR LEGENDS
=
t'AplsT1t[p .' ==
(G) (A)
Gtt.2 Rif B
.= .=
f\ 1 4\i
(4:55)
(E5)
(G) (A)
(E5)
(G)
(A)
Gtr.2 plqs Rif B sinite (see bat 100) Gtr, I
GUITAR LEGENDS 89
,,APISTIIIPHT" Ctr. 2 plals Rif C seven tines sinile (see bar 101) Glr. I
90 GUITAR LEGENDS
r,l
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